Archive for March, 2007

(Review from allmusic.com)

After two albums that combined progressive rock with orchestral grandeur, Procol Harum returned to the basics on this 1974 outing. This time, the accent was returned to the thick electric guitar and swirling guitar on a batch of lushly textured but driving songs that covered everything from hard rock to moody prog and even a bit of music hall comedy. In the rock category, the most memorable numbers are the opener, “Nothing but the Truth,” a punchy tune that displays the group’s thorough grasp of rock dynamics as it veers between metallic riffing and rollicking keyboard flourishes over a stomping beat, and “Monsieur R. Monde,” a bracing mid-tempo track that punctuates its guitar-heavy attack with some infectious cowbell accents from drummer B.J. Wilson. In the progressive arena, the most interesting tunes are “The Idol,” a sumptuous epic that adds layer after layer of keyboard and guitar as it tells the story of a hero’s fall from grace, and “The Thin End of the Wedge,” an avant-garde tune that highlights Mick Grabham’s guitar work as it creates a surreal, gothic atmosphere. Other memorable tunes include “Beyond the Pale,” a tune about the search for the Holy Grail that mixes pop hooks with a Germanic folk song feel, and “Exotic Fruit,” an amusing song that extols the virtues of its titular subject over a bouncy English music hall melody. It’s a diverse group of songs and styles, but the group delivers them with aplomb and energy, and the album is further bolstered by a sumptuous, consistent Chris Thomas production that makes sure everything blends together smoothly. As a result, Exotic Birds and Fruit is one of Procol Harum’s finest efforts of the ’70s.

Line-up:
* Chris Copping – organ
* Alan Cartwright – bass guitar
* B.J. Wilson – drums
* Mick Grabham – guitar
* Gary Brooker – piano and vocals
* Keith Reid – lyrics
* BJ Cole – Pedal Steel Guitar

Track List:
01. Nothing But The Truth
02. Beyond The Pale
03. As Strong as Samson
04. The Idol
05. The Thin End of The Wedge
06. Monsieur R. Monde
07. Fresh Fruit
08. Butterfly Boys
09. New Lamps For Old
10. Drunk Again (Bonus B-Side)

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Procol Harum

Amon Duul II – Tanz Der Lemminge (1971) (@320)

31 Mar 2007

(Review from progarchives.com)

What an achievement! I wouldn’t have thought Amon Düül II could have outdone Yeti, but the follow-up Tanz Der Lemminge is even more wonderous! The classic line-up of Chris Karrer, Renate Krause, Peter Leopold, Falk Rogner and John Weinzierl certainly deserve far more credit than they ever got for their individual musicianship, and I believe that this is the ultimate Kraut rock album. Do check it out!

This album’s first song may be called March Of The Roaring Seventies, but it’s very much rooted in the 60s. Dominated by some great acoustic guitar playing and an overwhelming hippie vibe, the song becomes an acoutic progressive folk jam after the 6 minute-mark (but not before some of tose heavily accented German male vocals make their mark!). It should appeal to any one who likes Pink Floyd and Comus and has a strangely dark, incredible improvised feel to it, yet is too good to be improvised. Around about the 9:30 mark, the vocals come back but it’s still a stomping acoustic rock song. I swear by the end there’s even diversity and angularity to win over a Gentle Giant fan and yet even bluesy jamming to get a Grateful Dead fan going. What a song!

Restless Skylight-Transistor-Child is another heavy blues jam affair with an odd mix of electronic sound effects to keep a listener on his/her toes. There’s a repeated ascending riff which leads to a sparse stoner jam with sitar leading the way, eventually vocals over a heavenly choir. Around the 7 minute mark it threatens to become a Zeppelinseque rocker, but that dies out as some of the great violin playing that coloured Yeti makes its presence felt on this record. It slows down into another spaced out section, with the delightful acoustic guitar work returning. I don’t know what to say about this sort of eclectic genius!

The Marilyn Monroe Memorial Church follows on from the second half on the Yeti album in that it is pure atmospheric exprimentation. It is also one of the most brilliant examples I can cite of improvised music. The sort of unearthly vibes this group could create when the need arose is quite astounding. With washes of sound, tinkling piano, crashing drums, ominous bass and a seemingly ever present organ. a stellar soundscape is created. It’s no joke to keep this kind of thing going for nearly 18 minutes and not bore your audience (and maybe even yourselves!). This would be a real treat to those who enjoyed the live half of Pink Floyd’s Ummagumma.

After the three epics you might not have much energy left, but if you do then this album concludes with some bite-size Amon Duul jams for you … the psychedelic blues-rock of Chewinggum Telegram, the Zappa-esque Stumbling Over Melted Moonlight (which still fits in a few distinct sections) and Toxicological Whispering which closes the album out with more duelling lead guitars.

Line-up:
- Karl-Heinz Hausmann / electronics
- Chris Karrer / acoustic & electric guitars, violin, vocals
- Peter Leopold / drums, percussion, piano
- Lothar Meid / bass, double bass, vocals
- Falk U. Rogner / organ, electronics
- John Weinzierl / acoustic & electric guitars, vocals, piano
+ Al Gromer / sitar
- Jimy Jackson / organ, piano, choir
- Henriette Kroetenschwanz / vocals
- Rolf Zacher / vocals

Track List:
Syntelman’s March of the Roaring Seventies
01. In The Glassgarden
02. Pull Down Your Mask
03. Prayer to the Silence
04. Telephonecomplex
Restless Skylight – Transistor – Child
05. Landing In A Ditch
06. Dehypnotized Toothpaste
07. A Short Stop At The Transsylvanian Brain-Surgery
Race From Here to Your Ears
08. a) Little Tornadoes
09. b) Overheated Tiara
10. c) The Flyweighted Five
11. Riding On A Cloud
12. Paralized Paradise
13. H. G. Well’s Take Off
Chasmin Soundtrack
14. The Marilyn Monroe-Memorial-Church
15. Chewinggum Telegram
16. Stumbling Over Melted Moonlight
17. Toxicological Whispering

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Amon Duul, Amon Duul II

Uriah Heep – Wonderworld (1974) (@256)

30 Mar 2007

(Review from progarchives.com)

With the soon to come sacking and subsequent death of Gary Thain, it seems incredible that this was to be the last album by the line up which has come to be regarded as Uriah Heep’s finest. In fact they only recorded four studio albums together, although the nucleus of the band (Box, Byron, Hensley, and from “Demons and Wizards on Kerslake) recorded more.

“Wonderworld”, Hensley’s name for his dream world where he finds inspiration for many of his songs, continued the slightly softer more melodic approach of its predecessor “Sweet Freedom”. The opening title track is a power ballad, with soft melodic verses and a sweeping chorus; it is reminiscent of “Sunrise” from “The Magician’s birthday”. “The shadows and the wind” has Heep’s most complex ever vocals arrangement, almost Beach Boys like in structure, if not sound. “The Easy road” is one of those lovely soft Hensley ballads, which he appeared to write with Byron’s vocal prowess in mind. It really is a truly moving song.

On side two of the album, “I won’t mind” is a plodding blues, and despite the excellent guitar work, one of the most disappointing Heep tracks of the period. The final track “Dreams” has a melody which sounds very similar to the old single “Windmills of your mind” by Noel Harrison. It’s a very good track though, if slightly lacking in the impact which previous final tracks have had.

In all, “Wonderworld” is another solid album by the classic line up, but the cracks are definitely beginning to show It does lack the knockout punch of other albums by that line up.

Line-up:
- Ken Hensley / organ, guitars & vocals
- David Byron / vocals
- Mick Box / lead guitars
- Gary Thain / bass
- Lee Kerslake / drums

Track List:
01. Wonderworld (4:29)
02. Suicidal Man (3:38)
03. The Shadows And The Wind (4:27)
04. So Tired (3:39)
05. The Easy Road (2:43)
06. Something Or Nothing (2:56)
07. I Won’t Mind (5:59)
08. We Got We (3:39)
09. Dreams (6:10)

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David Byron, Ken Hensley, Lee Kerslake, Uriah Heep

Genesis – Selling England by the Pound (1973) (@256)

30 Mar 2007

10 comments

(Review from vintageprog.com)

Selling England by the Pound was a flawless masterpiece that demonstrated some of the best and most perfect songwriting, arrangements, production and performance that could be found in 70′s symphonic progressive rock. The album also showed Genesis from their most British side, as most of the lyrics were influenced by British history, legends and folklore. Steve Hackett delivered my all-time favourite guitar-solo in the stunningly beautiful “Firth of Fifth”. “The Cinema Show” started as a typical Genesis-tune of the quiet and atmospheric kind, but built up to an impressive and mighty instrumental-part that I wish could go on forever. And at the very end, it returned to the main theme of the fantastic opener “Dancing With the Moonlit Knight” that very well could be my ultimate favourite-track by Genesis. Phil Collins was also allowed to sing a few lines in the laid-back “More Fool Me” where the simple arrangement made a comfortable break from the mighty and majestic cascade of sound on the rest of the album. “The Battle of Epping Forest” had some of the most complex lyrics Gabriel ever wrote, and the album even scored their first hit-single in form of “I Know What I Like (In Your Wardrobe)”. The sound and style of the latter track would point forward to the next album.

Line-up:
- Tony Banks / keyboards, 12 String guitar
- Phil Collins / drums, percussion, backing vocals, lead vocals (4)
- Peter Gabriel / lead vocals, percussion, flute, oboe
- Steve Hackett / electric guitar, nylon guitar
- Mike Rutherford / bass guitar, 12 string guitar, electric Sitar

Track List:
01. Dancing With The Moonlit Knight (8:01)
02. I Know What I Like (In Your Wardrobe) (4:06)
03. Firth Of Fifth (9:34)
04. More Fool Me (3:09)
05. The Battle Of Epping Forest(11:43)
06. After The Ordeal (4:12)
07. The Cinema Show (11:06)
08. Aisle Of Plenty (1:31)

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Anthony Phillips, Genesis, Mike Rutherford, Peter Gabriel, Phil Collins, Sakalli's Pick, Tony Banks

Joan Baez – Farewell Angelina (1965) (@256)

30 Mar 2007

(Review from allmusic.com)

By late 1965, most members of the folk community were feeling the pressure of a changing music world — between presence of folk-rock bands like the Byrds and newer outfits like the Beau Brummels and the Leaves coming up, not to mention Bob Dylan himself going electric, they were now competing against some high-wattage (in the most literal sense) rivals for the attention of audiences. Most wilted in that environment, but Baez rose to the occasion, partly because she was able to — her voice was one of the most hauntingly beautiful in the world, and she was no slouch when it came to finding (and later writing) good songs. To be sure, her sixth album is top-heavy with Bob Dylan songs, including the title track, which he never officially recorded — on that basis alone, it attracted a lot of attention from his fans — and her epic rendition of “A Hard Rain’s a-Gonna Fall,” which can stand up next to Dylan’s own for sheer, sustained power, and her falsetto-driven performance of “It’s All Over Now, Baby Blue” didn’t hurt in that department. But rather than relying on the Dylan repertory to sell the album, she made Farewell, Angelina worthwhile all the way through. Of the two traditional songs here, “The River in the Pines” is a throwback to Baez’s simple, unadorned early sound; but “Wild Mountain Thyme” is something new and special, her understated yet jaunty-tempo rendition almost minimalist in its scoring, yet it sticks with the listener as long (or longer) than, say, the Byrds’ recording. Her version of Woody Guthrie’s “Ranger’s Command” should be heard for its sheer lyricism and loveliness, and her recording of Donovan’s “Colours” might even have been a hit single if it had been handled right — Bruce Langhorne’s amplifier turned up one notch, from 3 to 4, might’ve done it. “A Satisfied Mind” was not only a stunning recording (especially on the final verse), but took her one step closer to the country music sound and repertory that would enrich Baez’s music in the second half of the ’60s. And she even managed to give a special nod to Pete Seeger’s universal notions of pacifism by including a German version of “Where Have All the Flowers Gone.” Beyond Baez’s singing, the album is also worth hearing for Langhorne’s guitar work and the performance of Richard Romoff on string bass on “Wild Mountain Thyme” and “A Hard Rain’s a-Gonna Fall.” This would be the last time that Baez would work with so small, spare, or deceptively simple an accompaniment — the next time out, she’d have a full orchestra and then a complement of Nashville musicians backing her.

Track List:
01. Farewell Angelina (Bob Dylan) 3:13
02. Daddy, You Been on My Mind (Bob Dylan) 2:15
03. It’s All Over Now, Baby Blue (Bob Dylan) 3:21
04. The Wild Mountain Thyme (traditional) 4:34
05. Ranger’s Command (Woody Guthrie) 3:13
06. Colours (Donovan) 3:02
07. A Satisfied Mind (Red Hayes (spelled “Hays” on album cover), Jack Rhodes) 3:22
08. The River In The Pines (traditional) 3:33
09. Pauvre Ruteboeuf (Ferre, Ruteboeuf) 3:28
10. Sagt Mir Wo Die Blumen Sind (“Where Have all the Flowers Gone?” (Pete Seeger) 4:00
11. A Hard Rain’s A-Gonna Fall (Bob Dylan) 7:36
12. One Too Many Mornings (Bonus)
13. Rock, Salt And Nails (Bonus)
14. The Water Is Wide (Bonus)

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Joan Baez

Uriah Heep – Live (1973) (@256)

29 Mar 2007

(Review from progarchives.com)

There are many fine live albums, “Yessongs”, “Made in Japan (Deep Purple)”, “Welcome back my friends” (ELP) etc, but arguably the finest of them all is “Uriah Heep Live 1973″.

Despite numerous well documented problems which meant that it very nearly never happened, everything fell into place for the band for this recording. The line up is the classic one – Box/Byron/Hensley/Kerslake/Thain, with each member of the band attaining top form. There is some doubt as to whether the tracks included here were all taken from the same concert, but there’s no obvious indication that subsequent overdubbing has been undertaken.

There are so many highlights to the album, I could wax lyrical about every track. What is especially pleasing is the way the longer tracks have been developed and reworked, while retaining their identity. “July Morning” has a much more satisfactory ending, with the opening theme returning in place of the fade out. “Gypsy”, a track which changes with every tour, has a superb synthesiser solo from Hensley. “Circle of Hands” is completely transformed from the track on “Demons and Wizards”, the slide guitar which ends the studio version gives way here to a synthesiser solo, which builds majestically, powered on by Kerslake’s frantic drumming, to a euphoric crescendo.

The album closes with the encore rock ‘n’ roll medley. Byron is in his element here, as the band power through the old favourites. Truly a classic live album, which captures the essence of the band perfectly. The double LP came in a programme style sleeve, and sold for the price of a single LP which turned out to be a very effective marketing move.

Line-up:
- David Byron / vocals
- Mick Box / guitar, vocals
- Gary Thain / bass, vocals
- Lee Kerslake / drums, vocals
- Ken Hensley / keyboards, vocals

Track List:
01. Sunrise
02. Sweet Lorraine
03. Traveller In Time
04. Easy Livin’
05. July Morning
06. Tears In My Eyes
07. Gypsy
08. Circle Of Hands
09. Look At Yourself
10. The Magician’s Birthday
11. Love Machine
12. Roll Over Beethoven
13. Blue Suede Shoes
14. Mean Woman Blues
15. Hound Dog
16. At The Hop
17. Whole Lotta Shakin’ Goin’ On
18. Blue Suede Shoes

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David Byron, Ken Hensley, Lee Kerslake, Live, Uriah Heep

Brewer & Shipley – Weeds And Tarkio (1970-71) (@256)

29 Mar 2007

(Biography by Steve Huey)

California duo Mike Brewer and Tom Shipley began their careers separately on the 1960s Los Angeles folk club circuit before teaming up to write and perform together. Their song “Keeper of the Seven Keys” was recorded by H.P. Lovecraft and also appeared on their 1968 debut, Down in L.A. Their second album, Weeds, featured guest appearances by Jerry Garcia, Mike Bloomfield, and Nicky Hopkins. In 1971, the duo scored a surprise Top Ten hit with “One Toke Over the Line,” in spite of radio bans owing to the song’s marijuana-oriented lyrics. Following this success, Brewer and Shipley moved to rural Missouri, but their appeal dwindled, and the partnership was dissolved in 1979. Brewer recorded the solo album Beauty Lies in 1983. At the request of a Kansas City radio station, Brewer & Shipley reunited for a concert in 1989 and began touring occasionally. In 1995, the duo released their first album in almost 20 years, Shanghai. Heartland followed two years later.

Years before their hit “One Toke Over the Line,” Brewer and Shipley released an excellent folk album entitled Weeds, produced by the redoubtable Nick Gravenites, who was soon to become the lead singer of Big Brother & the Holding Company, and who had penned a couple of songs for Janis Joplin’s I Got Dem Ole’ Kozmic Blues Again, Mama album released the same year as this LP, 1969. With Mike Bloomfield on guitar as well, this is actually part of the Electric Flag backing up Michael Brewer and Tom Shipley, and their almost pensive performance of Bob Dylan’s “All Along the Watchtower” is not only fine, but you can actually hear and understand all the words! “Indian Summer” is sublime; it is magical with Richard Greene’s fiddle working against the sprinkling piano lines, a real gem among the many in these Weeds. A Native American on horse looking skyward under the words “Our Thanks” is a very subtle thank you to their higher power — nice indeed. The late Nicky Hopkins is a guest star on keyboards, as is Phil Ford on tabla, and the ten tracks are all accessible, but there is one that is as much a standout as the duo’s aforementioned “Indian Summer,” that tune being the second cover on Weeds, Jim Pepper’s much loved underground classic “Witchi-tai-to.” This version is more up-tempo than the original, and dwells on Lou Reed’s “Sweet Jane” riff to balance the incessant mantra and blending voices. The guitars are very Flamin’ Groovies: sparkling, trebley, and pretty. This is music right out of the Velvet Underground’s Loaded or 1969 albums, and should be absorbed by that group’s obsessive fans, as well as fans of bands like Big Brother & the Holding Company and other purveyors of the West Coast sound. At close to seven minutes it is certainly an anomaly for the label which released the spirited folk/pop of The Lovin’ Spoonful. The ten striking black-and-white photos inside the gatefold are as in tune as the pleasant “People Love Each Other,” which opens side two. Given the legendary status of the producer and fellow musicians, the choice of material, and their own eventual chart success, Weeds is an often forgotten folk album of fine distinction.

Notable not just for the inclusion of “One Toke Over the Line” but also for the great back porch stoned ambience of the entire recording, this 1970 effort from the band is ripe with dope references and subversive humor. Not that it ever takes away from the excellent country-style playing that pops up all over the record. Jerry Garcia lends a hand with the pedal steel and it’s a welcomed sound. During the course of the album, you get highlights like “Song from Platte River” (where the boys lament the loss of their freedoms and feel a kinship with folks like General Custer and Abraham Lincoln) and the spectral “Ruby on the Morning.” Add in “One Toke Over the Line” amidst freedom-friendly tracks like “Oh, Mommy” and “Don’t Want to Die in Georgia,” and you’ve got an album that speaks out to anyone who has ever felt threatened by “the Man.”

Track List:
01. Lady Like You (Weeds Album)
02. Rise Up (Easy Rider) (Weeds Album)
03. Boomerang (Weeds Album)
04. Indian Summer (Weeds Album)
05. All Along the Watchtower (Weeds Album)
06. People Love Each Other (Weeds Album)
07. Pigs Head (Weeds Album)
08. Oh, Sweet Lady (Weeds Album)
09. Too Soon Tomorrow (Weeds Album)
10. Witchi-Tai-To (Weeds Album)
11. One Toke Over the Line (Tarkio Album)
12. Song from Platte River (Tarkio Album)
13. Light (Tarkio Album)
14. Ruby on the Morning (Tarkio Album)
15. Oh Mommy (Tarkio Album)
16. Don’t Want to Die in Georgia (Tarkio Album)
17. Can’t Go Home (Tarkio Album)
18. Tarkio Road (Tarkio Album)
19. Seems Like a Long Time (Tarkio Album)
20. Fifty States of Freedom (Tarkio Album)

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Grobschnitt – Jumbo (1975) (@256)

29 Mar 2007

14 comments

Grobschnitt – Jumbo (1975) (@256)

(Review from progarchives.com)

An enthousiastic, optimistic symphonic album, full of fantasies and humor. The opening track is an energic, typical Grobschnitt´s Hymn with its captive melodies, stressed vocals, great organ-guitar solos, epic interludes. “The Clown” is a gorgeous, dymanic symphonic composition with constant changing moods and a lot of keyboards variations. The parodic side of the band is always really defined in a few sweety, soft melodies, crazy vocals and lyrics. A good mention to the technical guitar solo parts. “Dream and reality” is a pseudo-romantic, lovely ballad with a melancholic felt. The vocal are very lyrical, the organ and guitar duets punctuate the piece. Chorus and excentric vocals are added into the mix. The solo break put into the fore an epic, symphonic dialogue between synthesisers and organs, then emerges a captivating guitar melody.”Sunny Sunday´s sunset” starts with a calm, mysterious keyboard soundscape and circular “clean” guitar apreggios. After a rapid progression the tune finally turns into a fantasy, “heroic” song with theatrical voices, epic keyboards and silent acoustic percussions. Seven minutes past and the track grows into a mellow, romantic ballad. The last track is an humorous, drunked narration. A difficult, complex album. In a minor way this is a classic.

Line-up:
- Stefan Danielak (Wildschwein) / acoustic & rhythm guitars, lead & backing vocals
- Joachim Ehrig (Eroc) / drums, percussion electronic f/x, voices
- Wolfgang Jager (Pepe) / bass
- Volker Kahrs (Mist) / keyboards, Mellotron, synthesizers
- Gerd-Otto Kuhn (Lupo) / lead guitar

Track List:
01. Jupp/The Excursion of Father Smith
02. Clown
03. Dream and Reality
04. Sunny Sunday’s Sunset
05. Auf Weidersehen
06. Jupp/Vater Schmidt’s Wandertag (German)
07. Der Clown (German)
08. Traum und Wirklichkeit (German)
09. Sonntag’s Sonnabend (German)
10. Auf Weidersehen (German)
11. Auf Wiedersehen (Reprise) (Bonus)

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Grobschnitt

Uriah Heep – Sweet Freedom (1973) (@256)

28 Mar 2007

(Review from progarchives.com)

The third album by the Byron/Box/Hensley/Kerslake/Thain line up found them moving away from the fantasy theme, but producing what was probably their most melodic album of all. The sleeve was the first clue of the changes as, unlike the previous two albums, Roger Dean was not involved. This was compensated for to some extent by the double fold out, but it still lacks the impact of Dean’s work.

