Archive for June, 2007

(Review from progarchives.com)

After the enormous commercial success of Bursting at the Seams, the musical differences in the band between Cousins and Hudson and Ford became irreconcilable, resulting in fragmentation. Blue Weaver left to become a Bee Gee and Hudson and Ford formed their own, more commercial outfit. Lambert and Cousins recruited a new rhythm section in ex-Stealers Wheel drummer Rod Coombes and respected session bassist Chas Cronk, completing the line up with ex-Renaissance keyboards wizard John Hawken. At first, Cousins had difficulty getting him to play other keyboards than piano, but eventually he warmed to the mellotron, Hammond and moog. This album is characterised by some wonderful, mellotron drenched songs and glorious synth. It’s a sad album, with a theme of love and abandonment. It also marks the final abandonment of their folk influences and emergence as a full blown progressive band.

“Hero and Heroine” is a complete album, which flows perfectly from start to finish.

Autumn, a three part track, kicks off the album with the instrumental Heroine’s Theme, a slow, synth/ bass/drum intro, followed by swathes of sweeping mellotron behind a guitar line. It softens into Deep Summers Sleep, with a Cousins lyric lamenting the end of summer, then changes abruptly to a Lambert-fronted epic with a glorious chorus, melodic guitar solo and the curtain of mellotron. Delicious.

Hero and Heroine features Cousins at his most dramatic, with crashing mellotron and epic guitar over a lyric about desertion. It flows into Midnight Sun, a gentle, beautiful song about hopelessness. Out in the Cold is an erotic song about passionate love and loss. Round and Round, with its insistent synthesiser riff, is about suicide and features Cousans and Lambert on top form. Lay a Little Light on Me is about seeking a way out of depression and lamenting the failure of religion to provide answers. Hero’s theme concludes the album with a repetitive, rousing, motif and chorus.

The musicianship is consistently good, the rhythm section blending effortlessly into the background yet underpinning the songs perfectly whilst the three lead instrumentalists work their magic.

Line-up:
- Dave Cousins / vocals, acoustic & electric guitars
- Dave Lambert / vocals, acoustic & electric guitars
- John Hawken / piano, electric piano, organ, Mellotron, Synthesizer
- Chas Cronk / bass Synthesizer, vocals
- Rod Coombes / drums, Percussion, Vocals

Track List:
01. Autumn: Heroine’s Theme, Deep Summer’s Sleep, The Winter Long (8:26)
02. Sad Young Man (4:07)
03. Just Love (3:40)
04. Shine On Silver Sun (2:46)
05. Hero And Heroine (3:20)
06. Midnight Sun (3:12)
07. Out In The Cold (3:17)
08. Round And Round (4:44)
09. Lay A Little Light On Me (3:27)
10. Hero’s Theme (2:27)
11. Still Small Voice (Bonus)
12. Lay A Little Light On Me (Bonus early version)

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John Hawken, Strawbs

Clash – London Calling (1979) (@256)

30 Jun 2007

(Review from allmusic.com)

Clash were fiery and idealistic, charged with righteousness and a leftist political ideology. From the outset, the band was musically adventurous, expanding its hard rock & roll with reggae, dub, and rockabilly among other roots musics. Furthermore, they were blessed with two exceptional songwriters in Joe Strummer and Mick Jones, each with a distinctive voice and style. The Clash copped heavily from classic outlaw imagery, positioning themselves as rebels with a cause.

Their previous album, for all of its many attributes, was essentially a holding pattern for the Clash, but the double-album London Calling is a remarkable leap forward, incorporating the punk aesthetic into rock & roll mythology and roots music. Before, the Clash had experimented with reggae, but that was no preparation for the dizzying array of styles on London Calling. There’s punk and reggae, but there’s also rockabilly, ska, New Orleans R&B, pop, lounge jazz, and hard rock; and while the record isn’t tied together by a specific theme, its eclecticism and anthemic punk function as a rallying call. While many of the songs — particularly “London Calling”, “Spanish Bombs,” and “The Guns of Brixton” — are explicitly political, by acknowledging no boundaries the music itself is political and revolutionary. But it is also invigorating, rocking harder and with more purpose than most albums, let alone double albums. Over the course of the record, Joe Strummer and Mick Jones (and Paul Simonon, who wrote “The Guns of Brixton”) explore their familiar themes of working-class rebellion and antiestablishment rants, but they also tie them in to old rock & roll traditions and myths, whether it’s rockabilly greasers or “Stagger Lee,” as well as mavericks like doomed actor Montgomery Clift. The result is a stunning statement of purpose and a great rock & roll album.