Musically however, the band were still in top form. Hensley dominates the song writing once again, and the tracks generally lean towards his keyboard work, with Box’s lead guitar outings being less frequent. The album includes one of Heep’s most famous works in “Stealin’”, which in many ways is a slightly slowed down version of “Easy Livin’”. The band were as close as they’ve ever come to a world-wide hit single with this track, foiled only by it being banned from radio play because of the reference to “doing the rancher’s daughter”!

The title track is a wonderful power ballad on which Byron interprets Hensley’s sensitive lyrics in a very emotive and effective way. I remember a reviewer at the time described the track as “swimming in organ”. It was intended as a criticism, but while quite correct, is in fact a strong recommendation.

“If I had the time” sees Hensley still in power ballad writing mode, this time using the synthesiser to create the depth of sound. It’s interesting to compare the demo version of this track which first appeared on Hensley’s “From time to time” album with the finished article here. It demonstrates clearly how, while Hensley was the main songwriter, the band as a whole created the finished articles.

“Pilgrim” closes the album in more progressive mode. The track has two distinct sections, separated by a screaming guitar solo from Box. Byron exercises the full range of his vocal capabilities during the track, cumulating in a screamed finale. While the track is truly excellent, it could have been even better. This may be due in part to the fade out ending which seems to imply that the band couldn’t come up with a satisfactory conclusion.

In all, another fine, polished product from the band, which generally finds them moving further away from their “’eavy” beginnings.

Line-up:
- David Byron / vocals
- Ken Hensley / keyboards, guitars and vocals
- Mick Box / guitars
- Lee Kerslake / drums, percussion, vocals
- Gary Thain / bass guitar

Track List:
01. Dreamer (3:41)
02. Stealin’ (4:49)
03. One Day (2:47)
04. Sweet Freedom (6:37)
05. If I Had The Time (5:43)
06. Seven Stars (3:52)
07. Circus (2:44)
08. Pilgrim (7:10)

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David Byron, Ken Hensley, Lee Kerslake, Uriah Heep

Grave – Grave 1 (1975) (@256)

27 Mar 2007

(Review from diregarden.com)

From near Bremen, the quartet called Grave was an active live band for most of the 70s and in 1975 recorded (by simple means) nine tracks, six of which were pressed onto vinyl in small runs as ‘Grave 1′ (CD 007). Here on CD, all nine are presented as well as four more recorded by a reunited lineup in 1989, creating over an hour of music. Grave wrote intelligent classic rock style songs and performed them quite competently, but the murkiness of the recording and the loss of certain instruments in the mix (most noticeably some important lead guitar parts) seriously diminishes the overall quality of this work. Some strong moments are found in Lutz Wowerat’s bubbly psych guitar intro to “Please Günter Play the Bass,” which Günter (Wendehenke) then proceeds to do quite diligently. But my favorite tune is the Guru Guru-ish “Funky Stadtkommandant” (a classic krautrock title if there were was one), wonderfully inventive and of course, highly peculiar…and luckily decently recorded. Two of the newer (professionally-recorded) bonus songs (featuring guest vocalist Anke Meyer) are surpisingly good material with more of a folk melody bent. I’d really like to give this a stronger recommendation as I think I would’ve become a big fan of Grave as a live act, I just wish they’d made a better quality archive of their original works.

Line-up:
* Wolfgang Kiesler – guitar
* Klaus Moritz – drums
* Lutz Wowerat – guitar + vocals
* Günter Wendehake – bass

Track List:
01 – Morning Sun – 5.54
02 – Initations – 3.56
03 – The Hunter – 8.05
04 – Ohrwurm – 3.11
05 – Please Gunter Play the Bass – 5.47
06 – Little Giant – 7.20
07 – Funky Stadtkommandant – 7.53
08 – Grave Boogie – 4.44
09 – Hey Little Lady – 3.40
10 – Father Dead (Bonus 1989) – 5.58
11 – Get Out of My Life (Imitaions II) (Bonus 1989) – 2.09
12 – Death Driver (Bonus 1989) – 3.23
13 – Out of Sight (Bonus 1989) – 2.47

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Jade Warrior – Last Autumn's Dream (1972) (@256)

27 Mar 2007

(Review from vintageprog.com)

“Last Autumn’s Dream” is for many people Jade Warrior’s best album on Vertigo. It displays an impressive range of moods, while still flowing graciously well together. It’s quite a long way from the wintry images of the atmospheric opener “A Winter’s Tale” to the hazy jungle of the improvised “Dark River” and then to the symphonic and mighty finale of “Borne on the Solar Wind”. In between this you get the band at their heaviest and most aggressive in the rousing “Snake” and even a catchy attempt at a hit song in “The Demon Trucker”. “Joanne” is a great and more typical Jade Warrior rocker, while “May Queen” successfully combines several elements of the band’s sound into a bouncing and quirky tune. The grandiose instrumental “Obedience” sounds almost like an overture of some kind with lots of overdubbed guitars. The ballad “Lady of the Lake” flows into the earlier mentioned “Borne on the Solar Wind” that creates a grandiose finale to the album. But “Last Autumn’s Dream” turned out to be their last album with vocals, and also the last they released on Vertigo.

Line-up:
- Tony Duhig / electric guitar
- Jon Field / alto & concert flutes, congas, percussion
- Glyn Havard / vocals, bass, acoustic guitar
- Allan Price / drums
- David Duhig / lead guitar (1), guitar (8)

Track List:
01. A Winter’s Tale (5:11)
02. Snake (3:02)
03. Dark River (6:33)
04. Joanne (2:53)
05. Obediance (3:19)
06. Morning Hymn (3:36)
07. May Queen (5:22)
08. The Demon Trucker (2:34)
09. Lady of the Lake (3:17)
10. Borne on to the Solar Wind (3:02)

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Jade Warrior

Uriah Heep – The Magician's Birthday (1972) (@256)

27 Mar 2007

(Review from progarchives.com)

The second album by the “classic” line up is a natural follow on to the magnificent “Demons and Wizards”. All the elements are still in place, the Roger Dean Sleeve, the fantasy themes, and of course the great music. “Sunrise”, which became the opener for the live set, sets the scene immediately, with Byron’s first appearance being in the form of a controlled scream.

The track are generally short and straight forward, with only the title track having a more complex structure. “The Magician’s Birthday” (track) picks up the fantasy theme, and weaves a tale around the battle between good and evil. This is interrupted by a lengthy guitar solo from Mick Box, accompanied only by Lee Kerslake on drums, and the occasional spooky theme from Hensley’s keyboards. The track climaxes in the battle itself, played out with stereo effects, before Byron ascends to ethereal bliss and fades.

There are softer numbers on the album such as the lovely Hensley ballad “Rain”. Apparently Hensley wanted to make the final chorus much louder and more powerful, but the rest of the band pushed back. He took the opportunity to record his preferred version on his solo album “Proud words on a dusty shelf”.

The tracks are generally marginally less strong than those on “Demons and Wizards” but, “The Magician’s Birthday” is still a superb album with many fine moments.

Line-up:
- Gary Thain / bass guitar
- Lee Kerslake / drums and percussion
- Mick Box / guitars
- Ken Hensley / keyboards, guitars, Moog synthesizer
- David Byron / vocals

Track List:
01. Sunrise (4:04)
02. Spider Woman (2:25)
03. Blind Eye (3:33)
04. Echoes In The Dark (4:48)
05. Rain (3:59)
06. Sweet Lorraine (4:13)
07. Tales (4:09)
08. The Magician’s Birthday (10:23)

Link in comments.

David Byron, Ken Hensley, Lee Kerslake, Sakalli's Pick, Uriah Heep

Marillion – Misplaced Childhood (1985) (@256)

27 Mar 2007

(Review from progarchives.com)

After a couple of early album which, while competent and enjoyable, sounded a bit too like (Gabriel era) Genesis tribute albums, Marillion suddenly found their own identity with “Misplaced Childhood”.

Nominally a concept album, this is not so much a story, as series of individual tracks blended together to form a coherent, beautifully constructed piece (as Genesis did with “Supper’s Ready”). The album opens with orchestral keyboards introducing Fish on the brief but melodic “Pseudo silk kimono”. This leads into a couple of what might be considered surprise hit singles. “Kayleigh” (a name which Fish apparently conjured up from the names Kay and Leigh, but which led to a generation of similarly named female offspring!), and “Lavender”, an interpretation of the “Lavender blue” nursery rhyme song. These two tracks manage to achieve the usually elusive feat of blending in completely on a classic prog rock album, while simultaneously holding a wide commercial appeal.

The “Lavender” theme reappears in instrumental form later on side one, as part of a powerful lead up to the closing track (on LP side one), “Heart of Lothian”. The title of this track relates to Fish’s Scottish heritage, Lothian being the area in which the city Edinburgh is located (one of the city’s football clubs is “Heart of Mid-Lothian”). Side 2 is the slightly weaker side, but it’s all relative, and in CD format the album flows well from start to finish.

In summary the best album by far from the Fish era, and possibly the best Marillion album to date.

Line-up:
- Fish / vocals
- Mark Kelly / keyboards
- Ian Mosley / drums
- Steve Rothery / guitars
- Pete Trewavas / basses

Track List:
01. Pseudo silk kimono (2:13)
02. Kayleigh (4:03)
03. Lavender (2:27)
04. Bitter suite (5:53)
05. Heart of Lothian (6:02)
06. Warterhole (expresso bongo) (2:12)
07. Lords of the backstage (1:52)
08. Blind curve (9:29)
09. Childhood end? (4:32)
10. White feather (2:23)

Link in comments.

Fish, Ian Mosley, Marillion, Sakalli's Pick

Allman Brothers Band – Idlewild South (1970) (@320)

27 Mar 2007

(Review from wikipedia, starling.rinet.ru)

Unlike the band’s debut album, their second, Idlewild South enjoyed some popular success as well as critical enthusiasm, mostly due to what Rolling Stone magazine called “briefer, tighter, less ‘heavy’ numbers” which were more radio-friendly. The album was named after a ranch they frequently visited in Georgia, whose name in turn was originally a reference to New York City’s Idlewild Airport.

It seems that on Idlewild South, the tendency was to make a truly listenable, entertaining effort. Thus, no lethargic stuff like ‘Dreams’ on here: just your solid ‘roots-rock’, where everything is thrown together. There’s pure blues, there’s soul, there’s country, there’s jazz-rock, and there’s even some gospel, which makes Idlewild South a curious and competent ragbag of styles, but with the Allmans’ unmistakable identity etched into every single one of the tracks. The rhythm section is as tight as ever – I actually enjoy listening to this in headphones and getting Butch’s drums in one speaker and Johanson’s eternal congas and bongos in the other. The guitars blaze as usual, and Gregg’s soulful vocals also stand the test of multiple listenings.

Line-up:
* Gregg Allman (vocals, piano, organ)
* Duane Allman (lead, slide, and acoustic guitar)
* Dickey Betts (lead guitar)
* Berry Oakley (bass guitar, vocals on “Hoochie Coochie Man”, and harmony vocals on “Midnight Rider”)
* Butch Trucks (drums)
* Jai Johnny “Jaimoe” Johanson (drums, congas)
with
* Thom “Ace” Doucette (harmonica and tambourine)

Track List:
01. Revival (Dickey Betts) – 4:05
02. Don’t Keep Me Wonderin’ (Gregg Allman) – 3:31
03. Midnight Rider (Gregg Allman) – 2:59
04. In Memory of Elizabeth Reed (Dickey Betts) – 6:56
05. Hoochie Coochie Man (W. Dixon) – 4:57
06. Please Call Home (Gregg Allman) – 4:02
07. Leave My Blues at Home (Gregg Allman) – 4:17

Link in comments.

Allman Brothers Band, Duane Allman, Jaimoe Johnson

Uriah Heep – Demons and Wizards (1972) (@256)

26 Mar 2007

(Review from progarchives.com)

I must admit to finding it somewhat difficult to write dispassionately about this album, since for the last 30+ years it has been my all time favourite. I do remember however when I first heard it, the one minor criticism I had at the time was that, when compared to the previous “Look at yourself”, there were too few instrumental breaks. That misgiving soon vanished however, and ever since it has taken pride of place in my collection.

This was the first album recorded by the “classic” line up, with Lee Kerslake (drums), and Gary Thain (bass), completing the quintet. Ken Hensley was now fully installed as the main composer with the band, and had just entered his “fantasy” phase. These were the final pieces which would see the band creating it’s finest works.

The album is supremely melodic, and much less “’eavy” than previous albums. The opening track, “The wizard” is an acoustic number, which finds David Byron in his best vocal form. “Easy Livin’” is wonderful three minute burst of driving rock, with everything turned up to 11. The Hammond organ and lead guitar combine with a great bass line from Thain, to provide the basis for this brief masterpiece. “Circle of hands” is similar in structure to “July Morning” from the previous album, with a repeating instrumental conclusion.

The closing two part track “Paradise/The Spell”, is awesome. It is two separate pieces, which happen to combine well together. “Paradise” is a soft acoustic number, on which Byron and Hensley alternate the vocals on the repeating choruses. “The spell” was in many ways a predecessor for Queen’s “Bohemian Rhapsody”. It has a complex structure with a multitude of vocal styles, and time changes a plenty. The centre point is a choral backed slide guitar solo by Hensley, which on its own would have made an excellent single in the “Sylvia” (Focus) vein. It sends shivers up my spine every time I hear it.

Had the other tracks appeared on any other album, I would have been listing them individually with glowing praise. I’m sure you get the message though, this album is the pinnacle, a work of pure genius.

Line-up:
- Gary Train / bass guitar (except Mark Clarke on ‘The Wizard’)
- Lee Kerslake / drums and percussion
- Mick Box / guitars
- Ken Hensley / keyboards, guitars, percussion
- David Byron / vocals

Track List:
01. The Wizard (2:59)
02. Traveller In Time (3:26)
03. Easy Livin’ (2:36)
04. Poet’s Justice (4:14)
05. Circle Of Hands (6:34)
06. Rainbow demon (4:30)
07. All My Life (2:46)
08. Paradise (5:15)
09. The Spell (7:26)

Link in comments.

David Byron, Ken Hensley, Lee Kerslake, Uriah Heep

Uriah Heep – Salisbury (1971) (@256)

26 Mar 2007

(Review from progarchives.com)

Uriah Heep’s second album took its name from a town in England. Apparently the audience at a Uriah Heep gig there helped out when the band found themselves in a tight spot and this, or more precisely the title track, was their reward. Salisbury Plain nearby is used for army exercises, hence the tank (about to symbolically destroy a flower) on the sleeve.

The album was a natural but defined progression from “Very ‘eavy, very ‘umble”, with greater emphasis on melody and refinement. This was in part due to Ken Hensley having a much greater involvement in song-writing duties, something he would come to dominate on future albums. His poem “The Park” which became the album’s second track, has Byron singing falsetto. It’s a song about as far away from the metal image of the band as you could find. Hensley takes lead vocal on “Lady in Black”, an acoustic guitar driven chant-based track, which became their biggest hit in some countries.

The stand out track is the 16 minute title epic, which is quite different from anything else the band has done. This difference is mainly down to the addition of orchestral backing (the band appear to have conflicting recollections as to whether they actually recorded with the orchestra or whether those parts were added later). The track has a far more complex and progressive structure than the vast majority of the band?s work. Mick Box is truly inspired on the three improvised guitar solos had adds, and Byron’s vocal timing is immaculate throughout. This really is one of Uriah Heep’s best pieces on any album.

The risk with having such a dominant piece on an album is that the remaining tracks are overshadowed. The lasting appeal of “Salisbury” is that the tracks are strong throughout, with the title track providing a wonderful climax.

Line-up:
- David Byron / lead vocals
- Ken Hensley / organ, piano, slide & acoustic guitars, harpshicord, vibes and vocals
- Mick Box / lead guitar, acoustic guitar, vocals
- Paul Newton / bass guitar, vocals
- Keith Baker / drums
with
- John Fiddy / brass and woodmind on “Salisbury”

Track List:
01. Bird Of Prey (4:05)
02. The Park (5:38)
03. Time To Live (4:02)
04. Lady In Black (4:33)
05. High Priestess (3:39)
06. Salisbury (16:02)

Link in comments.

David Byron, Ken Hensley, Uriah Heep

Chicken Shack – Forty Blue Fingers, Freshly Packed And Ready To Serve (1968) (@256)

26 Mar 2007

(Review from brumbeat.net)

Formed in 1967, Chicken Shack consisted of Stan Webb on guitar/vocal, Andy Sylvester on bass, Christine Perfect on vocals/keyboards, and Alan Morley on drums. The group got their name from the chicken coup in Kidderminster where the band often rehearsed. An earlier incarnation of the group was named Sounds of Blue, included Chris Wood — who was later a founding member of Traffic.

The combination of Stan Webb’s bluesy guitar virtuoso and Christine Perfect’s emotionally charged vocal gained Chicken Shack many followers and they soon caught the attention of London producer Mike Vernon who operated his own Blue Horizon record label. Vernon signed the group to a contract and their first album entitled Forty Blue Fingers Freshly Packed And Ready To Serve was released to critical acclaim in 1968.

Line-up:
* Stan Webb – guitar/vocals
* Christine Perfect – vocals/keyboards
* Andy Sylvester – bass
* Dave Bidwell – drums

Track List:
01. Letter
02. Lonesome Whistle Train Blues
03. When the Train Comes Back
04. San-Ho-Zay
05. King of the World
06. See See Baby
07. First Time I Met the Blues
08. Webbed Feet
09. You Ain’t No Good
10. What You Did Last Night

Link in comments.

Chicken Shack

Ufo – Making Contact (1983) (@256)

25 Mar 2007

(Review from amazon.com, wikipedia)

Even with all the turmoil going on in Ufo at the time they still put out a good album. Pete Way had left the band to form “Waysted”. The day was saved by Paul Chapman who not only handled the lead guitar duties, but also did a superb job playing the bass parts on this album. You can tell it’s not Pete Way as the style is very different but it is damn good. This album really kicks butt, Paul Chapman shines on this one. It’s too bad he did not continue with the band. He really is a fine guitarist & never got the credit he deserved. Yes, this is the last “real” Ufo album. If you have not heard it in a while give it another chance. It’s really quite good.

Making Contact was the last studio album released by Ufo before they disbanded (they have, however reformed at least 3 times subsequently).

Line-up:
* Phil Mogg – vocals
* Paul Chapman – lead guitar, bass
* Neil Carter – keyboards, rhythm guitar, bass, vocals
* Andy Parker – drums

Track List:
01. Blinded By A Lie (Carter, Mogg) – 3:58
02. Diesel In The Dust (Carter, Mogg) – 4:29
03. A Fool For Love (Carter, Mogg) – 3:57
04. You And Me (Carter, Mogg) – 3:20
05. When It’s Time To Rock (Chapman, Mogg) – 5:27
06. The Way The Wild Wind Blows (Carter, Chapman, Mogg) – 4:14
07. Call My Name (Carter, Mogg) – 3:14
08. All Over You (Carter, Mogg) – 4:24
09. No Getaway (Carter, Chapman, Mogg) – 3:32
10. Push, It’s Love (Carter, Mogg) – 3:16

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Paul Chapman, Phil Mogg, Ufo

Heather Nova – Oyster (1994) (@320)

25 Mar 2007

1 comment

(Review from CMJ New Music Report)

From the opening beat and “Come Together”-style bass line of Oyster’s kick-off track, “Walk This World,” it’s clear that London, England’s Heather Nova has been waiting a long time to lend her writing talents to a studio creation. The last few years have seen the former Bermuda Sound-area native releasing numerous home demos and powerful live recordings, but it’s only now that we get to hear some of these songs in their fully orchestrated beauty. The intricate arrangements and harmonies found on tracks like the eerie, explosive “Sugar” and the amazing, haunting “Light Years” couldn’t possibly be captured as accurately live as they have been here. Additionally, the occasional heady slatherings of electric guitar and thundering drums communicate each track’s intensity more clearly in the studio setting. While Nova’s vibrato-laced high register sometimes recalls a more breathy and controlled version of Kate Bush, tracks like “Verona,” with its conversely soothing and wonderfully subtle, flowing harmonies, reveal Nova’s consummate ability to create mood and atmosphere, sometimes using only the timbre of her voice.

Track List:
01. Walk This World – 3:49
02. Heal – 3:55
03. Island – 6:20
04. Throwing Fire at the Sun – 5:57
05. Maybe an Angel – 5:08
06. Sugar (only available on US release) – 5:34
07. Truth and Bone – 4:54
08. Blue Black – 4:36
09. Walking Higher – 4:12
10. Light Years – 4:49
11. Verona – 4:02
12. Doubled Up – 3:39

Links in comments.

Ufo – Mechanix (1982) (@320)

25 Mar 2007

(Review from amazon.com)

While Mechanix may not live up to the glory of classic albums such as “Lights Out” and “Obsession”, it still contains a good half album’s worth of great songs. Chapman is not as flashy of a guitarist as Schenker (not many are) but his riffs/solos are forceful and melodic. The rest of the band are on form per usual, and I really dig Andy Parker’s drumming as always. Standouts here include: The Writer (with cool Carter keyboard solo), the rockin’ Doing It All for You, Feel It (complete with Mogg catchy chorus) and Dreamin’. The creativity that Ufo unleashed at will in the ’70s has been pretty much lost by this time, but the album does rock and is still better than two-thirds of the releases in the genre. If you like the classic Ufo releases with Schenker, chances are you’ll not be disappointed with Mechanix.