Line-up:
* Joe Strummer – vocals, rhythm guitar, piano
* Mick Jones – guitar, vocals, piano
* Paul Simonon – bass, vocals
* Topper Headon – drums, percussion

Track List:
01. London Calling – 3:19
02. Brand New Cadillac – 2:08
03. Jimmy Jazz – 3:54
04. Hateful – 2:44
05. Rudie Can’t Fail – 3:29
06. Spanish Bombs – 3:18
07. The Right Profile – 3:54
08. Lost in the Supermarket – 3:47
09. Clampdown – 3:49
10. The Guns of Brixton – 3:09
11. Wrong ‘Em Boyo – 3:10
12. Death or Glory – 3:54
13. Koka Kola – 1:47
14. The Card Cheat – 3:49
15. Lover’s Rock – 4:03
16. Four Horsemen – 2:55
17. I’m Not Down – 3:06
18. Revolution Rock – 5:33
19. Train in Vain (Stand by Me) – 3:10

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Who – It's Hard (1982) (@256)

29 Jun 2007

(Review from rollingstone.com)

“It’s Hard” is a strong affirmation of this band’s ability to reach millions with powerful rock & roll and trenchant, galvanizing politics.

The key to the album is “I’ve Known No War”, a song that could become an anthem to our generation much the way “Won’t Get Fooled Again” did a decade ago. “I’ve Known No War” is one conscientious objector’s statement of defiant opposition, tempered by the realities of the present day. To wit, that a nuclear war, despite our best pacifistic inclinations, is in the hands of a few men who will simply decide to push a button, and that the ensuing annihilation will be sudden, certain and eternal: “War–I’ve known no war/I’ll never know war/And if I ever know it/The glimpse will be short/Fireball in the sky.” Roger Daltrey gives a stirring reading of the lyrics, conveying both thoughtful speculation and outright anger. Just as eloquent is Townshend’s guitar playing, which suggests deep reserves of humanity while telegraphing the iconographic dread of holocaust.

The entire album is vibrant with the palpable energy of rekindled bonds and rediscovered group values. Daltrey sings in as natural a voice as he’s ever used, employing his blustery growl more sparingly and, hence, effectively. Entwistle has contributed three numbers that are quintessential Who songs, not merely the darkly witty curios he’s generally known for. And Jones has at last found his niche in the Who; in fact, his newfound assertiveness has toughened up the band’s sound to a pitch it hasn’t had since Keith Moon began losing steam.

Longtime fans will no doubt approach reverie when they hear “Athena”, the single and album opener. The trademark Who intro of roiling acoustic guitar, drums and ping-ponging bass glides into one of Daltrey’s most playful vocals. And when Townshend takes over for the “just a girl, just a girl” chorus, you know you’re in Who heaven. But then the going gets tough, and topical: It’s Hard is full of relentless, densely textured songs that excoriate private failures and the drift of the world at large toward lawlessness and ruin. Throughout, Townshend seeks to define the actions that will accomplish something beyond well-intentioned rhetoric.

Line-up:
- Roger Daltrey – vocals, guitar
- Pete Townshend – guitars, keyboards, synthesizer, vocals
- John Entwistle – bass guitar, French horn, synthesizer, vocals
- Kenney Jones – drums

Track List:
01. Athena
02. It’s Your Turn
03. Cook’s Country
04. It’s Hard
05. Dangerous
06. Eminence Front
07. I’ve Known No War
08. One Life’s Enough
09. One Day At A Time
10. Why Did I Fall For That
11. Man Is A Man
12. Cry If You Want
13. It’s Hard (Bonus Live)
14. Eminence Front (Bonus Live)
15. Dangerous (Bonus Live)
16. Cry If You Want (Bonus Live)

Links in comments.

John Entwistle, Pete Townshend, Roger Daltrey, Who

Yatha Sidhra – A Meditation Mass (1974) (@256)

29 Jun 2007

(Info from progarchives.com)

After several vain attempts in many bands, the brothers Rolf and Klaus Fichter finally found in 1973 their own musical identity. At this time the band original name Brontosaurus changes to Yatha Sidhra, a musical name which is really suitable for the new musical orientation taken by the two musicians. Particularly attentive to ethnic and meditative influences in popular music, they began to work on a long & epic piece called “A Meditation Mass” (under the influence of the famous Achim Reichel, the virtual member of the band who produces the album in 1974).

The first intention was to create a dreamy musical landscape where the Moog synth, the flute & traditional “percussive” instruments play an important part. Seen as a concept album, “A Meditation Mass” is almost exclusively instrumental. A long suite divided in two themes with two variations for each one. A beautiful and ecstatic musical journey. Their sound oscillates between “pastoral” folk music, spacey rock with the addition of discreet jazzy accents.

After this impressive work, Yatha Sidhra is dissolved.