Line-up:
* Phil Mogg – vocals
* Pete Way – bass
* Paul Chapman – guitars
* Andy Parker – drums
* Neil Carter – keyboards, guitar, backing vocals, sax

Track List:
01. The Writer (Chapman, Mogg, Carter) – 4:12
02. Something Else (Cochran, Sheeley) – 3:21
03. Back Into My Life (Lyons, Way, Mogg) – 4:59
04. You’ll Get Love (Carter, Chapman, Mogg) – 3:10
05. Doing It All For You (Way, Chapman, Carter, Mogg) – 5:02
06. We Belong To The Night (Way, Carter, Mogg) – 3:57
07. Let It Rain (Way, Carter, Mogg) – 4:01
08. Terri (Chapman, Mogg) – 3:53
09. Feel It (Way, Mogg) – 4:07
10. Dreaming (Carter, Mogg) – 3:57
11. Heel Of A Stranger (Bonus) (Way, Chapman, Carter, Mogg) – 4:05

Links in comments.

Paul Chapman, Pete Way, Phil Mogg, Ufo

Uriah Heep – Very 'eavy… Very 'umble (1970) (@256)

25 Mar 2007

(Review from progarchives.com)

This is where it all started for Uriah Heep. The band’s transition from their previous incarnation as “Spice” was more than just a name change, with this album they became a formidable act. The nucleus of the band (Byron and Box joined by Hensley) was already in place, although the rhythm section still had a number of changes to come before the “classic” line up was completed. With Hensley only having recently joined the band, his song writing is much less in evidence than on future albums.

The group name is taken from a Dickens character, and the “‘umble” in the album’s title reflects his self declared personality. The “‘eavy” reference is of course related to the music, but is a bit misleading. The band?s music does indeed often have a dominant rhythm section, but it is highly melodic, and every album has a variety of loud rock and soft ballads. Most tracks are based around the (predominantly organ) keyboards of Ken Hensley, the great rock voice of David Byron, and the distinctive guitar sound of Mick Box.

The opening track, “Gypsy” is indeed ‘heavy’, with a driving Hammond organ, a thumping beat, and an early burst of Mick Box’s famous wah wah guitar soloing. There are however several decidedly softer moments. “Come Away Melinda” (also recorded by Ufo) is one of the very few covers the band has done. Their interpretation is quite stunning, with David Byron adopting various vocal sounds to distinguish between the two characters in the song. It’s a beautiful, haunting number, with a peaceful message. “Wake up (set your sights)” also has a lovely soft conclusion which follows an almost jazz like opening section.

“Lucy blues” sounds somewhat out of place on the album, and in fact was omitted from the US release (called “Uriah Heep”), being a straight forward blues number, pleasant but hardly essential. The remaining numbers are indeed generally ‘eavy with tracks like “I’ll keep on trying” and “Dreammare” (a dream and a nightmare, get it?!) setting out the band’s stall for future albums perfectly.

There is better to come from the band, but this is a high quality first offering, with some excellent tracks.

Line-up:
- David Byron / lead vocals
- Ken Hensley / organ, slide guitar, Mellotron, piano and vocals
- Mick Box / lead guitar, acoustic guitar, vocals
- Paul Newton / bass guitar, vocals
- Ollie Olsson / drums, percussion

Track List:
01. Gypsy (6:37)
02. Walking In Your Shadow (4:31)
03. Come Away Melinda (3:46)
04. Lucy Blues (5:09)
05. Dreammare (4:39)
06. Real Turned On (3:37)
07. I’ll Keep On trying (5:24)
08. Wake Up (Set Your Sights) (6:22)

Link in comments.

David Byron, Ken Hensley, Uriah Heep

Jethro Tull – Thick as a Brick (1972) (@256)

24 Mar 2007

(Review from vintageprog.com)

This album was Tull’s crowning achievement and definitive masterpiece as it showed Tull at the most ultra-progressive, consisting of one continuous 43-minute piece spread over both sides of the LP. The lyrics on the album was written by a kid named Gerald Bostock, who of course was none other than Ian Anderson himself, and they dealt with everything from childhood heroes to sexual curiosity. The whole story (and lots of other things) can be read in the 12-page newspaper that the record was wrapped up in. Keyboardist John Evan had now also been much more involved and integrated in Tull’s sound, and his organ-playing is often similar to Tony Banks in tone and sound. This album could probably have been analyzed over several pages as it’s so complex, rich, varied and compositionally brilliant. It varies from soft, acoustic passages to very energetic, cheerful parts and then to aggressive jams, some medieval-influenced stuff and folk-melodies. Anderson’s superb flute-playing is present all the time, and he was undoubtedly one of progressive rock’s most talented persons in this phase of Tull’s career.

Line-up:
- Ian Anderson / flute, acoustic guitar, violin, saxophone, trumpet, vocals
- Martin Barre / electric guitar, luth
- Barriemore Barlow / drums, timpani, percussion
- Jeffrey Hammond-Hammond / bass, spoken word
- John Evans / organ, piano, harpsichord

Track List:
01. Thick As A Brick – Part 1 (22:39)
02. Thick As A Brick – Part 2 (21:05)

Link in comments.

Ian Anderson, Jethro Tull, Martin Barre, Sakalli's Pick

Embryo – Embryo's Rache (1971) (@256)

24 Mar 2007

Thanks to “Illiterate Moron” for the contribution.

(Review from spacelook.de)

Released in 1971, the record is the second of Embryo’s works during their long career. A combination of fusion, rock, jazz and a powerfui force of communication, it is a work which embraces different styles and traditions. It is timeless. boundless music which captures one of the most creative periods in European culture. Playing alongside the original members of the band. Burchard, Hofmann and Fisher is Franz Böngten, currently a very popular singer in Germany.

Line-up:
- Edgar Hofmann / sax, violin, percussion
- Hansi Fischer / flute, percussion, vocal
- Christian Burchard / drum, leslie, vocal, piano
- Roman Bunka / Rache bass
Guests:
- James “Tabarin Man” Jackson / organ, Mellotron
- Franz Böntgen / vocal
- Hermann Breuer / electric piano, Organ
- Geoff Goodman / guitar
- Dieter Serfas / gan gan

Track List:
01. Tausendfüssler (5:12)
02. I Can’t Wait (3:45)
03. Eva’s Wolke (5:15)
04. revenge (6:45)
05. espamgna Si, Franco No (12:08)
06. Sittin’ At The Moon (2:08)
07. Verwandlung (6:23)
08. Tabarinman’s Return part 1 (Bonus) (6:15)
09. Tabarinman’s Return part 2 (Bonus) (6:00)

* Bonus tracks recorded live ’91

Link in comments.

Embryo

Back Street Crawler – Second Street (1976) (@192)

24 Mar 2007

(Info from wikipedia/sleeve)

After a month of recovery, Paul Kossoff was back on his feet again. Montgomery was replaced by ex-Free keyboard player John ‘Rabbit’ Bundrick. Just before the recording sessions for the next album ‘Second Street’, Kossoff fell over and broke his finger. After a few weeks of sitting around, recording of the follow-up album took place whilst the band were in Los Angeles.

Kossoff died of a heart attack on an overnight flight from Los Angeles to New York on 19 March 1976, at an age of 25.

Back Street Crawler continued, under the name Crawler, with Geoff Whitehorn on guitar, but they were dropped by Atlantic after failing to replace Kossoff with a big name.

Line-up:
* Terry Slesser – vocals
* Paul Kossoff – guitar
* Terry Wilson – bass
* John ‘Rabbit’ Bundrick – keyboards
* Tony Braunagel – drums

Track List:
01. Selfish Lover
02. Blue Soul
03. Stop Doing What You’re Doing
04. Raging River
05. Some Kind of Happy
06. Sweet, Sweet Beauty
07. Just for You
08. On Your Life
09. Leaves in the Wind

Link in comments.

Back Street Crawler, John "Rabbit" Bundrick, Paul Kossoff

Nice – The Thoughts of Emerlist Davjack (1967) (@256)

23 Mar 2007

(Review from progarchives.com)

The Nice are mainly remembered these days for bringing the legendary Keith Emerson to the music world in a major way. However, they were a genuinely progressive act in the 1960s, as they took the burgeoning psychedelic movement and fused it with jazz, classical and even a hint of blues to the melting pot. They made 4 albums at the time and several posthumous collections came out. Listening back to them all now, you can clearly hear that Emerson’s talent was there right from the early days, but it is true to say that his ambition exceeded The Nice’s ability somewhat.

This debut, ‘The Thoughts Of Emerlist Davjack’ (which is basically parts of the band’s various surnames glued together), is perhaps their best and most consistent album with no overegged cover versions or slightly over elaborate orchestra/ rock fusions. It also is one of the first albums to rdefine the organ as a rock instrument; artists like Graham Bond and Georgie Fame had done much for the organ’s cause, but their roots were mainly in blues and jazz. Emerson brought his stunning classical technique plus a huge amount of fiery, rock inspired gusto as well.

Line-up:
- Brian Davidson / drums, tympanis, tubular bells
- Keith Emerson / organ, harpsichord, piano, backing vocals
- Lee Jackson / lead vocals, bass, guitar, tympani
- David O’List / guitar, flute, trumpet, backing vocals

Track List:
01. Flower King of Flies
02. Thoughts of Emerlist Davjack
03. Bonnie K
04. Rondo
05. War and Peace
06. Tantalizing Maggie
07. Dawn
08. The Cry of Eugene
09. Azrial (Angel Of Death) (Bonus)
10. America – Adapted From ‘West Side Story’ (Bonus)
11. The Diamond Hard Blue Apples Of The Moon (Bonus)

Link in comments.

Brian Davison, Keith Emerson, Lee Jackson, Nice

Strawbs – Grave New World (1972) (@320)

23 Mar 2007

Request of Wagtale.

(Review from progarchives.com)

Dave Cousins efforts to move the band from folk rock into more progressive areas took another step forward here. This is the beginning of a remarkable trilogy of albums by Strawbs, who previous to this were somewhat more of a folk group, but came into their own with some of the best albums of the era- this one, ‘Bursting At The Seams’ and ‘Hero And Heroine’ being particularly potent.

Blue Weaver, Rick Wakeman’s replacement on keyboards, stamps his own mark throughout the album. He provides structured layers of sound for the band to build on, rather than the more independent sound of his predecessor.

This was the last Strawbs album (for the time being) to feature Tony Hooper, who was apparently upset by the direction the band was moving in, his folk roots being less and less in evidence with each new album. For most of the fans though, it represented another major step forward for the Strawbs.

Line-up:
- Dave Cousins / vocals, acoustic & electric guitar, Dulcimer, Recorder
- Tony Hooper / vocals, acoustic guitars, Autoharp, Tambourine
- Richard Hudson / drums, Sitar, Tablas, vocals
- John Ford / bass, vocals, acoustic guitar
- Blue Weaver / organ, piano, Mellotron, Harmonium, Clavioline

Track List:
01. Benedictus (4:24)
02. Hey Little Man … Thursday’s Child (1:05)
03. Queen Of Dreams (5:28)
04. Heavy Disguise (2:50)
05. New World (4:08)
06. Hey Little Man … Wednesday’s Child (1:05)
07. The Flower And The Young Man (4:17)
08. Tomorrow (4:44)
09. On Growing Older (1:54)
10. Ah Me, Ah My (1:21)
11. Is It Today Lord (3:04)
12. The Journey’s End (1:35)

Link in comments.

Strawbs

Paul Kossoff – Live in Croydon, June 15th 1975 (@256)

23 Mar 2007

Unfortunately my “The Band Plays on” CD is MIA, so I’ll post “Second Street” next. If anyone can make or have a good rip of “The Band Plays On”, I’ll be happy to post it.

(Info from CD-inlay)

For two years Paul Kossoff spent much of his time fighting drug addiction, until in 1975 he formed his own band called Back Street Crawler. Apparently recovered, he set off on the touring circuit once again. Back Street Crawler played a memorable concert in Croydon, on June 15, 1975, which was recorded for posterity and eventually released in 1983. The band played material mostly from Kossoff’s solo albums, including ‘Molten Gold’, and the title track from Backstreet Crawler’s debut album ‘The Band Plays On’, which was released later in August 1975. These 14 excellent live recordings show what might have developed. But a full British tour had to be abondoned, as long afterwards Paul Kossoff suffered a massive heart attack, having collapsed at his mother’s home. He was taken to hospital and put in intensive care, during which time his heart, lungs and kidneys stopped functionally and he was considered clinically dead. Incredibly he recovered from this crisis.

Line-up:
* Paul Kossoff – guitar
* Terry Wilson-Slesser – vocals
* Mike Montgomery – keyboards
* Tony Braunagel – drums
* Terry Wilson – bass

Track List:
01. Band Played On
02. Side Kick To The Stars
03. Long Way To The Top
04. New York
05. Train Song
06. Survivor
07. Stealing My Way
08. All The Girls Are Crazy
09. Jason Blue
10. Rock ‘n’ Roll Junkie
11. Molten Gold
12. The Hunter
13. We Won
14. Bird Song Blues

Links in comments.

Live, Paul Kossoff

Judas Priest – Sad Wings of Destiny (1976) (@192)

22 Mar 2007

(Review from wikipedia.com, allmusic.com)

Judas Priest are a heavy metal band formed in 1968 in the northwest midlands of England, near Birmingham. Originally formed by K.K. Downing and Ian Hill, Judas Priest’s classic line-up consists of vocalist Rob Halford, guitarists K.K. Downing and Glenn Tipton, and bassist Ian Hill.

Their debut album Rocka Rolla (1974) suffered management problems; according to the band, producer Rodger Bain, (who was an established professional, having produced numerous albums for famous groups such as Black Sabbath) had too big a say in the production of the album. He left out stage classics “Tyrant”, “Genocide”, and “The Ripper”, and cut another, “Caviar And Meths”, from a 10-minute song to a 2-minute instrumental.

With their next album, the band gained some more experience and confidence, fully participating in the production, as well as choosing the producers. The result was Sad Wings of Destiny (1976). This album featured mostly old material, including the aforementioned stage favorites and an epic “Victim Of Changes” – a song combining “Whiskey Woman”, a stage classic since the era of the first Judas Priest (Al Atkins’ band) and “Red Light Lady” brought by Halford from his previous group, Hiroshima.

The groundbreaking Sad Wings of Destiny was the first great Judas Priest album, simultaneously taking the entire heavy metal genre to new depths of darkness and new heights of technical precision and musicality. Sad Wings of Destiny sounded like little else on the metal scene in 1976: it was heavy and chillingly bleak, in an almost unrelenting way that hadn’t been seen since Black Sabbath’s heyday, but its arrangements were much more intricately crafted, its sonic textures more varied, its grooves tight and menacing, yet tinged with a gothic elegance under the raging torrent of guitar riffs.

Line-up:
* Rob Halford: Vocals
* K.K. Downing: Guitars
* Glenn Tipton: Guitars, Piano, Backing Vocals
* Ian Hill: Bass Guitar
* Alan Moore – drums

Track List:
01. Victim of Changes
02. The Ripper
03. Dreamer Deceiver
04. Deceiver
05. Prelude
06. Tyrant
07. Genocide
08. Epitaph
09. Island of Domination

Link in comments.

Glenn Tipton, Judas Priest, Rob Halford, Sakalli's Pick

Cressida – Asylum (1971) (@256)

22 Mar 2007

(Review from progarchives.com, vintageprog.com)

After a very promising debut album, Heyworth had left (but not completely) but was replaced by Culley and flute player McNair also joined (but his interventions will be few). With this jacked-up sound, it is no surprise that Cressida sounds even more enthusiastic, more instrumental, and their melancholy reaching another state of fulfillingness.

Cressida’s second (and alas last) album Asylum is dominated by longer and a little bit more complex tracks than the debut-album. On some tracks you can also hear some very tasteful and intelligent orchestration. Overall, the album gives more room for instrumental parts, but the excellent and melodious vocal parts still dominates the music. The title-track, “Munich” and “Lisa” are all classic tracks of progressive rock with beautiful melodies, excellent instrumental parts and arrangements so perfectly 70′s as it can get. What more can you ask for?

Line-up:
- Angus Cullen / vocals, guitar, percussion
- John Culley / lead guitar
- Peter Jennings / organ, piano
- Kevin McCarthy / bass
- Iain Clark / drums, percussion
with
- Harold McNair / flute
- Paul Layton / acoustic guitar

Track List:
01. Asylum (3:33)
02. Munich (9:33)
03. Goodbye post office tower, goodbye (2:50)
04. Survivor (1:34)
05. Reprieved (2:28)
06. Lisa (5:08)
07. Summer weekend of a lifetime (3:25)
08. Let them come when they will (11:44)

Link in comments.

Cressida

Paul Kossoff – Back Street Crawler (1973) (@256)

22 Mar 2007

(Review from amazon.com)

One of the 60′s often forgotten guitar gurus, Kossoff was considered by many of his peers to be at the top of his game during this period. An amazingly dreamy album that was way ahead of the curve when it came to “Low Fi” in the genre of loose and earthly presentations. In a just world Kossoff would be mentioned in the same breath as ‘Clapton’ or ‘Hendrix’ but sadly the majority of folks who know his craft are only aware of his contributions in Free and “All Right Now” the single they’re most remembered for. A great album with many guest appearances including John Martyn, “Back Street Crawler” is a great place to discover Kossoff’s atmospheric magic.

Track List:
01. Tuesday Morning
02. I’m Ready
03. Time Away
04. Molten Gold
05. Back Street Crawler (Don’t Need You No More)

Link in comments.

Paul Kossoff

Cressida – Cressida (1970) (@256)

21 Mar 2007

(Review from vintageprog.com)

Excellent band in the light and not so very complex Early-British progressive rock style of Beggar’s Opera, Cirkus and Spring. They released two classic albums and, next to Spring, Cressida was probably the best example of this style. Their sound is mostly dominated by the most beautiful and atmospheric Hammond-organ sound you can imagine. There’s of course also some mellotron here, but it’s much less dominant than the organ. And the vocalist reminds me quite a lot of Richard Sinclair. Most of the 12(!) songs on the album are great, but I must especially mention tracks like “Cressida”, “Home and Where I Long to Be”, “One of a Group” and “To Play Your Little Game”. All these beautiful tracks prove that progressive rock doesn’t necessarily have to be complex and challenging to be very enjoyable. But a track like “Depression” showed that the group could handle time-changes and excellent solo-parts very well too. Overall, this is a wonderful album and one of my personal favourites of Early-British progressive rock. And it surpasses most other bands of this style, like Cirkus, Moody Blues and Barclay James Harvest.

Line-up:
- Angus Cullen / vocals
- John Heyworth / guitar, lead vocals on track 5
- Peter Jennings / harpsichord, organ, piano
- Kevin McCarthy / bass
- Iain Clark / drums

Track List:
01. To Play Your Little Game (3:15)
02. Winter is Coming Again (4:42)
03. Time For Bed (2:18)
04. Cressida (3:57)
05. Home And Where I Long To Be (4:04)
06. Depression (5:02)
07. One Of A Group (3:35)
08. Lights In My Mind (2:45)
09. The Only Earthman In Town (3:32)
10. Spring ’69 (2:14)
11. Down Down (4:15)
12. Tomorrow Is A Whole New Day (5:19)

Link in comments.

Cressida

Energit – Piknik (1978) (@320)

21 Mar 2007

(Review from gnosis2000.net)

It was three years later that Energit released their follow-up, Piknik, and the change was very similar to that followed by Herbie Hancock from Sextant to Head Hunters. Like many 70s fusion musicians, the interests began edging towards funk and more commercially direct forms of fusion and like those before them, Energit began to lose a lot of steam with this record. The focus is less on solo explorations and more on the group composition, further nailed down by the occasional presence of a large horn section, an aspect that reminds me slightly of the Tower of Power. Overall, it’s not a major step down from the first album, but it was definitely a move in the direction of the tried and true.

Line-up:
* Lubos Andrst – electric guitar
* Jaromir Helesic – drums, percussion
* Milan Svoboda – electric piano, synth, marimba
* Rudolf Tichacek – sopranosax
* Jan Vytrhlik – bass
with
* Michal Gera – trubka, cabaso, triangle
* Jiri Tomek – conga
* Bohuslav Volf – trombon
* Zdenek Zahalka – trubka

Track List:
01. Drift (6:29)
02. Stratus (4:20)
03. Jarni Rovnodennost (3:45)
04. Mobilis in Mobili (3:53)
05. Zapomenuty ostrov (7:58)
06. Ricni pisek (4:25)
07. Piknik (6:42)

Link in comments.

Energit

Free – Talking of Heartbreaker (Bootleg) (1972) (@320)

21 Mar 2007

Live at Coatham, on October 12 1972
Gypsy Eye Bootleg

Line-up:
* Paul Rodgers – Vocals
* Paul Kossoff – Guitar
* John “Rabbit” Bundrick – Keyboards
* Tetsu Yamauchi – Bass
* Simon Kirke – Drums

Track List:
01. I’m On The Run
02. Heartbreaker
03. Soldier Boy
04. Come Together in the Morning
05. Everyday I Have The Blues
06. Child
07. Wishing Well
08. Seven Angels
09. Fire and Water
10. All Right Now.

Links in comments.

Free, John "Rabbit" Bundrick, Live, Paul Kossoff, Paul Rodgers

Energit – Energit (1975) (@320)

20 Mar 2007

(Review from gnosis2000.net)

Energit is likely be considered a second generation Czech fusion outfit and a sort of cousin to Jiri Stivin’s Jazz Q. Their selftitled first album was released in 1975. This is high quality fusion, especially in an era where the exciting avant garde nature of jazz rock was being coopted by virtuosity and blandness. With five songs, including two parts of “Morning” as bookends, the first Energit is certainly a vehicle for expressive soloing, and there are plenty taken by electric piano, saxophone and guitar. The influence of Miles Davis here, unsurprisingly, looms large, and the electric piano patterns remind one of both Zawinul and Chick Corea with their oblique and dissonant patterning. Fortunately there are not many moments of pretentious tri-instrumental unison lines like in many of their contemporaries, and this leads to a free nature that is quite pleasant and reminiscent of music years earlier. Perhaps the largest influence is the Mahavishnu Orchestra, particularly in the guitarwork and some of the compositions, an influence probably impossible to avoid in the genre.