Line-up:
- Rolf Fichter / moog synth, Indian flute, vibes, electric piano, electric guitar, vocals
- Klaus Fichter / drums, percussion
- Matthias Nicolai / electric 12-string guitar, bass
- Peter Elbracht / flute

Track List:
01. Part 1 (17:45)
02. Part 2 (3:13)
03. Part 3 (12:00)
04. Part 4 (7:16)

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Family – BBC Radio Volume 1 (1968-69) (@256)

29 Jun 2007

(Review from progarchives.com)

Family played very original and wayward progressive rock featuring the distinctive vocals from Roger Chapman. The line-up on this album (recordings from 68-69) is Roger Chapman (vocals, saxophone, harmonica and percussion), Rick Grech (bass, violin, cello and vocals), Jim King (saxophones, harmonica, vocals, tin-whistle and piano), Rob Townsend (drums and percussion) and John “Charlie” Whitney (guitar, keyboards, Mellotron and sitar). Later Rick Grech would be replaced by John Weider (bass, violin and guitars) when he decided to join supergroup Blind Faith (featuring Clapton, Stevie Winwood and Ginger Baker). This line-up plays four songs on this album that contains all previously unreleased compositions.

In general Family sounds melodic and very alternating with lots of musical styles: from folky with violin, acoustic guitars or banjo and moving bluesrock with saxophone and harmonica to progrock with organ and some Mellotron and propulsive rock with fiery electric guitar. That ‘hot rocking side’ delights me most like the tracks Second Generation Woman, Love Is A Sleeper and the Cream-inspired I Sing ‘Um The Way I Feel (in which John Whitney almost levels ‘Guitar-God’ Eric Clapton!). The rhythm-section plays fluent, John Whitney is great and the vocals from Roger Chapman top this unique progrock but you have to be up to his many vibrations and cynical undertone. Another good song is The Cat And The Rat featuring catchy folk-rock with swirling violin work from John Weider. A certain John Lennon said about Family in the late sixties “this is the best I have heard in years!”. A band to discover!

Line-up:
- Roger Chapman / vocals, tenor saxophone, harmonica, percussion
- Rick Grech / bass, violin, cello, vocals (except tracks 13-16)
- Jim King / Tenor & Soprano saxophones, harmonica, vocals, tin whistle, piano
- Rob Townsend / drums, percussion
- John ‘Charlie’ Whitney / guitars, keyboards, mellotron, sitar
- John Weider / bass, violin, guitars (13-16)

Track List:
01. See Through Windows
02. The Weaver’s Answer
03. Breeze
04. Second Generation Woman
05. Observations
06. Dim
07. Holding The Compass
08. The Procession
09. How Hi The Li
10. Love Is A Sleeper
11. I Sing Em The Way I Feel
12. A Song For Me
13. Drowned In Wine
14. Wheels
15. No Mule’s Fool
16. The Cat And The Rat

Links in comments.

Charlie Whitney, Family, Live, Ric Grech, Roger Chapman

Who – Face Dances (1981) (@256)

29 Jun 2007

(Review from allmusic.com)

The Who began touring later in 1979, but the tour’s momentum was crushed when 11 attendees at the group’s December 3, 1979, concert at Cincinnati’s Riverfront Coliseum were trampled to death in a rush for choice festival seating. The band wasn’t informed of the incident until after the concert was finished, and the tragedy deflated whatever goodwill they had.

Following the Cincinnati concert, the Who slowly fell apart. Townshend became addicted to cocaine, heroin, tranquilizers, and alcohol, suffering a near-fatal overdose in 1981. Meanwhile, Entwistle and Daltrey soldiered on in their solo careers. The band reconvened in 1981 to record and release Face Dances, their first album since Moon’s death.

Without Keith Moon, the Who may have lacked the restless firepower that distinguished their earlier albums, but Face Dances had some of Pete Townshend’s best, most incisive compositions since Quadrophenia.

Line-up:
* Roger Daltrey – vocals, harmonica
* Pete Townshend – guitars, keyboards, vocals
* John Entwistle – bass guitar, vocals
* Kenney Jones – drums
* John “Rabbit” Bundrick – keyboards, synthesizer

Track List:
01. You Better You Bet – 5:36
02. Don’t Let Go the Coat – 3:43
03. Cache Cache – 3:57
04. The Quiet One (Entwistle) – 3:09
05. Did You Steal My Money – 4:10
06. How Can You Do It Alone – 5:26
07. Daily Records – 3:27
08. You (Entwistle) – 4:30
09. Another Tricky Day – 4:55
10. I Like Nightmares (Bonus) – 3:09
11. It’s In You (Bonus) – 4:59
12. Somebody Saved Me (Bonus) – 5:31
13. How Can You Do It Alone (Bonus Live) – 5:24
14. The Quiet One (Bonus Live) – 4:28

Links in comments.