Line-up:
* Lubos Andrst – electric guitar
* Emil Viklicky – electric piano, piano, moog
* Rudolf Tichacek – sopronsax with oktavo delicem
* Jan Vytrhlik – bass guitar
with
* Jiri Tomek – conga (1,5)
* Karel Jencik – drums (2)
* Anatoli Kohout – drums (3,4)
* Josef Vejvoda – drums (1,5)

Track List:
01. Morning (Part I) 17:25
02. The Early Sunray 4:40
03. Night Butterfly 7:50
04. Apothesis 2:55
05. Morning (Part II) 4:05

Link in comments.

Energit

Beggars Opera – Waters of Change (1971) (@256)

20 Mar 2007

(Review from progarchives.com)

Having introduced themselves with the innovative, classically driven “Act One”, the band invested in a mellotron, which instantly became the dominant instrument in their sound. The band moved away from the intricate symphonic prog of their first album, towards the art rock of the Moody Blues and Barclay James Harvest.

At the heart of the group is an understated but effective dual keyboard attack of mellotronist Virginia Scott, whose sounds paint crucial colours that help the other musicians shine, and organist/pianist Alan Park, who gets the lion’s share of the many fine solos that puntuacte this recording at regular intervals.

Line-up:
- Ricky Gardiner / lead guitar, vocals, acoustic guitar
- Martin Griffiths / lead vocal, Cow Bell
- Alan Park / organ, piano
- Gordon Sellar / bass and acoustic guitar, vocals
- Virginia Scott / Mellotron, vocals
- Raymond Wilson / percussion

Track List:
01. Time Machine (6:00)
02. Lament (2:24)
03. I’ve no Idea (7:42)
04. Nimbus (3:43)
05. Festival (6:00)
06. Silver Peacock (Intro)(1:15)
07. Silver Peacock (6:33)
08. Impromptu (1:08)
09. The Fox (6:52)

Link in comments.

Beggar's Opera

Free – Heartbreaker (1972) (@320)

20 Mar 2007

(Info from wikipedia)

Heartbreaker was the final album of Free. It was recorded in late 1972 after bassist Andy Fraser had left the band and while guitarist Paul Kossoff was ailing from an addiction to Mandrax (contemporary photographs show him looking gaunt and emaciated), and features a different line up to previous albums: Tetsu Yamauchi was brought in to replace Fraser, while John “Rabbit” Bundrick became the band’s keyboard player to compensate for the increasingly unreliable Kossoff (singer Paul Rodgers played keyboards on the previous album Free At Last, but was nowhere near as proficient a player as Bundrick). Both Yamauchi and Bundrick had played with Kossoff and drummer Simon Kirke on the album Kossoff, Kirke, Tetsu & Rabbit during that period in late 1971 where the band had broken up.

One immediate effect of Fraser’s departure was the loss of the Fraser/Rodgers songwriting partnership that had hitherto provided the bulk of the band’s catalogue. Hence many of the songs were written solely by Rodgers, although some are credited to the entire band as a symbolic gesture (including the single ‘Wishing Well’). Bundrick wrote two of the album’s eight tracks.

Yamauchi had only a very minor influence in the band; the Japanese bassist was unfamiliar with the English language and in any case was unwilling to jeopardise playing in a relatively well-known and well-regarded British band. Bundrick, on the other hand, was more volatile and frequently clashed with Rodgers just as Fraser had done: they even once had a fist-fight in a London restaurant.

Despite the success of the album and impending tour of America, it finally became apparent that the band had passed the point of no return. Kossoff spiralled to his lowest ebb and was unable to go to America; he was replaced with Wendell Richardson from Osibisa. He proved to be a poor choice, and eventually the band finally gave up. Rodgers and Kirke formed Bad Company with Mick Ralphs (formerly of Mott the Hoople) and Boz Burrell (formerly of King Crimson); Yamauchi joined the Faces; Bundrick became a session musician and eventually became a regular keyboard player with the Who; Kossoff tried to form his own band Back Street Crawler.

Line-up:
* Paul Rodgers – Vocals
* Paul Kossoff – Guitar
* John “Rabbit” Bundrick – Keyboards
* Tetsu Yamauchi – Bass
* Simon Kirke – Drums

Track List:
01. Wishing Well
02. Come Together In The Morning
03. Travellin’ In Style
04. Heartbreaker
05. Muddy Water
06. Common Mortal Man
07. Easy On My Soul
08. Seven Angels
09. Wishing Well (Bonus US Mix)
10. Let Me Show You (Bonus Single B-Side)
11. Muddy Water (Bonus Alternate Vocal)
12. Hand Me Down. Turn Me Around (Bonus)
13. Heartbreaker (Bonus Rehearsal Version)
14. Easy On My Soul (Bonus Rehearsal Version)

Links in comments.

Free, John "Rabbit" Bundrick, Paul Kossoff, Paul Rodgers, Simon Kirke

Free – Free At Last Stage (1972) (@320)

19 Mar 2007

Civic Auditorium, Santa Monica
April 22, 1972

Gypsy Eye Bootleg
Re-pitched and denoised by Pink Robert

Line-up:
* Paul Rodgers – Vocals, piano
* Paul Kossoff – Guitar
* Andy Fraser – Bass
* Simon Kirke – Drums

Track List:
01. The Hunter
02. Fire And Water
03. Ride On A Pony
04. Be My Friend
05. Catch A Train
06. Hold On
07. Little Bit Of Love
08. Mr. Big
09. All Right Now
10. Travellin’ Man

Links in comments.

Free, Live, Paul Kossoff, Paul Rodgers

Julian Jay Savarin – Waiters On The Dance (1971) (@256)

19 Mar 2007

(Review from musicdish.com)

Julian Jay Savarin was the leader and main songwriter in Julian’s Treatment. He wrote, directed, and played on the 1970 double concept album,
“A Time Before This”. It is based on the book, “Lemmus, A Time Trilogy – Waiters On The Dance”, which Savarin wrote. A poet and writer, as well as a musician, he used his multi-talented focus to his advantage on many different projects.

A concept album with excellent music seems to be more ear catching than any other type of recording. When you know that there is a story behind the music, better yet an entire book, the entire picture begins to formulate in your mind’s eye. When you then take that formula and add powerful guitar riffs, grinding organ and Lady Jo Meek’s (later with Catapilla) voice to tell the story and set it all in motion with feeling, you have all the elements for a successful musical endeavour that spells progressive rock. This LP is a classic that deserves an abundance of attention by those that appreciate what this captivating genre has always had to offer its devout listeners. I am like many of you; I had never heard of this album before and felt entirely blown away by its impact. I am sure you will be too, and then you will wonder why you had not heard of this sooner. As the saying goes: better late then never, get it now!

The books in Savarin’s trilogy are: Lemmus One: Waiters on the Dance, Lemmus Two: Beyond the Outer Mirror and Lemmus Three: Archives of Haven, all in the sci-fi genre.

Line-up:
* Julian Jay Savarin – Keyboards
* Lady Anna Jo Meek – Vocals
* John Dover – Bass
* Nigel “Zed” Jenkins – Guitar
* Roger Odell – Drums

Track List:
01. Child of the Night 1 & 2 8:36
02. Stranger 2:21
03. The Death of Alda 5:29
04. Dance of the golden Flamingoes 8:55
05. Cycle 4:23
06. Soldiers of Time 2:59

Link in comments.

Julian Jay Savarin

Hawkwind – Space Rock From London (1972) (@192)

19 Mar 2007

(Info from starfarer.net)

This CD probably exists for one reason, and that is to satisfy the seemingly endless appetite among Hawkwind fans for material from their ‘Space Ritual’ period. It was recorded live at the Paris Theatre (London) on 28th September 1972 for subsequent radio broadcast on the “In Concert” series, on 14th October 1972. This was after Hawkwind’s hit single success with Silver Machine but before the actual Space Ritual tour.

Line-up:
- Dave Brock – guitar, vocals
- Nik Turner – saxophone, flute, vocals
- Lemmy Kilmister – bass guitar, vocals
- Dik Mik Davies – Synthesizer
- Del Dettmar – Synthesizer
- Simon King – drums

Track List:
01 – Born To Go
02 – Seven By Seven
03 – Brainstorm
04 – Master Of The Universe
05 – Paranoia
06 – Silver Machine

Link in comments.

Dave Brock, Hawkwind, Lemmy Kilminster

Grannie – Grannie (1971) (@256)

18 Mar 2007

(Info from mentesdeacido.com, freakemporium.com)

This is one of those privately-pressed albums which originally only appeared in demo form with just a handful of copies being available in a home-made paste-on sleeve.

The short lived UK band conjugates elements of folk and psychedelia with harder sounds, producing a guitar-dominated heavy progressive rock. An irresistible disc, becomes an addictive album after some listening. The album is filled with heavy guitar riffs, pounding drums and some psychedelic touches. Akin to ‘Dark Round The Edges’ in some form, with which they have certain similarities: melodies and delicate voices, wild changes of rate and guitar developments.

Track List:
01. Leaving
02. Romany Return
03. Tomorrow Today
04. Saga of The Sad Jester
05. Dawn
06. Colorued Armageddon

Link in comments.

Hawkwind – Space Ritual (1973) (@256)

18 Mar 2007

14 comments

(Review from vintageprog.com)

Late in ’72 Hawkwind was joined by the “space-poet” Robert Calvert and went out on the road with their legendary “Space Ritual” show, which supposedly featured a light show that was very impressive for its time. The tour resulted in this double live-album that is Hawkwind’s best and most important recording from the earliest phase in their career (1970-73). And it’s not hard to understand why. For nearly 90 minutes you get a full dose of their classic, noisy and raw space-rock performed with an enormous energy and intensity. With the exception of “The Watcher”, you get all the tracks from “Doremi Fasol Latido”. From “In Search of Space” you get a real high-energy version of “Master of the Universe”. And you also get a bunch of tracks they never recorded in the studio, including Hawkwind classics such as “Born to Go”, “Orgone Accumulator” and “Seven by Seven”. All the tracks are tied together by some short interludes, usually some weird poems by Calvert where space (surprise, surprise) is the main theme. The funniest and best known of these is probably “Sonic Attack”, instructions for how to behave “in case of sonic attack!”. And the band also plays some of the tracks a little bit different from the studio recordings, like the electric versions of “Down Through the Night” and “Space is Deep”. Overall, “Space Ritual” has all the trademarks of a classic live-album: good sound quality, inspired and energetic playing that threatens to kick the ass of the studio-versions and (thank god!) NO drum-solos! Essential stuff for any space-rock fan, and the band still had their best studio-albums ahead of them.

Line-up:
- Dave Brock / vocals, guitars
- Robert Calvert / poetry (poetry by Michael Moorcock)
- Del Dettmar / synthesizers
- Dik Mik / audio generator, electronics
- Lemmy Killmister / bass, vocals
- Simon King / drums
- Nik Turner / vocals, sax, flute

Track List:
CD 1:
01. Earth Calling (Live) (1:46)
02. Born To Go (Live) (9:56)
03. Down Through The Night (Live) (6:16)
04. The Awakening (Live) (1:32)
05. Lord Of The Light (Live) (7:21)
06. Black Corridor (Live) (1:51)
07. Space Is Deep (Live) (8:13)
08. Electronic No 1 (Live) (2:26)
09. Orgone Accumulator (Live) (9:59)
10. Upside Down (Live) (2:43)
11. 10 Seconds Of Forever (Live) (2:05)
12. Brainstorm (Live) (9:20)
CD 2:
01. 7 By 7 (Live) (6:13)
02. Sonic Attack (Live) (2:54)
03. Time We Left This World Today (Live) (5:47)
04. Master Of The Universe (Live) (7:37)
05. Welcome To The Future (Live) (2:03)
06. You Shouldn’t Do That (Live) (Bonus) (6:55)
07. Master Of The Universe (Bonus) (7:26)
08. Born To Go (Live) (Bonus) (5:04)

Links in comments.

Dave Brock, Hawkwind, Lemmy Kilminster, Robert Calvert

Free – Free At Last (1972) (@256)

18 Mar 2007

(Review from amazon.com)

Having struggled in their new projects, the band set aside their differences and reformed in January 1972, and in June of the same year released Free at Last.

This album seems to be almost uniformly criticized in reviews but I would make a case that it holds its own fairly well against the rest of Free’s catalogue. True, it is not all up to the consistent high standard of “Fire and Water” or “Heartbreaker”, but it nevertheless contains much good material and demonstrates clearly the evolving style of the band, away from the relatively simple arrangements of the early albums and towards the keyboard-dominated sound of Heartbreaker. This album was the last by the original four members of Free, but though he is not credited I suspect that some of the keyboard work might have been by John “Rabbit” Bundrick, who officially joined the band later, for their final album. Although there are a couple of tracks which some might regard as ‘filler’, the standard of composition and playing is high, with the shorter more concise songs near the start and the later songs being more lengthy, slow and thoughtful. There is a sense of introspection in some of these later songs which matches the mood of much of the Heartbreaker album, and this evolution of Free’s sound should not be dismissed just because it differs from, for example, stompers like “All Right Now”. So although the band was undoubtedly suffering from internal disputes and the effects of drug use during the making of this album, it has always deserved a place in the collection of Free aficionados. Don’t be put off by the criticisms of the critics and give it a hearing with an open mind.

Line-up:
* Paul Rodgers – Vocals, piano
* Paul Kossoff – Guitar
* Andy Fraser – Bass
* Simon Kirke – Drums

Track List:
01. Catch the Train
02. Soldier Boy
03. Magic Ship
04. Sail On
05. Travellin’ Man
06. Little Bit Of Love
07. Guardian Of The Universe
08. Child
09. Goodbye

Link in comments.

Free, Paul Kossoff, Paul Rodgers, Simon Kirke

Mountain – Live At The Fillmore East (1970) (@320)

17 Mar 2007

(Review from wikipedia, starling.rinet.ru, mountaintheband.com)

Mountain was born out of the sixties music explosion. The band formed when guitarist Leslie West, having left the Long Island R&B band the Vagrants, recorded a solo album called Mountain with bassist and former Cream producer Felix Pappalardi producing. The band also featured powerful double bass drumming of Corky Laing and keyboard player Steve Knight. West’s raw vocals and melodic, bluesy guitar style, and Pappalardi’s heavy and elegant bass lines were the elements of Mountain’s distinctive sound.

The band was inspired by the power trio Cream, of which Pappalardi was an “unofficial” member: he featured heavily on Cream’s third album, Wheels of Fire, contributing organ, viola, trumpet and handbells as well as producing. While there are obvious differences between the two bands (Mountain had an organ player, for instance), there are much more similarities. The band carried on the grand tradition of combining Cream’s heavy riffage with Cream’s delicious psychedelic flavour. Mountain were definitely a psychedelic band, and one of the last truly enjoyable and worthwhile psychedelic bands.

Mountain didn’t just borrow Cream’s sound, they ‘updated’ it for the Seventies, i. e. made it more heavy and less compromised. This sometimes makes some of their more rocking numbers hard to endure, as Leslie West was particularly fond of drowning all the ‘rockers’ in a sea of fuzz and distortion; however, if you have nothing against a little extra distortion, don’t be afraid to crank up the volume on their best records and revel in the thunderstorms contained therein.

Mountain had a wild, somewhat extravagant set of personalities – they do look like they’re from the mountains indeed, always dressed in these fur coats and looking like a bunch of hungry yetis in most cases anyway.

Live at the Fillmore East features 101 minutes of superb live recordings from the band’s new year eve’s concerts on Dec 30 & 31, 1970.

Line-up:
* Leslie West – Guitar & Vocals
* Felix Pappalardi – Bass & Vocals
* Steve Knight – Keyboards
* Corky Laing – Drums

Track List:
CD1:
01. Never In My Life
02. Don’t Look Around
03. Mississippi Queen
04. Baby I’m Down
05. Long Red
06. Silver Paper
07. Solo
CD2:
01. The Animal Trainer And The Toad
02. Nantucket Sleighride
03. For Yasgur’s Farm
04. Travellin’ In The Dark
05. Blood Of The Sun
06. Dreams Of Milk And Honey
07. Auld Lang Syne

Links in comments.

Felix Pappalardi, Leslie West, Live, Mountain

Hawkwind – Doremi Fasol Latido (1972) (@256)

17 Mar 2007

(Review from progarchives.com)

On their 3rd album, Hawkwind was joined by a new bass-player in Ian “Lemmy” Kilmister who further solidified the band’s powerful sound. The album boasted two new Hawkwind-classics in the incredible intense and energetic “Brainstorm” and the more acoustic “Space is Deep”. These two tracks demonstrated both sides of the band’s sound in an incredible way. And in the case of “Brainstorm” it’s really fascinating of how such a rough and noisy piece of music still can be so atmospheric and dreamy. But the album had much more to offer too. “Lord of Light” is a superb rocker with a great vocal melody and “Down Through the Night” is, despite its simplicity, one of their best acoustic tracks. “Time We Left This World Today” consists of repetitive riffs and aggressive jams where Lemmy’s bass-playing really takes off. The only track on the album that I don’t care much for is Lemmy’s own “The Watcher”. It’s probably not a coincidence that they placed it last on the album, as it’s a weak and forgettable track. Still, most of the album is space-rock at its best and most energetic.

Line-up:
- Baron Brock / vocals, acoustic & electric guitars
- Captain Nik / vocals, sax & flute
- Lemmy the Lurch / vocals, bass, acoustic guitar
- Up Stepped Dik and Mik / generators, electronics
- The Dwarf Leader Del / synthesizers
- The Hound Master Simon / drums

Track List:
01. Brainstorm (11:33)
02. Space is deep (5:10)
03. One change (0:49)
04. Lord of light (6:59)
05. Down through the night (3:04)
06. Time we left this world today (8:43)
07. The watcher (4:00)
08. Silver machine
08. Urban guerilla
09. Brainbox pollution
10. Lord of light (single edit)
11. Ejection (unreleased)

Links in comments.

Hawkwind, Lemmy Kilminster, Robert Calvert

Kossoff, Kirke, Tetsu, Rabbit – Kossoff, Kirke, Tetsu, Rabbit (1971) (@256)

17 Mar 2007

(Review from amazon.co.uk, wikipedia)

While Rodgers and Fraser pursued unsuccessful solo projects, Kossoff and Kirke teamed up with Texan keyboard player John “Rabbit” Bundrick and Japanese bass player Tetsu Yamauchi to release the 1971 album Kossoff, Kirke, Tetsu and Rabbit.

The Kossoff, Kirke, Tetsu and Rabbit album is much underrated, probably because people see it as a side-project to Free, and consequently of little importance. It’s worth remembering that when the album was made, Free had broken up, so Kossoff and Kirke saw this as their ‘real’ band when they were recording it. The material is excellent, ranging from John ‘Rabbit’ Bundrick’s unique songs to Simon Kirke’s balladry and the haunting Paul Kossoff composition ‘Colours’, on which Kossoff himself takes a rare lead vocal. Add stirling performances from all four members – particularly Koss and Rabbit – and you have an album which can stand proud alongside other albums by Free.

Track List:
01. Bluegrass
02. Sammy’s Alright
03. Anna
04. Just For The Box
05. Hold On
06. Fool’s Life
07. Yellow House
08. Dying Fire
09. I’m On The Run
10. Colours

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John "Rabbit" Bundrick, Paul Kossoff, Simon Kirke

Spriguns – Revel Weird And Wild (1976) (@256)

16 Mar 2007

(Review from amazon.com)

Spriguns was folkier than Steeleye Span, more electric than the bands that came after — sort of Fairport-like without the jolly cult following. Like Steeleye Span, Spriguns had no problem cranking up the electricity when needed, including Tom Ling’s excellent electric violin and Dick Powell’s guitar, capped by Mandy Morton’s silky velvet vocals.

The album has its moments: some nice adaptations of traditional material in an electriced-up format (Lord Lovell) and a feel for the more supernatural material in the English folk canon. And Mandy Morton’s understated vocal style really works when it works.

Line-up:
* Mandy Morton – Lead Vocals & Acoustic Guitar
* Tom Ling – Electric Violin & Vocals
* Dick Powell – Electric Guitar, Keyboards & Vocals
* Mike Morton – Bass Guitar & Vocals
* Chris Woodcock – Drums
* B. J. Cole – Pedal Steel Guitar (01, 09)

Track List:
01. Trysting Tree
02. Outlandish Knight
03. Sir Colvin
04. Piscie Song
05. Nothing Else to Do
06. Hasberry Howard
07. Lord Lovell
08. Laily Worm
09. When Spring Comes In

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Spriguns

Hawkwind – In Search of Space (1971) (@256)

16 Mar 2007

(Review from vintageprog.com)

A tremendous improvement over the debut, and “In Search of Space” is generally regarded as the first classic Hawkwind-release. The band had pretty much found their signature sound of hard rocking guitar-riffs built around lengthy, spacey excursions stuffed with weird electronic sounds and Turner’s unique and atmospheric saxophone and flute-playing. The album included the first classic Hawkwind-riff and anthem in “Masters of the Universe”. The 15-minute opener “You Shouldn’t Do That” became another classic and stage-favourite. The band still messed around with some quite free-floating improvisations in “You Know You’re Only Dreaming” and “Adjust Me” but both were of a much more consistent kind than anything on the debut-album. Even the two acoustic tracks “We Took the Wrong Step Years Ago” and “Children of the Sun” has a great spacey atmosphere that will make your mind float. A very important album in the band’s history.

Line-up:
- Dave Anderson / bass, acoustic & electric guitars
- Dave Brock / vocals, acoustic & electric guitars, audio generator
- Del Dettmar / synthesizers
- Dik Mik / audio generator
- Terry Ollis / drums, percussion
- Nik Turner / alto sax, flute, audio generator, vocals

Track List:
01. You Shouldn’t Do That (15:43)
02. You Know You’re Only Dreaming (6:33)
03. Master Of The Universe (6:15)
04. We Took The Wrong Step Years Ago (4:48)
05. Adjust Me (5:45)
06. Children Of The Sun (3:13)
07. Seven By Seven (Bonus) (5:21)
08. Silver Machine (Bonus) (4:39)
09. Born To Go (Bonus) (5:05)

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Dave Anderson, Dave Brock, Hawkwind

Free – Live! (1971) (@320)

16 Mar 2007

(Review from amazon)

Due to the publicity caused by their breakup, a live album was rush-released by Island Records to commemorate the band.

Recorded in 1970 and comprising of tracks drawn from their 1st four studio albums (Tons of Sobs, Free, Fire and Water, Highway), this is a brilliant and powerful live album from one of the great blues rock bands ever…. In addition to the 1971 original track listing, several bonus tracks (all live except ‘Get Where I Belong’)) have been added and their presence greatly enhances this CD version. A couple of these actually surpass the 1971 vinyl versions (All Right Now and Mr Big).The ‘new’ All Right Now is far better than track one, which is a bit sloppy and not a patch on the single/fire & water version.

A fitting live document to a magnificent band who were sadly short-lived. At the time, Free was on the verge of becoming extremely big, they just couldn’t see it. These live tracks capture this feeling very well indeed. I would give my paycheck to see these guys play live if only I could. Alas, Free Live! is the next best thing.

Line-up:
* Paul Rodgers – Vocals
* Paul Kossoff – Guitar
* Andy Fraser – Bass
* Simon Kirke – Drums

Track List:
01. All Right Now
02. I’m A Mover
03. Be My Friend
04. Fire and Water
05. Ride A Pony
06. Mr Big
07. The Hunter
08. Get Where I Belong
09. Woman
10. Walk In My Shadow
11. Moonshine
12. Trouble On Double Time
13. Mr Big
14. All Right Now
15. Get Where I Belong (Alternate version)

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Free, Live, Paul Kossoff, Paul Rodgers

Strawbs – Bursting At The Seams (1973) (@256)

15 Mar 2007

10 comments

(Review from progarchives.com)

With Tony Hooper departed, and Dave Lambert on board the last of the Strawbs traditional folk influences (excepting Cousins of course) had gone.

This was album which broke the Strawbs to the masses, containing as it did, 2 hit singles. “Lay down” is a good burst of Dave Cousins at his most commercial, a light but enjoyable sing along. The less said about the pop song “Part of the union” the better. It was admittedly a massive hit single, but it misrepresented what the Strawbs were all about, the band were I trust embarrassed all the way to the bank! In defence of Dave Cousins, the song was really a Hudson Ford track, the rest of the band appearing to have little to do with it performance wise. Lyrically the track was quite satirical, taking a swipe at the power of the trade unions in the UK. It was completely misunderstood by many union activists, who adopted it as their anthem (a bit like the way Bruce Springsteen’s “Born m in the USA” was completely misunderstood by some).

These two tracks aside, there is a lot of excellent stuff on the album. The opening two tracks, “Flying” and “Lady Fuschia“ are both melodic and well structured, “Flying” having several contrasting sections.

“Down by the sea” is as close as the band came to symphonic prog, complete with an infectious chiming guitar theme, with an orchestral backing. The following track, “The river” features one of Cousins occasional divergences into “adult” themes, which he always seems to approach with schoolboy fascination, great track though. When performed live, the band always reverse the order of these tracks, the climax to “The river” giving way to the wonderful guitar theme of “Down by the sea”. In doing so, the tracks effectively become a wonderful 10 minute two part piece.

“Tears and Pavan” is two distinct songs, which merge into a single piece rather beautifully. The echoed vocal refrain on the first section and mellotron backing make for a pleasantly emotional feel, while “Pavan” provides an Elizabethan harpsichord link to a slightly more upbeat latter half.

Whether this line up with Lambert or the previous one with Hooper which recorded “Grave New World” (or indeed the one with Rick Wakeman which made “From the Witchwood”) represents the “classic” Strawbs line up, will always be a source of debate. We should therefore satisfy ourselves with the thought that though band members came and went, the Strawbs made many classic albums.

Line-up:
- Dave Cousins / vocals, guitars, banjo
- Richard Hudson / drums, vocals
- John Ford / bass, vocals
- Blue Weaver / keyboards
- Dave Lambert / guitars

Track List:
01. Flying (4:48)
02. Lady Fuschia (3:58)
03. Stormy Down (2:44)
04. Down By The Sea (6:15)
05. The River (2:20)
06. Part Of The Union (2:55)
07. Tears And Pavan (6:35)
08. The Winter And The Summer (4:08)
09. Lay Down (4:30)
10. Thank You (2:11)

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Strawbs

Hawkwind (as Hawklords) – 25 Years On (1978) (@256)

15 Mar 2007

(Review by Steve Gett, info from wikipedia)

Hawklords is a 1978 studio by Hawkwind released under the name Hawklords for legal reasons as there was a dispute over ownership of the name “Hawkwind”. It was originally titled 25 Years On and the first 25000 were pressed as this until the band decided to simply call it Hawklords. Subsequent re-releases have reverted the the name “25 Years On” and the band also now use this name on their web site.

Hawkwind had self imploded on a USA tour earlier in the year leaving only Robert Calvert, Dave Brock and Simon King to embark on this project. They were joined by Harvey Bainbridge who had played bass in Devon group Ark who in turn had performed with Calvert and Brock as the Sonic Assassins, and by keyboardist Steve Swindells who had been in Pilot (band). During the Devon recording session King returned home to London and was replaced by Martin Griffin (also from Ark), but King subsequently returned giving the band two drummers. Simon House had left the earlier band to join David Bowie but contributed violin to the sessions, as did noted British jazz trumpeter Henry Lowther. Road manager Les McClure also sneaked a performance in.

The music on the new Hawklords’ album is less bizarre than the cover suggests, and at times veers towards commercialism with a capital “C”. ‘Psi Power’ opens the first side, with an acoustic start and Bob Calvert coming on like an amalgam of Peter Hammill and Bowie. Soon it becomes electric, filled by harmony vocals and is so catchy that it’s good – a potentially successful single. After a distorted vocal ending comes ‘Free Fall’, commencing with synthesizer from Dave Brock. ‘Automaton’ is weird but unfortunately not wonderful and the voices breaking through a synthesized frenzy of sound is just so much noise. However before it finishes, ’25 Years’ drives in.

If you hadn’t heard of Hawkwind, it could easily be imagined that Hawklords are a new wave band. Throughout, this album has a very fresh and vital approach. ‘Flying Doctor’ mustn’t be taken too seriously, with those Aussie vocals and distant noises from the ‘bush’. It also features the only real guitar solo from Dave Brock and terminates with the buzz of an aircraft flying over the outback.

The final three numbers, which mark the appearances of Simon King and Simon House on each, are the high-spots. First of all there is ‘The Only Ones’, with its poppy overtones and then ‘(Only) The Dreams Of The Cold War Kid’. This is a Calvert composition and is undoubtedly the finest on the whole album. Finally, ‘The Age Of The Micro Man’ heralds further synthesizer work, on a slow-paced song of very full sound.

Line-up:
* Robert Calvert – vocals
* Dave Brock – guitar, keyboards, vocals
* Harvey Bainbridge – bass guitar, vocals
* Steve Swindells – keyboards
* Simon King – drums (tracks 4,7,8), Congas (track 6)
* Martin Griffin – drums (tracks 1,2,5,6)
with
* Simon House – violin (tracks 6,7,8)
* Henry Lowther – trumpet (track 1)
* Les McClure – whisper voice (track 4)

Track List:
01. Psi Power (Calvert/Brock) 6:06
02. Free Fall (Calvert/Bainbridge) 5:13
03. Automoton (Calvert/Brock) 1:13
04. 25 Years (Brock) 4:31
05. Flying Doctor (Calvert/Brock) 5:38
06. The Only Ones (Calvert/Brock) 4:14
07. (Only) The Dead Dreams Of The Cold War Kid (Calvert) 3:55
08. The Age Of The Micro Man (Calvert/Brock) 3:31

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Dave Brock, Hawkwind, Robert Calvert

Free – Highway (1970) (@256)

15 Mar 2007

(Review from wikipedia, amazon.co.uk)

Highway is Free’s fourth studio album. It was recorded extremely quickly in September of 1970 but with an attitude of relaxation after having achieved worldwide success with their previous album Fire And Water and its single release ‘All Right Now’. It is therefore a considerably mellower album than any of the band’s others. Much to the band’s disappointment, it was a commercial failure.

The fallout was immediate. Relations between Fraser and Rodgers deteriorated, putting more pressure on emotionally-insecure Kossoff who slid ever further into Mandrax addiction. The band temporarily split. Some, including drummer Simon Kirke, also cite the death of Kossoff’s idol Jimi Hendrix (which occurred during the sessions for this album) as an important factor in his eventual breakdown.

Every one of Free’s albums holds a special place in both my vinyl and cd collections. This wonderful record is no different. Every band is in imperious form on these songs and it shows on every track. From the sexy grooves of “Stealer” and “Ride a Pony”, to the soulful, beautiful “Be My Friend”, to the heart-wrenching “Love you So” (which is to be played at my funeral) every second is perfection. There’s a raw, live feel to the album, with so much space and room in the playing.

Line-up:
* Paul Rodgers – Vocals
* Paul Kossoff – Guitar
* Andy Fraser – Bass
* Simon Kirke – Drums

Track List:
01. Highway Song
02. Stealer
03. On My Way
04. Be My Friend
05. Sunny Day
06. Ride on a Pony
07. Love You So
08. Bodie
09. Soon I Will Be Gone

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Free, Paul Kossoff, Paul Rodgers

Mammut – Mammut (1971) (@256)

14 Mar 2007

(Review from Cosmic Dreams at Play)

Dual guitar led long tracks, wild / furious fuzz psych soloing, howling vocals.

The sound of a squeaking mouse opens the album, released on ‘Mouse Trick Track Music’ (amazing choice of label name!) The album is a thematically linked “Mammut Opus”, with the word “Mammut” included in all the track titles. A rhythmic and dramatic instrumental overture with wistful flute (“Bird Mammut”) and a short interlude for piano (“Classical Mammut”) put you in the right mood before the lengthy, heavy guitar riffing tracks “Mammut Ecstasy” and “Footmachine Mammut” strike you. Perhaps Elias Hulk and parts of the first Embryo album are comparable to this. Side two starts with a “Short Mammut” – sounds of gunfire and bomber planes. “Schizoid Mammut” had violent, paranoid lyrics with music to match. “Nagarn Mammut” is their attempt to be more lyrical. The album closes the same way as it started with large doses of instrumental music (“Mammut Opera”), what Pete Townshend would name ‘underture’. The most impressive aspect of this album is that all the biting guitar statements are woven in-between the vocals. A typical golden artefact from one of the most fertile years of modern music (1971) incorporating both classical and heavy acid blues influences. Good production as well, considering it was a private release.

Line-up:
* Klaus Schnur – Guitar, Vocals
* Peter Schnur – Guitar, Vocals
* Rainer Hoffman – Keyboards
* Thilo Herrmann – Bass, Flute, Vocals
* Gunther Seier – Drums

Track List:
01. Bird Mammut
02. Classical Mammut
03. Mammut Ecstacy
04. Foolmachine Mammut
05. Short Mammut
06. Shizoyd Mammut
07. Nähgern Mammut
08. Mammut Opera

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Hawkwind – Quark Strangeness and Charm (1977) (@256)

14 Mar 2007

12 comments

(Review from vintageprog.com)

Hawkwind went through a series of personnel-changes in the last half of the 70′s. Nik Turner was unfortunately one of those who left, stripping the band’s sound for his distinctive sax/flute-playing. But the first album without him was a return to form after the slightly disappointing “Astounding Sounds, Amazing Music”. “Quark Strangeness and Charm” was stuffed with strong tunes; several of them are classic Hawkwind. “Spirit of the Age” and the superb post-nuclear war tale “Damnation Alley” were both great examples of Hawkwind’s energetic, yet atmospheric space rock. The title-track is a simple but irresistible catchy rocker, while the ballad “Fable of a Failed Race” is Hawkwind from their most beautiful, melodic and atmospheric side. House’s violin on the opening of the eastern-influenced “Hassan I Sahba” reminds me a bit of early East of Eden, and that’s not a bad thing at all. “The Forge of Vulcan” is a hypnotic instrumental number that was far more creative and original than any of the three instrumentals from the previous album. “Days of the Underground” is a typical mid-tempo Hawkwind track, with a quirky melody and lots of spacey synths. This one glides right into the short and heavy instrumental “Iron Dream” that closes the album in a nice way. “Quark Strangeness and Charm” proved that Hawkwind could deliver good albums even without Lemmy and Turner.

Line-up:
- Dave Brock / vocals, synthesizer, guitar, sound F/X
- Robert Calvert / voices, percussion
- Simon House / keyboards, violin, anvil, backing vocals
- Simon King / drums, percussion
- Adrian Shaw / bass guitar, backing vocals

Track List:
01. Spirit of the age
02. Damnation alley
03. Fable of a failed race
04. Quark strangeness and charm
05. Hassan I Sahba
06. The forge of Vulcan
07. Days of the underground
08. Iron dream

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Dave Brock, Hawkwind, Robert Calvert

Free – Fire and Water (1970) (@256)

14 Mar 2007

(Review from wikipedia, amazon.com)

1970′s Fire and Water was Free’s third album, and the one which made them international stars. They were featured at the Isle of Wight Festival that year; the liner notes to this CD tell of how Pete Townshend approached the group on the ferry over to the Isle of Wight and congratulated them on the success of “All Right Now.”

The album and single were a massive successes, catapulting the band to near-iconic status. Commercial success brought with it accusations of “selling-out” which the purist Kossoff took badly: he took a defensive stance in one interview, stating that “obviously ‘All Right Now’ is part of us, but it’s a frivolous part, it isn’t what we want to be remembered by. We’re generally more serious”. Nevertheless ‘All Right Now’ is indeed what the band are remembered by, and in my humble opinion it can actually be considered as one of the weaker songs of this great album.

Line-up:
- Paul Rodgers – lead vocals, piano
- Paul Kossoff – guitar
- Andy Fraser – bass
- Simon Kirke – drums

Track List:
01. Fire And Water
02. Oh I Wept
03. Remember
04. Heavy Load
05. Mr Big
06. Don’t Say You Love Me
07. All Right Now

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Free, Paul Kossoff, Paul Rodgers, Sakalli's Pick

Fairport Convention – Rising for the Moon (1975) (@256)

13 Mar 2007

(Review from wikipedia, freakemporium.com)

Fairport Convention is often credited with being the first English folk-rock band. Formed in April 1967, Fairport rapidly developed from playing cover versions of American ‘west coast’ style music to an individual style which melded rock music with traditional English tunes and songs.

Sandy Denny briefly re-joined Fairport Covention to reunite with her husband Trevor Lucas and other another Fotheringay mainstay Jerry Donahue. Together with Dave Swarbrick and co they made this truly great album. It combines the best elements of both Fotheringay and Fairport Convention but was sadly to be Sandy Denny’s last album for the band. The beautiful rousing title track is one of the best English Folk Rock songs ever recorded and other tracks like ‘White Dress’ and ‘Iron Lion’, are of the same standard. Rising For the Moon is certainly an essential part of the Fairport Convention cannon.

Line-up:
* Jerry Donahue (electric, acoustic and slide guitars)
* Trevor Lucas (acoustic guitar, vocals, harmonica)
* Dave Mattacks (drums, percussion)
* Dave Pegg (bass guitar, electric guitar, backing vocals)
* Dave Swarbrick (fiddle, viola, mandolin, autoharp, acoustic guitar, dulcimer, vocals)
* Sandy Denny (piano, acoustic guitar, electric piano, vocals)
* Bruce Rowland (drums, percussion)

Track List:
01. Rising for the Moon
02. Restless
03. White Dress
04. Let It Go
05. Stranger to Himself
06. What Is True?
07. Iron Lion
08. Dawn
09. After Halloween
10. Night-Time Girl
11. One More Chance
12. Tears (Bonus)
13. Rising for the Moon (Sandy Denny’s Original Demo) (Bonus)
14. Stranger to Himself (Sandy Denny’s Original Demo) (Bonus)
15. One More Chance (Sandy Denny’s Original Demo) (Bonus)

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Fairport Convention, Sakalli's Pick, Sandy Denny

Hawkwind – Astounding Sounds, Amazing Music (1976) (@256)

13 Mar 2007

(Review from vintageprog.com)

Lemmy had been fired from the band on their US-tour in 1975 after being jailed for possessing drugs, and Paul Rudolph replaced him. The band would from then have a rather unstable line-up with many personnel-changes over the years. Robert Calvert had also joined the band on a permanent basis and he took over most of the vocals on “Astounding Sounds, Amazing Music” that also was their first album for Charisma. But despite the promising title, the album wasn’t on the same level as “Hall of the Mountain Grill” and “Warrior on the Edge of Time” and was probably their weakest release since the debut-album. The three instrumentals on the record go nowhere, and sounds all like some unfinished leftovers. “City of Lagoons” sounds even like a Gong-clone. The choice for a single was yet again a simple and rocking tune, this time called “Kerb Crawler”. One of the most interesting tracks here is “Kadu Flyer”. It starts as a tasty and melodic tune that gradually becomes more and more eastern-influenced. The opener “Refer Madness” and “Steppenwolf” are both decent tunes, but nothing special or outstanding. “Astounding Sounds, Amazing Music” can unfortunately not be counted among with Hawkwind’s best albums.

Line-up:
- Dave Brock / lead vocals, guitars, synthesizers
- Robert Calvert / vocals
- Simon House / keyboards, violin
- Alan Powell / drums
- Paul Rudolph / bass
- Nik Turner / sax, flute, vocals

Track List:
01. Reefer madness (6:03)
02. Steppenwolf (9:46)
03. City of lagoons (5:08)
04. The aubergine that ate Rangoon (3:33)
05. Kerb crawler (3:45)
06. Katmandu flyer (5:29)
07. Chronoglide skyway (4:40)
08. Dream Of Isis
09. Back On The Street
10. Honky Dorky

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Dave Brock, Hawkwind, Robert Calvert

Free – Free (1969) (@256)

13 Mar 2007

10 comments

(Review from amazon.com)

It’s safe to say that if you liked the first Free album, you’ll like the second one as well. The band’s fusion of blues and rock really begins to mature on this album. Free never had any major hits outside of their 1970 multi-platinum smash-hit single All Right Now (that would be featured on the next album), but any fan of the band will tell you that many of the group’s strongest tunes appear on the sophomore album. It’s hard to say whether or not this album tops the debut, but it’s a solid follow-up that follows similar stylings. On every track, we’re treated to excellent vocals from Paul Rodgers, the amazing guitar playing of Paul Kossoff, and Simon Kirke’s percussion skills. Having all of these men together in the same band makes for some truly essential classic rock listening.

Line-up:
- Paul Rodgers – lead vocals, piano
- Paul Kossoff – guitar
- Andy Fraser – bass
- Simon Kirke – drums

Track List:
01. I’ll Be Creepin’
02. Songs Of Yesterday
03. Lying In The Sunshine
04. Trouble On Double Time
05. Mouthful Of Grass
06. Woman
07. Free Me
08. Broad Daylight
09. Mourning Sad Morning

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Free, Paul Kossoff, Paul Rodgers

Who – BBC Sessions (1965-73) (@256)

12 Mar 2007

(Review from amazon.com)

One of the most creative and explosive bands of the ’60s, the Who didn’t record an official live album until 1970. For fans of the revved-up, introspective, and humorous fare that made records such as My Generation, Sell Out, and A Quick One instant classics, 1970 was a good three years too late. Rather than referring to sometimes-dodgy bootlegs to discover what “Pictures of Lily,” “Disguises,” or “Anyway, Anyhow, Anywhere” sounded like live, we are now presented with a surprisingly clear document of the band at–arguably–their peak. The CD, culled from archival live-in-the-studio radio broadcasts made between ’65 and ’73, keeps all the radio-announcer introductions and short interview segments intact, with a few bonus, real-life Sell Out jingles for good effect. A fabulous portrait of the artists as a young band, the disc brims with minor revelations–chief among them that they were pretty sorry as an R&B outfit and that (surprise) with Moon, Entwhistle, and Townshend bashing about, even a midtempo number like “Happy Jack” was a total scorcher live.

Line-up:
* Roger Daltrey – lead vocals, harmonica
* Pete Townshend – guitar, vocals
* John Entwistle – bass, vocals
* Keith Moon – drums

Track List:
01. My Generation (Radio 1 Jingle) – 0:57
02. Anyway, Anyhow, Anywhere – 2:44
03. Good Lovin’ – 1:49
04. Just You and Me, Darling – 2:01
05. Leaving Here – 2:34
06. My Generation – 3:23
07. The Good’s Gone – 2:59
08. La La La Lies – 2:11
09. Substitute – 3:30
10. Man with Money – 2:31
11. Dancing in the Street – 2:23
12. Disguises – 2:57
13. I’m a Boy – 2:39
14. Run Run Run – 3:16
15. Boris the Spider – 2:13
16. Happy Jack – 2:09
17. See My Way – 1:50
18. Pictures of Lily – 2:34
19. A Quick One (While He’s Away) – 7:01
20. Substitute version 2 – 2:12
21. The Seeker – 3:04
22. I’m Free – 2:24
23. Shakin’ All Over/Spoonful medley – 3:41
24. Relay – 4:56
25. Long Live Rock – 3:52
26. Boris the Spider (Radio 1 Jingle) – 0:10

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John Entwistle, Keith Moon, Live, Pete Townshend, Roger Daltrey, Who

Hawkwind – Warrior on the Edge of Time (1975) (@256)

12 Mar 2007

12 comments

(Review from vintageprog.com)

The band’s 5th studio-release turned out to be their most ambitious album ever, and the cover that folded out into a shield was just the first clue. They hired sci-fi writer Mike Moorcock to help with some of the lyrical concept, and he also read several poems in between the tracks. Never before or after had Hawkwind (or any other band for that matter) better blended old fashioned fantasy-elements with futuristic sci-fi and space-influences. And the material, and not at least the arrangements was some of the band’s best ever. The two opening tracks “Assault and Battery” and “The Golden Void” floats into each other, and next to “D-Rider” these are Hawkwind’s most majestic and biggest sounding tracks ever. The arrangements here have to be heard to be believed. Tons of Mellotron, synths and distorted sax and flute create a very unique sound that actually sounded like no other band. The guitar is toned unusually much down here, but it would be more dominant in the sound later on the album. After a short poem we’re then taken straight away to space in the hypnotic and dreamy instrumental “Opa-Loka”. “The Demented Man” is another of those lovely acoustic Hawkwind-tunes where the band really managed to keep the obligatory space-feel. The energetic “Magnu” was the first track on the album to feature a quite heavy riff, but it was actually more dominated by Simon House’s excellent violin-playing. This could very well be his best performance on a Hawkwind-album. Then we’re getting more poems by Moorcock and another spacey, synth-drenched instrumental in “Spiral Galaxy 28948″. The album closes with “Kings of Speed” and this catchy and straight-forward hard-rocker was chosen as the single from the album. Dave Brock himself regards “Warrior on the Edge of Time” as the band’s crowning achievement, and most progressive rock fans rates it next to “Hall of the Mountain Grill” as Hawkwind’s best album.