John "Rabbit" Bundrick, John Entwistle, Pete Townshend, Roger Daltrey, Who

Rush – Feedback (2004) (@256)

28 Jun 2007

(Review from progarchives.com)

Feedback is a strong collection of covers, a ‘divertissement’ for Rush, a way to pay homage to those great bands of the late ’60s that provided the primary inspiration for the fledgling prog legends.

Without a doubt, the real protagonist of this record is Alex Lifeson with his gutsy, powerful guitar playing – this is guitar-based, classic rock, after all, and what better opportunity for one of rock’s underrated guitarists to show his chops? Outstanding tracks include Blue Cheer’s “Summertime Blues” (originally by Eddie Cochran, but made famous by the seminal American heavy metallers), fellow Canadian Neil Young’s “Mr Soul”, The Who’s “The Seeker” and Robert Johnson’s celebrated blues “Crossroads”; not to forget the politically-charged “For What It’s Worth”, with its rousing final chorus and great vocals by the increasingly excellent Geddy Lee.

The colourful, hippie-style cover artwork and the freshness of the band’s approach to these classics make this a quite endearing record . It shows quite clearly (in spite of anything the cynics can say) that the band had a lot of fun playing and recording “Feedback”. Not essential, perhaps, but very entertaining indeed. Few Rush fans will feel let down by Feedback.

Line-up:
- Geddy Lee / bass, guitar, guitar (bass), guitar (classical), keyboards, vocals
- Alex Lifeson / guitar, guitar (12 string), guitar (acoustic), guitar (electric)
- Neil Peart / drums, percussion

Track List:
01. Summertime Blues (3:52)
02. Heart Full Of Soul (2:52)
03. The Seeker (3:30)
04. For What It’s Worth (3:27)
05. Shapes Of Things (3:51)
06. Mr. Soul (2:53)
07. Crossroads (3:16)
08. Seven And Seven Is (3:27)

Link in comments.

Geddy Lee, Rush

Who – Kids Are Alright (Live 1965-78) (@256)

28 Jun 2007

(Info from allmusic, wikipedia)

Since Moon was such an integral part of the Who’s sound and image, the band had to debate whether continuing on was a wise move. Eventually, they decided to continue performing, but all three surviving members would later claim that they felt the Who ended with Moon’s death. Hiring Kenny Jones, a former member of the Small Faces, as Moon’s replacement, as well as keyboardist John “Rabbit” Bundrick (ex-Free) to round out the lineup, the Who began working on new material in 1979.

Before they released a new record, the live documentary “The Kids Are Alright”. The film was primarily the three-year work of American fan Jeff Stein who, despite having no previous experience in moviemaking, convinced the band to support the project and served as the film’s director.

An album was also released as a soundtrack that contains the songs that appeared in the movie except for the performances of “Happy Jack” was a leftover from the Live at Leeds sessions.

The album cover is probably the best portrait of the Who, also one of the iconic images of rock history.

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

Track List:
01. My Generation (1967)
02. I Can’t Explain (1965)
03. Happy Jack (1970)
04. I Can See for Miles (Single mix 1967)
05. Magic Bus (Mono single mix 1968)
06. Long Live Rock (1972)
07. Anyway, Anyhow, Anywhere (1965)
08. Young Man Blues (1969)
09. My Wife (1977)
10. Baba O’ Riley (1978)
11. A Quick One While He’s Away (1968)
12. Tommy Can You Hear Me (1969)
13. Sparks (1969)
14. Pinball Wizard (1969)
15. See Me, Feel Me (1969)
16. Join Together/Road Runner/My Generation Blues (Medley 1975)
17. Won’t Get Fooled Again (1978)

Links in comments.

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

Aziza Mustafa Zadeh – Dance of Fire (1995) (@320)

27 Jun 2007

(Review from fly.co.uk)

Aziza comes from an exceptionally musical family. Her mother, who goes everywhere with her, was an outstanding folk singer before giving that up to manage her daughter. Her father is known as the architect of jazz in Azerbaijan. She started playing the piano when she was 3 years old, gave her first concerts with 14, and won her first international prizes with 17.

Aziza is an enchantress. Her music covers every tempo, her rhythms range from the simplest 4/4s to the most complex treasures of the music of her homeland, Azerbaijan. And yet not for a single moment does she release her hold on you or allow the mist to clear while she plays.

Perhaps it is this uncommon self-assuredness that led to recording with a great many fusion greats assembled to play her compositions. Al Di Meola plays guitar, Bill Evans, sax. Stanley Clarke, no less, takes up the bass while Omar Hakim drums. An astonishing group of musicians to be playing on a 25 year old’s album.

The album chrysalises much of what Aziza is about — a fusion of jazz and mugam (a traditional improvisational style of Azerbaijan) with classical and avant-garde influences.

Line-up:
* Aziza Mustafa Zadeh – Grand piano and vocals
* Al Di Meola – Acoustic guitar
* Bill Evans – Soprano and tenor sax
* Stanley Clarke – Acoustic and electric basses
* Kai E. Karpeh De Camargo – 5-string electric basses
* Omar Hakim – Drums

Track List:
01. Boomerang – 4:24
02. Dance of Fire – 6:02
03. Sheherezadeh – 2:52
04. Aspiration – 2:23
05. Bana Bana Gel (Bad Girl) – 12:32
06. Shadow – 5:54
07. Carnival – 7:29
08. Passion – 7:10
09. Spanish Picture – 9:00
10. To Be Continued – 5:59
11. Father – 5:57

Links in comments.

Aziza Mustafa Zadeh, Sakalli's Pick

Who – Who Are You (1978) (@256)

27 Jun 2007

(Info from wikipedia, amazon)

There was a three-year hiatus between “Who Are You” and The Who’s previous album, “By Numbers”. The band was drifting apart during this period, due to the band members working on various solo projects, Moon sinking deeper into alcohol and drug abuse, and general exhaustion from the gruelling tour schedule the band had kept over the decade.

By the end of the ’70s, the classic line-up of the Who was reaching the end of its tether. “Who Are You” can be seen as something of a swan song for the spirit that ignited the rock & roll juggernaut that was the Who in its prime. It was put out at a time when the two major camps of rock — progressive rock and punk rock, were conflicting due to their antipodal styles. Pete Townshend’s compositions were written as an attempt to bring the two styles together. The album showcases complicated song structures, with multiple layers of synthesizer and strings.

Keith Moon died just a couple of weeks after the release of the album, at the age of 32, having overdosed on Clomethiazole, a medication taken as part of a programme to wean him off alcohol. All four band members are shown on the album cover, with Moon seated on a chair back-to-front in order to hide all the weight he had gained in the previous three years. Ironically, the chair was labeled “Not to be taken away”.

Line-up:
- Roger Daltrey – vocals
- Pete Townshend – guitar, piano, synthesizer, vocals
- John Entwistle – bass guitar, synthesizer, vocals, horns
- Keith Moon – drums, percussion

Track List:
01. New Song – 4:13
02. Had Enough – 4:27
03. 905 – 4:02
04. Sister Disco – 4:22
05. Music Must Change – 4:38
06. Trick Of The Light – 4:45
07. Guitar And Pen – 5:56
08. Love Is Coming Down – 4:04
09. Who Are You – 6:16
10. No Road Romance (Bonus) – 5:10
11. Empty Glass (Bonus Demo version) – 6:23
12. Guitar And Pen (Bonus Olympic ’78 Remix) – 5:58
13. Love Is Coming Down (Bonus Work In Progress mix) – 4:06
14. Who Are You (Bonus Lost verse) – 6:18

Links in comments.

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

Mustafa Ozkent ve Orkestrasi – Genclik Ile Elele (1973) (@256)

27 Jun 2007

(Info from finderskeepersrecords.com, amazon)

On the surface, Mustafa Ozkent’s Orchestra were perhaps nothing more than a stage band or an indigenous, rhythm-heavy cabaret band quite similar to the likes of the aforementioned Incredible Bongo Band or the recently excavated Kashmere Stage Band. Turkish pop-historians regularly cite the huge influence the likes of ‘The Shadows’ and ‘The Ventures’ had on the youth of Istanbul as a significant turning point for the burgeoning Anadolu pop scene. Groups like The Mavi IsIklar and Mogallar began to release their own take on guitar standards and surf-groops utilising their first language both lyrically and instrumentally while retaining their traditional, self-taught mastery and pushing the boundaries of Western European and American culture for the discotheque crowd after hours. At times young artists would be forced to compromise their traditional expertise in misguided attempts to replicate the dumbed-down sound of white-trash America – and herein lies the secret that segregated Mustafa Ozkent’s men from the Basphorus boys.

As an expert in both carpentry and electronics, Ozkent was keen to combine his skills with his interests in music and science. Fuelled by a passion for traditional music values the natural progression was inevitable and as Mustafa Ozkent’s reputation and repetoire of original compositions mutated so did his instruments. Not unlike a Turkish Harry Partch, Mustafa Ozkent went on to invent specially treated guitars with additional frets enabling him to replicate unique notes similar to that of a saz or lute allowing the musician to emulate the sound of Western Jimi Hendrix style wah-wah and fuzz while retaining the versatility and rawness of the traditional Eastern sensibilites which ran through young Istanbul’s veins. From here on Mustafa Ozkent’s legacy continued to mutate, and Turkish pop music metamorphosised beyond its wildest dreams, leaving an instrumental album like ‘Genclik Ile Elele’ silently seminal, but in time virtually unattainable.