Line-up:
- Dave Brock / guitar, synthesizer, bass (4), vocals (1, 2, 5, 6 & 11)
- Nik Turner / Tenor and Soprano saxophone, flute, vocals (7 & 10)
- Lemmy / bass guitar
- Simon King / drums & percussion
- Allan Powell / drums & percussion
- Mike Moorcock / vocal (3 & 9)

Track List:
01. Assault & Battery
02. The Golden Void
03. The wizard Blew His Horn
04. Opa-loka
05. The Demented Nan
06. Magnu
07. Standing At The Edge
08. Spiral Galaxy 28948
09. Warriors
10. Dying Seas
11. Kings of Speed
12. Motorhead (Bonus)

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Dave Brock, Hawkwind, Lemmy Kilminster

Gryphon – Glastonbury Carol (1972-74) (@192)

12 Mar 2007

(Review from allmusic.com)

Hux’s previous Gryphon BBC sessions compilation, About As Curious As It Can Be, combined a couple of appearances from 1974 and 1975. This one presents two entirely different sessions, the first from July 1972 and the second from July 1974. As could be expected, the numbers comprising the 1972 session are folkier than the other BBC dates on either of the anthologies, with all five songs having been on their debut album and all but one of them rearrangements of traditional tunes. At this point, Gryphon sounded more like a medieval-folk troupe than a rock band, although not to their detriment. The way they played the material, particularly in the use of krummhorns, recorders, and bassoon, was playful and fresh. There’s more rock muscle on the 1974 tracks, and a little (not much) touch of prog-rock bombast, with most of the session devoted to their epic three-movement, 19-minute “Midnight Mushrumps,” the title song from their second album. Also on hand (in its original studio version) is their obscure 1973 single “Glastonbury Carol,” commissioned for the closing titles of the film Glastonbury Fayre, and (unlike much of their material) making effective use of spooky Renaissance-era vocals. It’s another well-recorded and well-packaged set (with liner notes of amusing stories by Gryphon’s Brian Gulland) that makes a worthwhile supplement to their studio discography.

Line-up:
- Richard Harvey / harmonium, keyboards, recorder, crumhorn
- Brian Gulland / bassoon, recorder, vocals
- Philip Nestor / bass
- David Oberle / percussion, drums, vocals
- Graeme Taylor / guitars, vocals

Track List:
01. Kemp’s Jig (2:57)
02. Sir Gavin Grimbold (2:51)
03. Touch & Go (1:34)
04. Astrologer (3:12)
05. Estampie (7:42)
06. Opening Number (4:02)
07. Midnight Mushrumps-1st movement (6:22)
08. Midnight Mushrumps-2nd movement (5:45)
09. Midnight Mushrumps-3rd movement (6:54)
10. Glastonbury Carol (4:56)

Tracks 01-05 : BBC Radio 1 session 18.07.1972
Tracks 06-09 : BBC Radio 1 session 10.07.1974
Track 10 : Lost single previously unreleased

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Gryphon

Steppenwolf – Steppenwolf (1968) (@192)

11 Mar 2007

(Review from wikipedia, amazon.com, allmusic.com)

Steppenwolf had its origins in a Toronto blues band called The Sparrows, which was formed in 1964 and played coffeehouses in Yorkville. By 1967 they had settled in San Francisco, playing high energy mix of blues rock, psychedelia and folk music. Producer Gabriel Mekler of the label Dunhill Records in Los Angeles suggested the band introduce more aggressive beats. With music that pioneered hard rock and heavy metal, they became Steppenwolf.

Steppenwolf entered the studio for their recording debut in mid-1968 with a lot of confidence — based on a heavy rehearsal schedule before they ever got signed — and it shows on this album, a surprisingly strong debut album from a tight hard rock outfit who was obviously searching for a hook to hang their sound on. It is an absolutely incredible classic rock album, and it’s a shame so much of it is overlooked by so many. The Girl I Knew and Sookie Sookie, though excellent songs, failed to achieve any chart success. But the third single released from the album, Born To Be Wild, was an almost instant success, which remains a rock and roll classic to this day. Over the years, the song has gotten a ton of radio play and has been featured in a virtually infinite number of films. This rock classic was written by Dennis Edmondton, former band member and the brother of Jerry Edmondton (who is credited under the pseudonym Mars Bonfire.) The band made a rather smart move of putting this song in the middle of the album, so that listeners wouldn’t just skip to the beginning or end and ignore the other material present. Other excellent tracks present include a cover of Willie Dixon’s blues classic, Hoochie Coochie Man and Hoyt Axton’s The Pusher. Surprisingly though, most of the songs on here are band originals! In the sixties, most band’s debut albums were heavy on cover songs, and there really aren’t a whole lot of them on this album.

Steppenwolf’s debut is a solid classic rock album through and through. If you’re a fan of classic rock, this is one of those albums that you’ve just gotta add to your collection. Don’t overlook this band’s more popular material in favor of their underrated masterpiece – doing so is a mistake too many people make.

Line-up:
- John Kay – Vocals, Guitar, Harmonica
- Rushton Moreve – Bass
- Michael Monarch – Lead Guitar
- Goldy McJohn – Keyboards
- Jerry Edmonton – Drums, Percussion, Vocals

Track List:
01. Sookie Sookie – 3:12
02. Everybody’s Next One – 2:53
03. Berry Rides Again – 2:45
04. Hootchie Cootchie Man – 5:07
05. Born To Be Wild – 3:28
06. Your Wall’s Too High – 5:40
07. Desperation – 5:45
08. The Pusher – 5:43
09. A Girl I Knew – 2:39
10. Take What You Need – 3:28
11. The Ostrich – 5:43

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Steppenwolf

Hawkwind – Hall of the Mountain Grill (1974) (@256)

11 Mar 2007

11 comments

(Review from vintageprog.com)

Hawkwind was joined by violinist Simon House (ex-High Tide) on their 5th album. Some of the heaviest riffs were toned down a bit in favour of much more majestic and symphonic soundscapes dominated by organ, synths, Mellotron, violin and choir. This can be heard especially well on the beautiful instrumental “Wind of Change” and the fantastic, grandiose and very atmospheric “D-Rider”. The production and arrangements of the latter have to be some of the biggest sounding and most spacey ever. But the band could still rock hard and energetic on “You’d Better Believe It” and the best song Lemmy ever wrote for the band: “Lost Johnny”. The best-known track from the album, “Psychedelic Warlords (Disappear in Smoke)” and “Paradox” fused the old riff-style with their newfound symphonic sound in a very striking way. And in between all these tracks are also some short interludes like “Goat Willow” and the title-track. “Hall of the Mountain Grill” is a masterpiece of symphonic space-rock.

Line-up:
- Dave Brock / vocals, acoustic & electric guitars, organ synthesizers
- Del Dettmar / keyboards, kalimba
- Simon House / keyboards, Mellotron, backing vocals
- Lemmy Kilminster / bass, vocals, lead & rhythm guitars (7)
- Simon King / drums, percussion
- Nik Turner / sax, oboe, flute, vocals

Track List:
01. The Psychedelic Warlords (Disappear in Smoke) — 6:50
02. Wind of Change (5:08)
03. D-Rider (6:14)
04. Web Weaver (3:15)
05. You’d Better Believe It (7:13)
06. Hall of the Mountain Grill (2:14)
07. Lost Johnny (3:30)
08. Goat Willow (1:37)
09. Paradox (5:35)

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Dave Brock, Hawkwind, Lemmy Kilminster

Gryphon – About As Curious as It Can Be (1974-75) (@320)

11 Mar 2007

Thanks to “Illiterate Moron” for the contribution.

(Review from allmusic.com)

This combines two mid-’70s BBC sessions onto one CD, the first part containing three songs from a May 1974 appearance, the second comprising five cuts from a November 1975 show. The personnel’s the same on each session, other than the replacement of bassist Philip Nestor (who plays on the 1974 tracks) with bassist/flutist Malcolm Bennett on the 1975 segment. Most of the repertoire is taken from their third and fourth albums (Midnight Mushrumps and Raindance), with the rock and electronic keyboards taking a greater role on the second session than on the first. Gryphon really owed as much to folk and medieval music as they did to progressive rock, and this document shows them to be pretty capable of blending the forms with skill and some whimsy in a live setting, without as much of the bombast and pretension usually associated with ambitious art rock. It couldn’t have been that easy to make it as tight as it was with the combination of standard rock instruments and uncommon ones like recorders, krumhorns, flute, and bassoon. Those kind of abilities have not been too chic to admire in many circles since the advent of punk and new wave, but they are, well, admirable to those with a reasonably open mind. Good sound and liner notes by Gryphon guitarist/mandolinist Graeme Taylor enhance the value of a worthy supplement to the group’s discography, certainly of interest to the small coterie of fans of this largely forgotten band.

Line-up:
- Richard Harvey / keyboards, recorders, crumhorn, harmonium
- Brian Gulland / bassoon, bass krumhorn
- David Oberlé / drums, glockenspiel
- Graeme Taylor / guitar, mandolin
- Philip Nestor / bass guitar (tracks 1-3)
- Malcolm Bennett (Markovich) / bass guitar, flute (tracks 4-8)

Track List:
01. Renaissance Dance Medley
02. Midnight Mushrumps
03. Ethelion
04. Wallbanger
05. The Last Flash Of Gaberdine Tailor
06. Le Cambrioleur Est Dans Le Mouchoir
07. Ein Klein Heldenleben
08. Jigs

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Gryphon

Embryo – Turn Peace (1989) (@256)

10 Mar 2007

(Review from spacelook.de)

Peter Michael Hamel, Roberto Detree and Christian Burchard are now so far apart that hardly anyone remembers: they started off together in 1967 at the “Song Parnass” in Munich -each moving in his own direction. Christian built up Embryo, Roberto from Brasil created his own idea of latin-american music and Peter wrote “Kassandra” and “Organum” and made compositions which are still disconcerting for the established avantgarde of Donaueschingen and Darmstadt (avantgardistic and establishment are no contradiction in those places). It is both revealing and quite moving to hear how much the three had to communicate when they got together for Embryo’s Twentieth. Back in 1967/68 Christian Burchard was the vibraphonist of Mal Waldron, the pianist who played with Billie Holliday and John Coltrane and who at least the Japanese recognize for the great musician he is. Just how good the Mal-Chnstian alliance still works can be heard on this record. It is a pity that the other great American musician who was involved in the Embryo evolution – Charlie Mariano – is not to be heard on the record. But in a way he is: when Roland Schaeffer plays the nagasuram, an oboe-like instrument that Mariano studied for years in South India (and so often played with Embryo), you think on hearing Mariano himself, until you realize that it is Roland playing in his own special way – more independent and technically superior. Of course Embryo’s important countries are represented on this record. Marocco by El Houssaine Kill, Nigeria by the Yoruba Dun Dun Ensemble of Lamidi Ayankunie and his friends and India by T.A.S. Mani with his College of Percussion.

The Gimbri, a sort of primitive bass, is played by Houssaine, a Berber. Initially, the playing technique is from Gambia and non other than Jimi Hendrix was influenced by it. The Dun Dun is called piano of the Yorubas and that is how Lamidi plays it, as if it was no drum but a key instrument with a sound range of more than an octave. Erin is the name of the village where the three Nigerians come from and the recording was made in Constance, Germany, so that is the reason for the title “Erin in Constance”.

And the Karnataka College from Bangalore with its incredible intricate yet smoothly interwoven rhythmic layers and lines, is simply one of the world’s most perfect percussion groups and schools -as can be heard in “Rama’s Seven”. If you could hear Kali, the great Indian godness, mother of fire, death and life, I imagine she would sing just like Rama Mani. And there is another point that has to be made: if Christian Burchard and the Embryo musicians had made us aware of only the Karnataka music we should he greatful just for that but they have done the same for us with musicians from all over the world.

I think there isn’t even a group in America that lives World Music like Embryo. It can only be played if you live it, together with the musicians in their own countries and cultures. Those who think they can do without end up sooner or later playing canned music, where World Music has often lead to. That is the reason why I do not wish Embryo a further twenty years. But an Embryo of the Nineties is what I would like for myself and for the numerous friends of the group throughout the world and above all for Embryo themselves!

Line-up:
- Ojetunde Ajayi / vocals (8)
- Rabiu Ayandokun / dun dun drum (8-9)
- Lamidi Ayankunle / bata drum (8)
- Hermann Breuer / trombone (6)
- Roman Bunka / oud, guitar, bass (1 to 5), 11)
- Christian Burchard / drums, vibes (1-2-4 to 8, 10-11)
- Paolo Cardoso / bass (6-10-11)
- Roberto Detree / guitar (7)
- Julius Golombeck / guitar (8)
- Geoff Goodman / guitar (3-6)
- Gerlad Hartwig / percussion (3)
- Peter Michael Hamel / prepared piano (7)
- Edgar Hofmann / saxophone (10)
- Chris Karrer / guitar (8)
- El Houssaine Kili / gimbri, vocals (9)
- Marque Lowenthal / piano (1-2), keyboards (5)
- Rama Mani / vocals (5)
- T.A.S. Mani / mridangam (5)
- Paramashivam Pilai / tavil (1-2-3)
- Larry Porter / piano (3)
- Allan Praskin / saxes (3-6-10)
- Locko Richter / bass (2)
- Dieter Serfas / drums (5-6-8-10-11)
- Roland Schaeffer / nagasuram (1-2)
- Michael Schone / bass (1-2)
- Shashikumar / mridangam (5)
- Ramesh Shotham / tavil (5)
- Abdul Wahab / percussion (6)
- Mal Waldron / piano (6-10-11)
- Monty Waters / Alto saxophone (6)

Track List:
01. Marque’s Song (7:03)
02. Velly Velly Good (9:52)
03. Pang (3:02)
04. Rama’s Seven (5:25)
05. Govinda (3:24)
06. Abdul (4:16)
07. Praperierte 20 Jahre spater (11:01)
08. Erin in Konstanz (3:08)
09. Hob Ou Salam (8:18)
10. Barks (3:39)
11. Lonely Nights (13:10)

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Ten Years After

Gryphon – Treason (1977) (@256)

10 Mar 2007

(Review from vintageprog.com, progarchives.com)

It took Gryphon their biggest gap between two albums and a switch of label from Transatlantic to Harvest before they released the last album of their career. The line-up had also changed and been expanded since “Raindance”. Jonathan Davie had replaced Bennett on bass, while Bob foster replaced Taylor on guitar. The band had also gotten a second drummer in Alex Baird who probably played the basic beat while Oberle was responsible for the various percussive devices and effects. “Treason” is unfortunately partly a fitting title to the first and only album of this new version of Gryphon, as they had betrayed most of their medieval folk roots that after all were their main trademark. The band went now mainly for vocal-based songs, although the structures and rhythms still were too sophisticated to be accused of a sell-out.

Their sound here is quite more electric than in the past, less folky. This record has a optimum balance between electric instruments and acoustic ones. Many would consider bad their new orientation, but one has to listen carefully and conclude that the tracks are very well played and very progressive. There are still tons of percussions (varied small bells among others). The bassoon is still well played, the required synchronization for complex changing patterns is still there. Harvey’s keyboards are more rhythmic, more accessible, despite he plays here some outstanding solos. The bass is complex enough and rather bottom. The omnipresent rhythmic guitars and keyboards, the miscellaneous vocals give some bits a style comparable to progressive band Kayak. But of course the compositions are quite more elaborated. Different, yes, but still excellent!

Line-up:
- Richard Harvey / piano, sax, recorder, eletric keyboards
- Brian Gulland / bassoon, english horn, vocals, recorders
- David Oberlé / lead vocals, percussion
- Bob Foster / guitars, vocals
- Jonathan Davie / bass guitars
- Alex Baird / drums

Track List:
01. Spring Song (10:00)
02. Round & Round (4:30)
03. Flash in the Pantry (4:57)
04. Falero Lady (4:08)
05. Snakes and Ladders (5:15)
06. Fall of the Leaf (4:22)
07. Major Disaster (4:04)

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Gryphon

Marshall Tucker Band – Where We All Belong (1974) (@256)

10 Mar 2007

(Review from amazon.com, allmusic.com, wikipedia)

One of the major southern rock bands of the ’70s, the Marshall Tucker Band was formed in Spartanburg, in 1971 by singer Doug Gray, guitarist Toy Caldwell, his brother bassist Tommy Caldwell, guitarist George McCorkle, drummer Paul Riddle, and reed player Jerry Eubanks. The group’s style combined rock, country, and jazz and featured extended instrumental passages on which lead guitarist Toy Caldwell shone. Compared to southern rock pioneers and label-mates Allman Brothers Band, Marshall Tucker Band has a more country and western feel, with the flute being a key lead instrument in their sound.

Marshall Tucker Band arrived at a crossroads on its third album, Where We All Belong. With two successful LPs already under their belt, the Spartanburg sextet was on the verge of even greater popularity. Marshall Tucker’s eclectic brand of musical Americana had won them a fervent following as a touring act. Now—thanks to lead guitarist Toy Caldwell’s knack for hook-laden songwriting—they were edging closer to breaking into Top 40 radio.

Where We All Belong gives a taste of both ends of the Marshall Tucker spectrum: the expansive jam band and the more tightly-focused recording act. Released in 1974 as a two-record LP, the album found the band refining its own distinctive brand of country-rock on the studio cuts.

Anticipating the mass appeal of cowboy culture a few years later, Toy and his band adopted a bit of a Wild West attitude in their music. For all the prominence of pedal steel guitar and down-home lyric imagery in its tracks, though, Where We All Belong was far more adventuresome than most mainstream country music of its time.

Balancing the well-honed studio cuts were the in-concert recordings that round out the album. The genre-spanning versatility and instrumental excellence of Marshall Tucker’s membership is caught here in all its unfettered glory. As a live act, the band had the power to drive audiences delirious with their soaring jams, as these recordings demonstrate.

Line-up:
* Toy Caldwell – electric/acoustic guitars, steel guitar (1), lead vocal (1)
* Tommy Caldwell – bass, back vocals
* George McCorkle – electric/acoustic guitars, banjo
* Jerry Eubanks – flute, alto, baratone/tenor saxophone, back vocals
* Doug Gray – lead vocals, percussion
* Paul Riddle – drums

Track List:
01. This Ol’ Cowboy
02. Low Down Ways
03. In My Own Way
04. How Can I Slow Down
05. Where A Country Boy Belongs
06. Now She’s Gone
07. Try One More Time
08. Ramblin’
09. 24 Hours At A Time
10. Everyday (I Have The Blues)
11. Take The Highway

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Marshall Tucker Band

Audience – Audience (1969) (@256)

09 Mar 2007

(Review from progarchives.com)

This London quartet recorded their debut album with the large label Polydor (Phillips), but for some reason the record got pulled from the stores soon after its release and is now a much sought-after collector’s item. The album had received a first Cd reissue with the German TRC, but for some reasons, the album was only lasting some 28 minutes. Released again nowadays, the full album is present as well as three bonus tracks, but I am not positive of the legitimacy of this release or its label. Nevertheless it is nice to hear Audience’s debut even if we are far from their next two albums, which are masterpieces of the British proto-prog scene. The lest we can say is that this album is a bit naďve (is that really a flaw) and lacks a bit musical direction (on the other hand, this…), but holds enough charm to allow its weaknesses go easily forgiven.

Audience developed a blues-derived proto-prog that had two main characteristics, guitarist Howard Werth’s voice (which can sound like VdGG and Gnidrolog’s voices) and Keith Gemmell’s many wind instruments. Tracks like the opening Banquet (this has the power of future records), the superb Heaven Was An Island (with its great percussive intro leading to a sizzling sax and wild lyrics), the dreamy Maiden’s Cry (plaintive yet riveting with its sax approaching VdGG’s Jackson), the solemn Leave It Unsaid and a first version of House On The Hill are all excellent tracks indicating the greatness of their future oeuvres.

Other tracks like Poet (cool flute), Waverley Stage Coach (too bluesy), River Boat Queen (weird, not unpleasant but highly surprising with its strings in the background), Harlequin (a bit of a filler), the forgettable and brassy Too Late etc. are slightly weaker

The three bonus tracks do not really hinder the album’s running (except for the closer that is really not of good recording quality – and its origin not explained), but do not add much in value either as they do not range in their better tracks. But in some ways they are related to the song Ebony Variations from their second albums by presenting an underlying jazz facet that surfaces now and again.

Yes this debut is hardly representative of Audience’s blistering and sizzling hard-bluesy prog of their future Friend’s Friend’s Friend and its better-known successor House On The Hill. But if you loved those two albums enough, this one will also please you because the nascent Audience sound is there, with their power musical powers waiting to be unleashed. Because of this album’s quick disappearance from the market, you will find many of the ideas getting a second chance (under different names mostly) over the following two albums, making this album sounds sometimes like a demo.