Ozkent had a good reputation amongst forward-thinking studio engineers and was respected for his work as an arranger with an open mind and wealth of unique musicians at his disposal. On the request of Evren label, Ozkent embarked on his first self-penned album which would test the boundaries of the new sonic medium by creating a lively and futuristic rhythmical pop sound. Ozkent enlisted the services of hammond organist Umit Aksu who would inject Hawkshaw style Champ-vamps throughout the album while a young Cahit Oben would accompany Ozkent on a second guitar to secure some heavy Anatolian-psych interplay begging comparisons to that of Micky Karoli from Krautrockers ‘Can’ (albeit in a slightly less teutonic environment). With twin drummers and a percussionist the “orchestra” was complete.

After initial rehearsals, studio time was secured at Istanbul’s legendary Grafson studios where the full band would assemble to record the live music in single takes without overdubs and in the absence of multi channel recording Ozkent adopted some handy microphone techniques to emulate the total-stereo effect and capture the heavy psychedelic effects and solid close-miked beat breaks.

The end-result is a stunning instrumental album filled with tight grooves and funky beats. Clocking in at 30 minutes, none of the tracks over stay their welcome.

All tracks are soul/rock style covers of traditional Turkish folk songs.

Track List:
01. Uskudar’a Giderken
02. Burcak Tarlalari
03. Dolana Dolana
04. Karadir Kaslarin
05. Emmioglu
06. Carsamba
07. Zeytinyagli
08. Silifke
09. Lorke
10. Ayas Yollari

Link in comments.

Turkish

Kayak – Last Encore (1976) (@192)

27 Jun 2007

(Review from amazon)

One of Kayak’s typical hallmarks was that they managed a good balance between 70′s pop sounds and progressive elements. “The last encore” from 1976 is the last one with Pim Koopman on drums. It’s also a special one because it contains an unusual large amount of Pim’s songs. Although main Kayak composer Ton Scherpenzeel and Pim are quite different songwriters, their songs integrate very nicely on this album.

Opening song “Back to the Front”, immediately sets the mood for this album. Here the listener is captivated by a stocato 2 fingered piano fill, and a soft whistle, and a varied assortment of keyboards, percussions (listen for a soft miramba) and both electric and acoustic guitars. It is this type of musicianship that makes each song on this album so unique. Keyboardist, vocalist, and principal songwriter Ton Scherpenzeel is a master of adding the unexplained to each song. Layering their songs with rich, overdubbed, and orchestral imagery. Take “Nothingness”, for example, for what may be random, we hear what seems to be Bendatictine Monks Choir adding a lush vocal arpeggio of fluctating high to low choral additions. But what makes it work, is that I can’t imagine the song without having that interlude in this particular song. And so it goes throughout. Instruments as varied as the accordion, clavinet, mellatron, zither, recorder and a marimba, that one wouldn’t generally hear being used, in these songs to not have them, the song wouldn’t be complete.

“Relics From a Distant Age” features piano mastery, with the soft sounds of a clavinet and a bass line by Johah Slager, this is as good as it gets. The sounds of birds open “Love Me Tonight/Get on Board” and at the same time you hear what sounds like an old victrola playing a old time vocal arrangement. Then suddenly you hear the band in the fashion of a 1920s carnival group. After a short interlude of silence, the songs starts up again, and the victrola sounds up again, and you can imagine yourself sitting on the open porch of a vintage Victorian Mansion on a warm summer evening.

After “Last Encore”, Pim Koopman decided to leave the band. This was due to health problems/stage fright, but it also helped that he was offered a job as a full-time producer. As a producer he was quite successful with Dutch artists.

Line-up:
- Pim Koopman / drums, percussion, piano, backing vocals
- Ton Scherpenzeel / keyboards, mellotron, accordion, double bass, backing vocals
- Johan Slager / guitars, backing vocals
- Bert Veldkamp / bass, double bass, saxophone, zither, backing vocals
- Max Werneer / lead & backing vocals, percussion, mellotrons

Track List:
01. Back to the Front (4:31)
02. Nothingness (3:57)
03. Love Of A Victim (2:50)
04. Land On The Water (2:27)
05. The Last Encore (3:59)
06. Do You Care (2:49)
07. Still My Heart Cries For You (4:32)
08. Relics from a Distant Age (4:54)
09. Love me tonight / Get On Board (2:40)
10. Evocation (3:50)
11. Raid Your Own House (3:35)
12. Well Done (0:52)

Link in comments.

Kayak, Max Werner, Ton Scherpenzeel

Byrds – Fifth Dimension (1966) (@256)

26 Jun 2007

(Info from wikipedia, amazon)

Byrds were founded in 1964 by singers and guitarists Jim (Roger) McGuinn, Gene Clark, and David Crosby. Bassist Chris Hillman and drummer Michael Clarke joined soon after. Bridging the gap between the folk music of Bob Dylan and the hybrid pop of The Beatles, Byrds were popular and influential through the 1960s and early 1970s despite several line-up changes.

With their third album “Fifth Dimension”, Byrds planted the seeds of psychedelia – -and not just the San Francisco kind — in pop culture. The gray, dark trip of the Velvet Underground and the fuzzed-out minimalist boogie of such garage heroes as Count Five and the 13th Floor Elevators can also be found within these grooves. “Fifth Dimension” recognised that musical higher consciousness had to be manifested in a dark side as wellas a brighter one.

Gene Clark’s departure from the band prior to these recording sessions, and the decision not to cover any Bob Dylan songs, streamlined the Byrds’ sound and made the group’s vision clear. “Eight Miles High”, a highly-charged sonic release, evokes both Velvet Undeground’s “Heroin” and John Coltrane’s jazz explosions. The higher consciousness of “Eight Miles High”, the harmony-driven stomp of “2-4-2 Fox Trot”, and the CCR-meets-Stax boogie of “Captain Soul”, all drenchedin heavy guitar distortion, were unlike anything the pop world had heard. For the next three years, sounds inspired by “Fifth Dimension” would make up the soundtrack of a cultural revolution.

Line-up:
* Roger McGuinn – vocals, guitars
* David Crosby – vocals, guitars
* Chris Hillman – vocals, bass
* Michael Clarke – drums
with
* Gene Clark – vocals, harmonica, tambourine
* Van Dyke Parks – keyboards

Track List:
01. 5D (Fifth Dimension) – 2:33
02. Wild Mountain Thyme – 2:30
03. Mr. Spaceman – 2:09
04. I See You – 2:38
05. What’s Happening?!?! – 2:35
06. I Come and Stand at Every Door – 3:03
07. Eight Miles High – 3:34
08. Hey Joe (Where You Gonna Go) – 2:17
09. Captain Soul – 2:53
10. John Riley – 2:57
11. 2-4-2 Fox Trot (The Lear Jet Song) – 2:12
12. Why (Bonus B-Side Single) – 2:59
13. I Know My Rider (Bonus) – 2:43
14. Psychodrama City (Bonus) – 3:23
15. Eight Miles High (Bonus Alternate Version) – 3:19
16. Why (Bonus Alternate Version) – 2:40
17. John Riley II (Bonus instrumental – includes hidden interview) – 16:53

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Byrds, David Crosby

Harmonium – En Tournee (1977) (@256)

26 Jun 2007

(Review from progarchives.com)

Harmonium with modern & vintage keyboards is a perfect combination. Fiori’s eccentric lead vocals are amazingly fluid. The ecstatic compositions parts have outstanding follow through, because the complex music is very changing here and significantly varies in intensity. The musicians play absolutely flawlessly & irreproachably. Every note is absolutely carefully placed with the right level of intensity: the ensemble is all the time perfectly synchronized. The very melodic flute & saxes may also participate to the complex & colorful rhythm involved. The music can be funny but melodramatic too. All the time, the emotion is very palpable. The enthusiastic crowd is very favorably responding after each track. The electric piano reminds me a bit Supertramp at their best. The soaring electric guitar notes contribute to produce ultra pleasant ethereal & atmospheric textures at the right time & at the right place. The music can be very loaded, fast and complex like on “Le premier ciel”. The dynamic music is the opposite of linearity and monotony. Almost 90 minutes of unforgettable music with neither fillers nor dull parts, that’s a real tour de force!

Line-up:
- Libert Subirana / flute, saxophone, vocals
- Serge Locat / piano, organ, Mellotron, synthesizers
- Monique Fauteux / Rhodes piano, vocals
- Robert Stanley / electric guitar
- Serge Fiori / acoustic & electric guitar, vocals
- Denis Farmer / drums, percussion
- Louis Valois / electric bass, Taurus (bass pedals)

Track List:
01. Introduction (1:30)
02. Comme un fou (7:08)
03. Chanson Noire
.. Le bien, Le mal (4:22)
.. Pour une Blanche Ceremonie (4:10)
04. Le premier Ciel (20:52)
05. L’Exil (11:58)
06. Le Corridor (3:50)
07. Lumičre de Vie
.. Lumičre de Nuit (4:17)
.. Lumičre de Jour (2:38)
.. Lumičre de Vie (0:51)
.. Lumičre de Vie (2eme Partie) (3:12)
.. Lumičre de Vie (3eme Partie) (4:44)
.. Lumičre de Vie (Finale) (2:43)
08. Comme un Sage (15:30)

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Harmonium, Live

Who – By Numbers (1975) (@256)

25 Jun 2007

(Review from rollingstone.com)

The Who by Numbers isn’t what it seems. Without broadcasting it, in fact while denying it, Townshend has written a series of songs which hang together as well as separately. The time is somewhere in the middle of the night, the setting a disheveled room with a TV set that seems to show only rock programs. The protagonist is an aging, still successful rock star, staring drunkenly at the tube with a bottle of gin perched on his head, contemplating his career, his love for the music and his fear that it’s all slipping away. Every song here, even the one non-Townshend composition, John Entwistle’s “Success Story,” fits in. Always a sort of musical practical joker, Townshend has now pulled the fastest one of all, disguising his best concept album as a mere ten-track throwaway.