Line-up:
- Howard Werth / guitar (acoustic), banjo, guitar, vocals
- Tony Connor / percussion, piano, drums
- Keith Gemmell / saxophone, wind, woodwind
- Trevor Williams / bass, guitar (bass), keyboards, vocals

Track List:
01. Banquet (3:47)
02. Poet (3:05)
03. Waverley Stage Coach (2:59)
04. Riverboat Queen (2:57)
05. Harlequin (2:35)
06. Heaven Was an Island (4:18)
07. Too Late I’m Gone (2:37)
08. Maidens Cry (4:47)
09. Pleasant Convalescence (2:30)
10. Leave It Unsaid (Bonus) (4:10)
11. Man On Box (Bonus) (3:05)
12. House On The Hill (Bonus) (4:05)
13. Paper Round (Bonus) (3:41)
14. The Going Song (Bonus) (1:41)
15. Troubles (Bonus) (1:23)

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Audience

Gryphon – Raindance (1975) (@256)

09 Mar 2007

(Review from vintageprog.com)

Nestor chose to leave Gryphon after the superb “Red Queen to Gryphon Three”, and was replaced by Malcolm Bennett who also was credited with flute. The band took a quite different approach on “Raindance” than on the previous album, focusing more on shorter tracks and more stylistically variation. The keyboards (especially the synths) are also more prominently featured. The album opens with a fast, quirky and very catchy instrumental in “Down the Dog” and continues with the hypnotic title-track that even is close to flirting with electronic progressive arrangements and structures. It’s definitively nice to hear that the band were willing to evolve, move forward and try new things, but this would later also prove to represent a threat to the band’s musical identity and signature sound. A very “Gryphonised” cover of The Beatles’ “Mother Nature’s Son” further strengthens the diversity of various influences on the album. “Le Cabrioleur Est Dans Le Mouchoir” and “Ormolu” are short and not so very serious pieces, while “Fontinental Version” is a complex vocal number that partly revealed what was to come on Gryphon’s final album two years later. The band turns up the tempo a bit for the energetic instrumental “Wallbanger” and the simple and electric rocker “Don’t Let Go” is probably the biggest musical surprise here. However, the real goodie and masterpiece of the album was saved for the very end in form of the fantastic 16-minute “(Ein Klein) Heldenleben”. This monumental piece of progressive rock of the highest calibre was yet another proof that Richard Harvey was one of the best and most talented composers of 70′s progressive rock. As with all the others of Gryphon’s longest and best pieces, the complexity is breathtaking and the melodies are stunning in all their timeless beauty. Besides the usual medieval influences and progressive rock stylings, the track also featured some of the band’s most hard rocking playing, especially from Taylor who delivered a bigger amount of electric guitar than before. “Raindance” was Gryphon’s last classic album for me, but few other progressive rock bands have left the classic phase of their career with a more impressive piece than “(Ein Klein) Heldenleben”.

Line-up:
- Malcolm Bennett / bass, flute, Lyriques esoteriques on “Cambrioleur”
- Brian Gulland / bassoon, backing vocals, vocal on “Fontinental Version”
- Richard Harvey / grand piano, Rhodes, RMI and Crumar electric piano, mini moog, Copeman, Hart organ, mellotron, clavinet, keyboards, Gloskenspiel, recorders, Krumhorns, penny whistle, clarinet on “Cambrioleur”
- David Oberle / drums, percussion, lead vocals on “Mother Nature’s Son” and “Don’t say Go”, vocal on “Fontinental Version”
- Graeme Taylor / guitars, backing vocals

Track List:
01. Down the Dog (2:44)
02. Raindance (5:37)
03. Mother Nature’s Son (3:08)
04. “Le Cabrioleur Est Dans Le Mouchoir” (2:14)
05. Ormolu (1:00)
06. Fontinental Version (5:36)
07. Wallbanger (3:33)
08. Don’t Say Go (1:48)
09. (Ein Klein) Heldenleben (16:03)

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Gryphon

Bad Company – Bad Company (1974) (@256)

09 Mar 2007

(Review from wikipedia, allmusic.com)

Bad Company were an English hard rock supergroup founded in 1973, consisting of band members from Free (Paul Rodgers, Simon Kirke), Mott the Hoople (Mick Ralphs) and King Crimson (Boz Burrell). Managed by Peter Grant, who had also guided Led Zeppelin to massive success, the band would go on to enjoy great success throughout the 1970s.

Bad Company’s 1974 self-titled release stands as one of the most important and accomplished debut hard rock albums from the ’70s. Though hardly visionary, it was one of the most successful steps in the continuing evolution of rock & roll, riding on the coattails of achievement from artists like the Eagles and Crosby, Stills, Nash and Young. From the simple electric guitar lick on “Can’t Get Enough” to the haunting bassline in “Bad Company” and the fast beats of “Movin’ On,” Bad Company exemplified raw rock & roll at its best. Erupting out of an experimental period created by the likes of Pink Floyd, Bad Company signified a return to more primal, stripped-down rock & roll. Even while labelmates Led Zeppelin’s Houses of the Holy and IV featured highly acclaimed, colorful album artwork, Bad Company’s austere black and white record cover stood out in stark contrast. Six years later, AC/DC used the same idea on their smash Back in Black. Throughout the 35-minute album, Paul Rodgers’ mesmerizing and gritty vocals hardly vary in tonal quality, offering a perfect complement to Mick Ralphs’ blues-based guitar work. Several songs include three-chord verses offset by unembellished, distorted choruses, filled rich with Rodgers’ cries. Bad Company is an essential addition to the rock & roll library; clearly influential to ’70s and ’80s hard rock bands like Tom Petty, Lynyrd Skynyrd, and Boston.

Line-up:
* Mick Ralphs – guitar, keyboards
* Boz Burrell – bass
* Paul Rodgers – guitar, piano, accordion, vocals
* Simon Kirke – drums

Track List:
01. Can’t Get Enough (Ralphs) – 4:15
02. Rock Steady (Rodgers) – 3:46
03. Ready for Love (Ralphs) – 5:02
04. Don’t Let Me Down (Ralphs/Rodgers) – 4:21
05. Bad Company (Kirke/Rodgers) – 4:50
06. The Way I Choose (Rodgers) – 5:05
07. Movin’ On (Ralphs) – 3:20
08. Seagull (Ralphs/Rodgers) – 4:06

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Bad Company, Boz Burrell, Paul Rodgers, Simon Kirke

Iron Butterfly – Live (1970) (@256)

08 Mar 2007

(Review from progarchives.com)

After such a disastrous album as Ball, Iron Butterfly had to to do something to reassure their fans, and a live album might have been the solution, maybe an easy one, but they had to make known they were still a rock group and not a pop outfit.

Right away, the first thing striking you is the great psychedelic collage of the artwork as it is obviously trying to restore credibility with their fans. But by starting off the album with three tracks of their previous Ball album, I am sure this was also a gamble, but they did choose the two best tracks (and most Iron Butterfly-like) from that album, and they work well as an opener. The third track is also from that dreaded Ball album, but in a much better version. Up next is a good track from their debut album, but I must say that I like the original version better as I find the sound rather muddy (and Ingle was not the singer on that album too). Are You Happy is from their seminal second album, but not the one I would’ve chosen from the ones present on that first side. A good rendition of it though, with a slight drumming bit announcing the drums galore of their cornerstone track. the live version is not vastly different thanthe studio version, though.

One funny thing that I listened in this album was the interaction between the band and the audience. It is maybe more of “historic importance” now: a woman in the audience sings a not identified “song” during the drums solo! It was the time of the Hippies (the cover design is also very “Hippy” / “Flower Power” and psychedelic in style). This interaction is similar to parts of The Doors`”Absolutely Live” album. “Those Were the Days”, as Mary Hopkin sang in 1968! “Peace and Love”!

Line-up:
- Doug Ingle / vocals, keyboards
- Erik Brann / lead guitar
- Lee Dorman / bass guitar
- Ron Bushy / drums

Track List:
01. In The Time Of Our Lives (4:42)
02. Filled With Fear (3:42)
03. Soul Experience (4:09)
04. You Can’t Win (3:27)
05. Are You Happy (4:03)
06. In-A-Gadda-Da-Vida (18:50)

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Iron Butterfly, Live

Gryphon – Red Queen to Gryphon Three (1974) (@320)

08 Mar 2007

(Review from vintageprog.com)

This fully instrumental concept-album about the rather well known game chess is widely and deservedly regarded as Gryphon’s crowning achievement. Here they found the perfect balance between their medieval folk style and progressive rock influences mainly from Gentle Giant and Mike Oldfield. The album also introduced tasteful and sparse use of synths to the band’s sound, which can be heard right away on the opening chords of “Opening Move”. The track itself follows many of the same structural ideas and complexity of the title-track from the previous album, but now with a stronger progressive rock feel mixed in with Gryphon’s trademark and delightful medieval sound. And the melodies and themes are again instantly strong and memorable. “Second Spasm” shows Gryphon at their most upbeat, cheerful and energetic. The middle part also reveals some sense of musical humour, and includes something that sounds suspiciously much like a fart! It should almost be impossible to pick a highlight from an album as thoroughly consistent and even as “Red Queen to Gryphon Three”. But if I had to pick one it would have to be the masterful “Lament”. It opens with a beautiful melody that alternates between Harvey’s recorder and Gulland’s krumhorn over the probably most genially constructed chords that the band ever created. It then goes into a quite mellow part dominated mainly by the krumhorn and a feel and atmosphere not too far from Mike Oldfield’s “Hergest Ridge” from the same year. Oberle’s cymbals then introduces a much faster and happier sequence that finally returns the whole track to the opening again, but now in a completely different and full-blown symphonic progressive rock arrangement. The closer “Checkmate” has a very jazzy opening that fits surprisingly well to Gryphon, but the track quickly stabilises itself into a complex medieval piece with a pretty theme on Harvey’s recorder and a grandiose finale on synths. Gryphon never made a more consistent and better album than this, and will always remain a progressive rock classic of musical beauty, superb musicianship and compositional abilities of the highest class.

Line-up:
- Richard Harvey / keyboards, recorders, Krumhörn
- Brian Gulland / bassoon, Krumhörns
- David Oberlé / drums, percussion, & tymps
- Graeme Taylor / guitars
- Philip Nestor / bass guitar
- Ernest Hart / organ
- Peter Redding / acoustic bass

Track List:
01. Opening Move (9:42)
02. Second Spasm (8:15)
03. Lament (10:45)
04. Checkmate (9:50)

Link in comments.

Gryphon

Traffic – John Barleycorn Must Die (1970) (@256)

08 Mar 2007

(Review from progarchives.com)

From the opening piano notes of the remarkable instrumental “Glad” to the closing Hammond chords of “Every Mother’s Son”, this album recorded in 1970 in the trio formation without Dave Mason, is generally regarded as Traffic’s peak. It is surely very strong album with practically zero bad moments and quite balanced production from start to finish. However, overall music picture for me stands as somewhat empty and unfinished. What is important is that, after the break with Mason, the trio started to explore further into the sort of “fusion” territory, abandoning their psychedelic roots. Winwood kept his blues and soul colours in his songwriting but also added important jazz improvisation elements, most evident on “Glad”, bringing Traffic closer to the current development of prog rock at the beginning of the decade. British folk tradition is not abandoned, which is evident in the wonderful cover of the title track, a mythological personification of the alcohol discovery in the shape of barley, its use and production through “killing”, and subsequent revenge of the “resurrected” alcohol against men.

Line-up:
- Jim Capaldi / drums, percussion, vocals
- Steve Winwood / guitar, organ, piano, percussion, vocals
- Chris Wood / saxophone, flute, organ, electric saxophone, percussion

Track List:
01. Glad (6:59)
02. Freedom Rider (5:30)
03. Empty Pages (4:34)
04. I Just Want You to Know (1:30)
05. Stranger to Himself (3:57)
06. John Barleycorn (6:27)
07. Every Mothers Son (7:08)
08. Sittin’ Here Thinkin’ of My Love (3:33)
09. Backstage and Introduction (Bonus) (1:50)
10. Who Knows What Tomorrow May Bring (Live) (Bonus) (6:56)
11. Glad (Live) (Bonus) (11:29)

Links in comments.

Chris Wood, Jim Capaldi, Steve Winwood, Traffic

Ufo – The Wild, the Willing and the Innocent (1981) (@320)

07 Mar 2007

Thanks to “Illiterate Moron” for a better rip.

(Review from amazon.com)

The story here is the same story as with No Place To Run – we have a damn good album (one that is comparable with even the Schenker albums), but not enough people give it a chance just because it doesn’t have Schenker on it. There was life after him in Ufo! And this is one of the group’s best, not to mention most underrated releases. The album is widely varied, and Paul Chapman proves himself to be one hell of a guitarist through and through (the band wouldn’t have recruited him if they didn’t think he was good!) There is no shortage of excellent songs on this album. The opener, Chains Chains, is classic hard rock the way it was meant to be enjoyed, and it makes for a great opening track. The title track is also great, featuring Chapman serving up some of his finest riffs. My favorite track on the album would have to be It’s Killing Me, a classic bluesy power rocker that is distinctly British rock. The song is actually reminiscent of Rainbow’s Stone Cold, and that’s a good thing. Also excellent is the band’s proto-power ballad, Lonely Heart. Long before power ballads became cheesy and overdone to death later in the eighties, Ufo managed to create tracks that were half rocker and half ballad – and all excellent. Couldn’t Get It Right is one of the pop-oriented hard rockers, which actually brings back memories of some of the lighter tunes from the Schenker era, making it one of my favorites here. Closing out the tune is the softest ballad of all, Profession Of Violence. This ballad combines piano usage with orchestral backing arrangements. About halfway through, Chapman and the rest of the band join in, adding that signature classic Ufo sound to the ballad, making it a damn good closing track, and a great way to go out. In the end, this stands as one of my favorite Ufo albums.

Line-up:
- Phil Mogg – vocals
- Pete Way – bass
- Paul Chapman – guitars
- Andy Parker – drums
- Neil Carter – keyboards, guitar, vocals, sax (“Lonely Heart”)

Track List:
01. Chains Chains
02. Long Gone
03. The Wild The Willing And The Innocent
04. It’s Killing Me
05. Makin’ Moves
06. Lonely Heart
07. Couldn’t Get It Right
08. Profession Of Violence

Link in comments.

Paul Chapman, Pete Way, Phil Mogg, Ufo

Gryphon – Midnight Mushrumps (1974) (@320)

07 Mar 2007

Thanks to “Illiterate Moron” :) for the better quality rips.

(Review from vintageprog.com)

No matter how good the debut was as a pure medieval folk album, “Juniper Suite” obviously made the band aware that it would be musically more rewarding and interesting to focus their attention on complex, self-written material instead of covers of old traditional tunes. They also expanded the band by including Philip Nestor as their full-time bassist. The second album “Midnight Mushrumps” established Richard Harvey as one of the main composers in the band, and the fact that he composed the 19-minute title-track should be more than enough to defend that position. It starts with some soft and caressing organ-chords that soon are joined by the krumhorn that slowly evolves into the main theme of the track. And make no mistake, this is THE most beautiful and best melody Harvey ever wrote, and I never got tired of listening to it and enjoy its magic beauty. It makes several appearances throughout the entire track, but in various arrangements and the composition also have many other strong themes on display. The medieval atmosphere of the debut is well taken care of here, but the complex progressive rock structures makes the music overall much more engaging and demanding. The track as a whole feels like a medieval fairy-tale told through music, and is one of the definitive highlights of Gryphon’s production. The second side starts with “The Ploughboy’s Dream” that is the only cover and vocal-number of the album. “The Last Flash of Gaberdine Tailor” and “Dubbel Dutch” have both some slight baroque influences, and display some of Harvey’s classical background. The only misstep on the album is Gulland’s “Gulland Rock”, a very disjointed and sketchy piece that seems to go nowhere. The best track of the second side is undoubtedly the closer “Ethellion”, starting with some wild laughter, bass and percussions that leads the way into a very cool krumhorn-based part before the cheerful and catchy main theme comes to the fore and the arrangements gradually evolves and become more intense through the track. But the title-track is still what makes “Midnight Mushrumps” an essential album.

Line-up:
- Richard Harvey / recorders, krumhörns, harmonium, pipe organ, grand piano, harpsicord, electric and toys piano, keyboards, gloskenspiel, mandolin, vocals
- Brian Gulland / bassoon, Bass, krumhörns, tenor recorders, all keys on “Gulland Rock”, vocals
- David Oberlé / drums, timpani, percussion, lead vocals
- Graeme Taylor / acoustic, electric semi acoustic and classical guitars, vocals
- Philip Nestor / bass guitar, vocals

Track List:
01. Midnight Mushrumps (18:58)
02. The Ploughboy’s Dream (3:02)
03. The Last Flash of Gaberdine Tailor (3:58)
04. Gulland Rock (5:21)
05. Dubbel Dutch (5:36)
06. Ethelion (5:15)

Link in comments.

Gryphon

Ten Years After – Ten Years After (1968) (@256)

07 Mar 2007

(Review from wikipedia, rarebird)

After several years of local success in the Nottingham/Mansfield area as a band known since 1962 as The Jaybirds (its core was formed in late 1960 as Ivan Jay and the Jaycats (later Ivan Jay and the Jaymen) by Alvin Lee and Leo Lyons, Ivan Jay lead vocals (late 1960 to 1962) joined by Ric Lee in August 1965, replacing original drummer Dave Quickmire, who had joined the band in 1962), in 1966 The Jaybirds moved to London, where Chick Churchill joined the group. That November the quartet signed a manager, Chris Wright, and then they decided to change their name: Blues Trip, Blues Yard (under it they played a show at the legendary Marquee Club, supporting Bonzo Dog Band), and finally Ten Years After in Nov 1966. They became the first bands of the soon-to-be Chrysalis Agency. They secured a residency at the Marquee, and received an invitation to play at the renowned Windsor Jazz Festival in 1967. That performance led to a contract with Deram, a subsidiary company of Decca — the first band so signed without a hit single. In October, 1967 self-titled debut album was released.

The self-titled 1967 album was a stunning debut. It was in a definite blues-rock vein, but it was set apart from other such albums of its time by its subtlety. The band avoided psychedelia and other indulgences that many of their peers fell prey to, and made a solid effort marked by genuine talent and love of the music. The album is no-nonsense from start to finish; even during the closing ten-minute jam “Help Me”, Lee and company never lose control. Ten Years After is as soulful as any rock and roll album to come down the pike.

Line-up:
- Alvin Lee – guitar, vocals, harp
- Leo Lyons – bass
- Chick Churchill – keyboard
- Ric Lee – drums

Track List:
01. I Want to Know
02. I Can’t Keep from Crying, Sometimes
03. Adventures of a Young Organ
04. Spoonful
05. Losing the Dogs
06. Feel It for Me
07. Love Until I Die
08. Don’t Want You Woman
09. Help Me

Link in comments.

Alvin Lee, Ten Years After

Taste – Live at the Isle of Wight (1970) (@320)

06 Mar 2007

This ends the Taste posts. If you have any Taste (not Rory solo) bootlegs I haven’t posted, please feel free to drop me a note; I’d love to post them.

(Info from lastoftheindependents.com)

The festival at the Isle of Wight was to Europe what Woodstock was to the USA. Many problems came about as more rock fans than tickets available came to this usually peaceful island just off the coast of Portsmouth, England. The festival was held at East Afton farm in Freshwater, on the 13- by 23-mile island off the coast of Southern England. This was considered the last monster tribal gathering — the five-day 1970 Isle of Wight Festival — where 600,000 mostly stoned flower children turned ugly in obnoxious displays of hippie self-righteousness.”

Many of the biggest rock stars of the time appeared at this festival including The Who, Free, Donovan, Ten Years After, The Moody Blues, Joni Mitchell, Joan Baez, Leonard Cohen and Jethro Tull, and ELP. Jimi Hendrix and Jim Morrison of the Doors made their last live stage appearance here.

Taste played through the madness of this giant concert where those who did not have tickets rushed and crashed the gates. ‘Taste Live at the Isle of Wight’ has some wonderful songs by Taste themselves and a cover for blues star Broonzy in “I Feel So Good.”

Line-up:
* Rory Gallagher (Lead Guitar/Harp/Vocals)
* John Wilson (Drums)
* Richard McCracken (Bass Guitar)

Track List:
01. What’s Going On
02. Sugar Mama
03. Morning Sun
04. Sinner Boy
05. I Feel So Good
06. Catfish

Links in comments.

Live, Rory Gallagher, Taste

Gryphon – Gryphon (1973) (@320)

06 Mar 2007

Thanks to “Illiterate Moron” :) for the better quality rips.

(Review from wikipedia, progarchives.com)

Gryphon were a British progressive rock band of the 1970s, notable for their unusual sound and instrumentation. Multi-instrumentalist Richard Harvey and his fellow Royal Academy of Music graduate Brian Gulland, a woodwind player, began the group as an all-acoustic ensemble that mixed traditional English folk music with medieval and Renaissance influences. Shortly after this, the duo was joined by guitarist Graeme Taylor and Drummer/percussionist David Oberlé.

Their magnificent debut album is very acoustic: the miscellaneous childish but complex medieval and slightly Celtic textures of string and wind instruments really steal the show here! The music is very sophisticated and well synchronized, rather funny and very disciplined. The bassoon and crumhorns make perfect and solid patterns with the acoustic guitars and mandolin. The rare keyboards I have noticed are harpsichord and harmonium if I am correct. There are no bass, and the rare drums are rather replaced by primitive percussions and small bells. There are many not bad lead & backing vocals like Ian Anderson’s ones on the “Rover” track: I think this music does not need such vocals, because they negatively contrast with the delicate and graceful textures. I’m completely transported by the fluid, addictive and catchy second part of the more serious “Unquiet Grave” track. There are no ordinary tracks. The overall style is a bit like Gentle Giant’s Talybont track, without the electric guitars. On the next albums, Gryphon add bass, excellent keyboards and more drums, and they are more progressive rock still with many medieval parts.

Line-up:
- Brian Gulland / bassoon, crumhorns, recorders, keyboards, vocals
- Richard Harvey / recorders, crumhorns, vocals, keyboards, mandolin, guitar
- David Oberlé / drums, percussion, vocals
- Graeme Taylor / guitars, keyboards, recorder, vocals

Track List:
01. Kemp’s Jig (3:07)
02. Sir Gavin Grimbold (2:45)
03. Touch and Go (1:29)
04. Three Jolly Butchers (3:54)
05. Pastime with Good Company (1:31)
06. The Unquiet Grave (5:40)
07. Estampie (4:53)
08. Crossing the Stiles (2:22)
09. The Astrologer (3:12)
10. Tea Wrecks (1:06)
11. Juniper Suite (4:49)
12. The Devil and the Farmer’s Wife (1:55)

Link in comments.

Gryphon

Ufo – No Place to Run (1980) (@320)

06 Mar 2007

(Review from amazon.com)

Late in the seventies, following the release of the Strangers In The Night live album, UFO faced an uncertain future – the group had just lost guitar virtuoso Michael Schenker, arguably their most important member. Schenker had gone off in his own direction to form a new band. UFO decided not to call it a day, and instead got a replacement guitarst named Paul Chapman. Chapman would have some pretty big shoes to fill, rather obviously.

When I heard this album, I was shocked at what I was hearing – and I mean in a good way! A common concensus among many people is that UFO died when Michael Schenker left. One listen to this album and I couldn’t believe how many people had rejected it simply because Michael didn’t play on it. In my opinion, this record is better than some of the Schenker-era albums (not all of them, though). It’s not good enough to be Obsession Part Two, but it’s still damn good. Ufo albums are often good at showing you the band’s diversity and different musical interests, and No Place To Run is no different. From the opening instrumental Alpha Centauri to the American southern-style rock of Mystery Train, the album spares no expense at shelling out rockers that are both diverse and excellent. In the end I think this album is one of the shining jewels in the Ufo crown. Give Paul Chapman a chance, people.

Line-up:
* Phil Mogg – vocals
* Paul Raymond – keyboards, guitar, vocals
* Paul Chapman – lead guitar
* Pete Way – bass
* Andy Parker – drums

Track List:
01. Alpha Centauri
02. Lettin’ Go
03. Mystery Train
04. This Fire Burns Tonight
05. Gone In The Night
06. Young Blood
07. No Place To Run
08. Take It Or Leave It
09. Money Money
10. Anyday

Link in comments.

Paul Chapman, Paul Raymond, Pete Way, Phil Mogg, Ufo

Caravan – If I Could Do It All Over Again, I'd Do It All Over You (1970) (@256)

05 Mar 2007

11 comments

(Review from progarchives.com)

Considering this album was originally released in 1970, it still sounds astonishingly fresh.

The title track was a surprise hit single at the time, but it is not really representative of the band, or indeed the album. The distinctive vocals and Canterbury keyboards are already present, especially on tracks like “And I wish I were stoned/Don’t worry”. Caravan found their direction on this album, and subsequent releases explored a similar vein.

The track “For Richard (etc.)” first appeared on this album. It has of course gone on to become arguably the band’s best known and most popular song, appearing on a plethora of live albums, and being performed (I believe) at every gig they have done since. There is a strong jazz influence on parts of the track, but that never overpowers the prevailing prog structure.

It was only because there were so many other innovative and exciting bands around at the same time, that Caravan never went on to achieve the success they deserved, and that this album undoubtedly warranted. They did enjoy a level of success with subsequent albums such as “In the Land of Grey and Pink”, but this album remains something of a hidden diamond.

Line-up:
- Richard Coughlan / drums, congas, bongos, maracas, finger cymbals
- Pye Hastings / vocals, guitars, claves
- David Sinclair / keyboards
- Richard Sinclair / vocals, bass, tambourine
- Brother James / sax and flute

Track List:
01. If I Could Do It All Over Again, I’d Do It All Over You (3:07)
02. And I Wish I Were Stoned – Don’t Worry (8:21)
03. As I Feel I Die (5:17)
04. With An Ear To The Ground You Can Make It / Martinian / Only Cox / Reprise (9:56)
05. Hello Hello (3:46)
06. Asforteri 25 (1:21)
07. Can’t Be Long Now / Françoise / For Richard / Warlock (14:18)
08. Limits (1:34)
09. A Day In The Life Of Maurice Haylett (Bonus) (5:40)
10. Why? (And I Wish I Were Stoned) (Bonus) (4:22)
11. Clipping The 8th (Hello Hello) (Bonus) (3:13)
12. As I Feel I Die (Bonus) (4:39)

Links in comments.

Caravan, Dave Sinclair, Richard Sinclair

Ufo – Strangers in the Night (1979) (@320)

05 Mar 2007

(Review from allmusic.com)

Unfortunately, this concert album is often overlooked when discussions of the great live rock albums of the ’70s arise. UFO’s Strangers in the Night deserves to be right up there with Kiss’ Alive! and Thin Lizzy’s Live and Dangerous, based on the excitement the group and its audience generates and due to the quality of the hard rock compositions. This is a band at its peak, with its prime lineup (led by German guitar-monger Michael Schenker) and all of its best songs. The group paces itself at the beginning, opting for some lesser material, but begins to hit a stride on the early track “Doctor Doctor.” “Mother Mary” and “This Kids” combine all the elements of Led Zeppelin’s best rock (concise riffs, mammoth drumming, etc.), while the introduction to “Love to Love” displays the talent of the instrumentalists. “Lights Out” is probably the band’s best-known song, while the guitar solo-soaked “Rock Bottom” was an oft-requested fan favorite. UFO closes their set with the let-the-good-times-roll singalong “Too Hot to Handle” and the then-state-of-the-art heavy metal of “Let It Roll.” The group may have been at its peak at the time of Strangers in the Night, but Schenker had a falling out with singer Phil Mogg (whose vocals bear a resemblance at times to AC/DC’s Bon Scott) soon after the album’s completion, and promptly left UFO.

Line-up:
- Phil Mogg – Vocals
- Michael Schenker – Guitar
- Pete Way – Bass
- Andy Parker – Drums
- Paul Raymond – Guitar, Keyboards, Vocals

Track List:
01. Natural Thing – 3:57
02. Out In The Street – 5:07
03. Only You Can Rock Me – 4:08
04. Doctor Doctor – 4:42
05. Mother Mary – 3:25
06. This Kids – 5:11
07. Love To Love – 7:58
08. Lights Out – 5:23
09. Rock Bottom – 11:08
10. Too Hot To Handle – 4:26
11. I’m A Loser – 4:13
12. Let It Roll – 4:48
13. Shoot Shoot – 4:07

Links in comments.

Live, Michael Schenker, Paul Raymond, Pete Way, Phil Mogg, Ufo

Taste – Irish Werewolf (Bootleg) (@160)

05 Mar 2007

Bootleg recorded live in Stadhalle, Basil, Switzerland in February 1970.

Line-up:
* Rory Gallagher (Lead Guitar/Harp/Vocals)
* John Wilson (Drums)
* Richard McCracken (Bass Guitar)

Track List:
01. Morning Sun
02. Sugar Mama
03. I’ll Remember
04. Walkin’ Blues
05. Eat My Words
06. I Feel So Good
07. Railway And Gun
08. What’s Going On
09. Catfish
10. Same Old Story
11. Pontiac Blues

Link in comments.

Live, Rory Gallagher, Taste

Kopruler – Iki Dunya (2006) (@256)

04 Mar 2007

(Translation from Label)

Kopruler, combines two worlds — classical western music and music from Turkish geography in a harmony, forming an excellent bridge made of musical notes between east and west.

Melodies of classical music geniuses are intertwined with contributions of virtuoses Erkan Ogur, Okay Temiz, Halil Karaduman, Ercan Irmak. Arrangements of Gurol Agirbas, surprisingly transforms these priceless tracks to a world music.

Line-up:
* Erkan Ogur / E Bow-Cura-Fretless Guitar (3-5)
* Ercan Irmak / Reed Flute (Ney) (8-10)
* Almanyal1 Suat / Percussion (9)
* Okay Temiz / Percussion (9)
* Halil Karaduman / Zither (Kanun) (1-7)
* Ahmet Meter / Zither (Kanun) (2)
* Ahmet Koc / Baglama (An Instrument with Three Double Strings) (4)
* Turay Dinkeyen / Fiddle (2)
* Gundem / Fiddle (2)
* Yildiray Guz / Laute (Ud) (1)
* Derya Turkan / Kemençe (A Small Three-Stringed Violin) (5)
* Metin Cakir / Clarinet (2)
* Sukru Kabac1 / Clarinet (6)
* Savas / Clarinet (9)
* Murat Samsunlu / Cümbüş (A Mandolin with a Metal Body) (2)
* Sami Ozer / Vocals (1-4)
* Goknil Gokmen / Rhythm (9-10)
* Gurol Agirbas / Keyboards, Bass

Track List:
01. Four seasons – Spring – Antonio Ludio Vivaldi
02. Hungarian Dances – Johannes Brahms
03. Pavane – Gabriel Urbain Foure
04. Carmina Burina – Carl Orff
05. Adagio – Tomaso Giovanni Albinani
06. Concerto de Aranjuez – Jooquin Codigo
07. Carmen – Georges Bizet
08. Bolero – Mourice Ravel
09. Eine Kleine Nacht Musik – Wolfgang Amadeus Mozart
10. From The New World – Antonio Dvorak

Link in comments.

Turkish

Ufo – Obsession (1978) (@320)

04 Mar 2007

12 comments

(Review from amazon.co.uk)

Ufo had finally fulfilled their potential with 1977′s exceptional hard rock tour de force, “Lights Out”, and released another prime slice of heavy metal just one year later, Obsession. While most ’70s Euro-metal bands such as Black Sabbath, Judas Priest, etc., dealt largely with doom and gloom, Ufo proved to have more in common with such US melodic hard rockers as Van Halen.

Obsession proved to be Ufo’s most successful studio album ever, on the strength of such hard rockinghighlights as “Only You Can Rock Me” and “Ain’t No Baby”. Even though guitarist Michael Schenker again pushes the songsto the limit here with his superb playing, Obsession would prove to be his final studio album with Ufo. After just one more release, the classic live set Strangers in the Night, Schenker left to briefly rejoin the Scorpions, before launching the Michael Schenker Group.

Line-up:
* Phil Mogg – Vocals
* Paul Raymond – Guitar, Keyboards, Vocals
* Michael Schenker – Guitar
* Pete Way – Bass
* Andy Parker – Drums

Track List:
01. Only You Can Rock Me (Mogg, Schenker, Way) – 4:08
02. Pack It Up (And Go) (Mogg, Schenker, Way) – 3:14
03. Arbory Hill (Schenker) – 1:11
04. Ain’t No Baby (Mogg, Way) – 3:58
05. Lookin’ Out For No. 1 (Mogg, Way) – 4:34
06. Hot ‘N’ Ready (Mogg, Schenker) – 3:16
07. Cherry (Mogg, Way) – 3:34
08. You Don’t Fool Me (Mogg, Parker, Way) – 3:23
09. Lookin’ Out For No. 1 (Reprise) (Way) – 1:14
10. One More For The Rodeo (Mogg, Way) – 3:45
11. Born To Lose (Mogg, Schenker, Way) – 3:31

Link in comments.

Michael Schenker, Paul Raymond, Pete Way, Phil Mogg, Ufo

Taste – On the Boards (1970) (@256)

04 Mar 2007

(Review from allmusic.com)

The second and final studio recording by Irish guitarist Rory Gallagher’s neo-Cream trio reins in the playing to focus more on songwriting. The material is a virtual grab bag of blues-rock styles, moving from driving rockers (“What’s Going On,” “I’ll Remember”) and basic boogies (“Morning Sun,” “If I Don’t Sing I’ll Cry”) to a bottleneck blitz (“Eat My Words”) and a pair of acoustic ballads. There’s a pronounced jazzy tinge to his spiky guitar and never-again-heard alto sax on the slow blues of the title track and “It’s Happened Before, It’ll Happen Again,” the latter giving the Richard McCracken-John Wilson rhythm section a chance to stretch out and swing fluidly. The lyrics, never a Gallagher strong suit, are pretty simplistic, but the chorus hooks do stick. It could all have added up to one big eclectic mess, but for the often one-dimensional, sometimes ham-fisted Gallagher, the laudable variety turns On the Boards into the high point of his recording career.

Line-up:
* Rory Gallagher – Guitars, vocals, saxophone, harmonica
* Richard McCracken – Bass
* John Wilson – Drums

Track List:
01. What’s Going On
02. Railway And Gun
03. It’s Happened Before, It’ll Happen Again
04. If The Day Was Any Longer
05. Morning Sun
06. Eat My Words
07. On The Boards
08. If I Don’t Sing I’ll Cry
09. See Here
10. I’ll Remember

Link in comments.

Rory Gallagher, Taste

Grateful Dead – Aoxomoxoa (1969) (@256)

03 Mar 2007

(Review from allmusic.com, amazon.com, wikipedia)

Rock’s longest, strangest trip, the Grateful Dead were the psychedelic era’s most beloved musical ambassadors as well as its most enduring survivors, spreading their message of peace, love, and mind-expansion across the globe throughout the better part of three decades. The object of adoration for popular music’s most fervent and celebrated fan following — the Deadheads, their numbers and devotion legendary in their own right — they were the ultimate cult band, creating a self-styled universe all their own; for the better part of their career orbiting well outside of the mainstream, the Dead became superstars solely on their own terms, tie-dyed pied pipers whose epic, free-form live shows were rites of passage for an extended family of listeners who knew no cultural boundaries.

The Grateful Dead’s third studio album “Aoxomoxoa” serves as a bridging gap between the band’s psychedelic experiments and the harmony-laced folk-rock they would adopt a few years later. The album still remains a favorite amongst Deadheads and includes concert staples such as “Saint Stephen”, “China Cat Sunflower” and “Cosmic Charlie”. There are also some fun sing-along moments such as the memorable “Dupree’s Diamond Blues” and “Doin’ That Rag”. “Rosemary” and “Mountains of the Moon” are beautiful acoustic pieces that fuse folk and baroque influences into the mix. Then, there’s the infamous “What’s Become Of The Baby” which is nothing but 8-minutes worth of Jerry Garcia chanting with vast amounts of echo plastered on his voice. Depending on who you talk to, this track is either the Dead’s finest studio moment or their absolute worst. Either way, the track certainly is different.

In Grateful Dead history, Aoxomoxoa had a number of firsts connected with it. It is the first album the band recorded in or near their hometown of San Francisco (at Pacific Recording Studio in nearby San Mateo, and at the similarly named Pacific High Recording Studio in San Francisco proper) It is the first studio release to include pianist Tom Constanten as a permanent member. It was also the first to have lyricist Robert Hunter as a full-time contributor to the band, thus initiating the Jerry Garcia/Robert Hunter songwriting partnership that endured for the rest of the band’s existence. It was also the first time the band would put emphasis on acoustic songs, such as “Mountains of the Moon” and “Dupree’s Diamond Blues.” Lesh played acoustic bass for the first time, commenting that “the fun part of that was trying to play in tune with no frets to guide my fingers, just like a violin.

Track List:
* Jerry Garcia – guitars, vocals
* Bob Weir – guitars, vocals
* Tom Constanten – keyboards
* Ron “Pigpen” McKernan – organ
* Phil Lesh – basses, vocals
* Bill Kreutzmann – percussion
* Mickey Hart – percussion

Track List:
01. St. Stephen – 4:26
02. Dupree’s Diamond Blues – 3:32
03. Rosemary – 1:58
04. Doin’ That Rag – 4:41
05. Mountains of the Moon – 4:02
06. China Cat Sunflower – 3:40
07. What’s Become Of The Baby – 8:12
08. Cosmic Charlie – 5:29

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Grateful Dead, Jerry Garcia

Ufo – Lights Out (1977) (@320)

03 Mar 2007

(Review from allmusic.com)

Despite a few generic moments, Lights Out is probably the best studio document of what elevated UFO above the ’70s hard rock fray. Within a Euro-blues framework, the classic lineup that lasted from Phenomenon through Strangers in the Night incorporated challenging dynamics, epic balladry, and a more than occasional sensitivity. On Lights Out, all three of these traits come together in powerful fashion, most notably on the space rocker-cum-ballad “Love to Love,” where a ridiculously heavy intro gives way to flourishing poetics. “Gettin’ Ready” and an oddball Love cover, “Alone Again Or,” also showcase the band’s sensitive ambiguities, never compromising the group’s overarching hard edge. Not enough can be said either about UFO’s standout individual performances, particularly Phil Mogg’s street level vocals, which no doubt greatly influenced Joe Elliot and Paul Dianno. Then, of course, there’s the matter of Michael Schenker’s deservedly lauded lead guitar. Expressive and bluesy with a tone nearing perfection, even the more pedestrian tunes are made worthwhile due to a Schenker solo. Lights Out holds up well; its subtleties are worth mentioning because the band always make it a point to rock hard and the playing is always on. Almost completely overlooked stateside, Lights Out is a lost gem.

Line-up:
* Phil Mogg – Vocals
* Michael Schenker – Guitar
* Pete Way – Bass
* Andy Parker – Drums

Track List:
01. Too Hot to Handle – 3:37
02. Just Another Suicide – 4:58
03. Try Me – 4:49
04. Lights Out – 4:33
05. Gettin’ Ready – 3:46
06. Alone Again Or – 3:00
07. Electric Phase – 4:20
08. Love to Love – 7:38

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Michael Schenker, Pete Way, Phil Mogg, Ufo

Taste – Taste (1969) (@256)

03 Mar 2007

(Review from starling.rinet.ru, wikipedia)

In 1968 Taste began performing in the UK where the original lineup split up. The new lineup formed with Richard McCracken on bass and John Wilson on drums. The new Taste moved permanently to London where they signed with the record label Polydor. While with Polydor, Taste began touring the United States and Canada with the British supergroup Blind Faith.

In 1969, they released their debut album, and it hardly made any definite impact anywhere, which is sad, since it’s arguably their best record – maybe On The Boards is more creative, but it certainly lacks the kick-butt energy that Rory delivers in spades on this album. About half of it is traditional blues covers, and the other half is penned by Gallagher himself. And all of it is highly entertaining and delivered with enough ferocity to make you go wow! Because Rory doesn’t go treading the blues with reverence – he plays it as dirty, loud and (sometimes) fast as possible: if there is such a thing as blues-punk, this is it.

Line-up:
* Rory Gallagher – Guitars, vocals, saxophone, harmonica
* Richard McCracken – Bass
* John Wilson – Drums

Track List:
01. Blister on the Moon
02. Leaving Blues
03. Sugar Mama
04. Hail
05. Born on the Wrong Side of Time
06. Dual Carriageway Pain
07. Same Old Story
08. Catfish
09. I’m Moving On

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Rory Gallagher, Taste

Ufo – No Heavy Petting (1976) (@320)

02 Mar 2007

(Review from amazon.com)

If you’ve heard any recordings at all from Michael Schenker’s days with UFO, you know that there is no such thing as a weak song from these days of the band. And on No Heavy Petting, that remains true. The classic UFO hit rocker Natural Thing kicks things off, and it’s immediately followed up by another UFO classic, the slow-paced I’m A Loser (a different song from the Beatles one.) And sure enough, the good stuff doesn’t stop after just the two tracks. Once again, the band beautifully succeeded in creating a diverse classic hard rock album that fuses hard rockers with incredible ballads. It’s amazing just how good the band succeeds at doing ballads; you wouldn’t expect a classic hard rock group to do them so well! There isn’t much else to say, except that this album rules.

Line-up:
* Phil Mogg – vocals
* Andy Parker – drums
* Danny Peyronel – keyboards
* Michael Schenker – guitar
* Pete Way – bass

Track List:
01. Natural Thing
02. I’m A Loser
03. Can You Roll Her
04. Belladonna
05. Reasons Love
06. Highway Lady
07. On With The Action
08. A Fool In Love
09. Martian Landscape

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Michael Schenker, Pete Way, Phil Mogg, Ufo

Taste – Take It Easy Baby (1967) (@320)

02 Mar 2007

(Info from wikipedia, allmusic.com, lastoftheindependents.com)

Taste was formed in Cork, Ireland in 1966 as a blues-rock trio. They experienced reasonable success in the U.K. in the late ’60s and early ’70s. Taste was molded very much on the model of Cream, adding some folk, pop, and jazz elements to a blues-rock base, and featuring a virtuosic guitarist. In their early years Taste toured in Hamburg and Ireland before becoming regulars at Maritime Hotel, an R&B club in Belfast, Northern Ireland.

Take It Easy Baby was taken from their first demo sessions recorded in July 1967. According to linear notes, more tracks were recorded, but they were accidentally erased. These were never originally intended for release, but since Rory Gallagher became well known, someone scrounged in the vaults until they found something they could release. All the tracks were recorded live without any overdubbing.

Line-up:
* Rory Gallagher – lead guitar, mouth organ, vocals
* Eric Kitteringham – bass
* Norman Damery – drums

Track List:
01. Wee Wee Baby
02. How Many More Years
03. Take It Easy Baby
04. You’ve Got To Pay
05. Worried Man
06. Norman Invasion
07. Pardon Me Mister

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Rory Gallagher, Taste

Morphine – The Night (2000) (@192)

02 Mar 2007

(Review from allmusic.com, wikipedia)

On July 3, 1999 singer-bassist-frontman Mark Sandman collapsed on stage at the Giardini del Principe in Palestrina, Italy (near Rome). He was soon pronounced dead of a heart attack and Morphine immediately disbanded.

Many Morphine fans assumed that Like Swimming would be the band’s swansong — thankfully, it wasn’t. The Boston trio had completed their fifth album just prior to Sandman’s untimely passing, entitled The Night, and it’s definitely an improvement over its predecessor.

Whereas many of the songs on their previous album sounded unfinished and rushed, The Night sounds like a fully realized work. In fact, the band took time to focus on expanding their minimalist sound to include other instruments (cello, violin, upright bass, oud, organ) and new approaches (female backup singers, string arrangements), while Sandman produced the album himself. Highlights include the ghostly “Souvenir,” the Middle Eastern sounds of “Rope on Fire,” the sultry album-opening title track, and the up-tempo (by Morphine standards, anyway) “Top Floor, Bottom Buzzer.” The Night shows that Morphine was just entering a new phase of their career, and it’s a shame that Mark Sandman is no longer with us to follow through on this promising new direction.

Track List:
01. The Night – 4:50
02. So Many Ways – 4:01
03. Souvenir – 4:40
04. Top Floor, Bottom Buzzer – 5:44
05. Like a Mirror – 5:26
06. A Good Woman Is Hard to Find – 4:14
07. Rope on Fire – 5:36
08. I’m Yours, You’re Mine – 3:46
09. The Way We Met – 2:59
10. Slow Numbers – 3:58
11. Take Me With You – 4:54

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Morphine

Magna Carta – Seasons (1970) (@256)

01 Mar 2007