The disguise in effective partly because it is mostly musical. Along with the story line, Townshend has thrown out the Arp synthesizer—which is supposed to be his instrument—after his success with it on Who’s Next and the Tommy soundtrack. It’s a great diversion; he keeps us busy noticing its absence so that the story sinks in subtly, rather than batting us over the head with it, as he did with his operas.

To replace the synthesizer, he fleshes out the standard electric guitar riffs with acoustic ones, and on one song each, banjo and ukulele. Townshend plays acoustic guitar more like a rock & roller than anyone else in rock; listen to “The Magic Bus”. But here, even the smashing electric guitar chords that are his musical signature have been tamed, played and mixed more like conventional rock guitar than on any previous Who record. By Numbers’s mix of acoustic and electric six strings is, in fact, occasionally reminiscent of Neil Young’s, particularly on “How Many Friends” and in the concluding segment of “Slip Kid”, which is as frustrated and distorted as Time Fades Away.

There is no better summary of what The Who by Numbers is about: Townshend has always been his own best critic. As angry as it is desperate, the album moves from song to song on pure bitterness, disillusionment and hopelessness.

What they want is what the Who, as the ultimate manifestation of a certain part of the heart of rock, has always promised: a way out of their obligation to the ultimate piper, Time. From “My Generation” to The Who by Numbers, time and aging have been Townshend’s obsession, as if he were trying to live down the statement that made him famous: “Hope I die before I get old.” If this is his most mature work, that’s because he has finally admitted that there is no way out, which is a darker and deeper part of the same thing. Typically, the Who face the fact without flinching.

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

Track List:
01. Slip Kid – 4:31
02. However Much I Booze – 5:02
03. Squeeze Box – 2:42
04. Dreaming From the Waist – 4:07
05. Imagine a Man – 4:04
06. Success Story – 3:22
07. They Are All in Love – 3:02
08. Blue, Red and Grey – 2:49
09. How Many Friends – 4:06
10. In a Hand or a Face – 3:25
11. Squeeze Box (Bonus Live) – 3:13
12. Behind Blue Eyes (Bonus Live) – 4:39
13. Dreaming From the Waist (Bonus Live) – 4:57

Link in comments.

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

Dennis – Hyperthalamus (1975) (@256)

25 Jun 2007

(Info from Crack in the Cosmic Egg)

An enigma of Krautrock, Dennis existed on the Hamburg scene for some 30 months as a collection of musicians from Tomorrow’s Gift, Thirsty Moon, Kravetz and Xhol. In charge was Frumpy drummer Carsten Bohn. It seems that Dennis were never a proper band, and thus their album was a collection of jams and impromptu encounters, remixed and compiled at a later date. All the musicians in Dennis were also involved in various other bands at the time. Carsten Bohn and Hans Pape both worked on the Uli Trepte “Inbetween” sessions, a project that eventually became Kickbit Information. Carsten also established the “Voll Bedienung” percussion project along with former Tomorrow’s Gift drummer Zabba Lindner. Various others also worked in Achim Reichel’s “AR” series of sessions. Dennis, exuded the talents of the musicians’ backgrounds, and the album Hyperthalamus comes across as a collection of extracts from acid-jams and freak-outs, with a hybrid of progressive, psychedelic and cosmic styles, notably elements of late Tomorrow’s Gift, Thirsty Moon, and even hints of Embryo and Guru Guru: a musical melting pot of surprising diversions and fusion sounds.

Line-up:
* Thomas Kretzschmer – guitar
* Klaus Briest – bass
* Jim Wiley – bass
* Manne Rurup – keyboards
* Michael Kobs – keyboards
* Willi Pape – sax, clarinet, flute
* Olaf Casalich – percussion
* Carsten Bohn – drums, percussion

Track List:
01. Do Your Own Thing
02. Others Do
03. Already
04. Grey Present Tense

Link in comments.

Harmonium – L'Heptade (1976) (@256)

25 Jun 2007

(Review from progarchives.com)

This album was recorded while the band was actually imploding. The songs were mainly written in rural Québec, and recorded at Serge Fiori’s house in Eastern Townships. While the two previous albums were really a team work, this one is clearly Fiori’s work and marvelous imagination, the journey in the seven steps of consciousness, from the « Comme un fou » (Crazy guy) to « Comme un sage » (Wise guy)…

This album is really depressing, but it’s a masterpiece anyway. I believe this album expresses the end of an era in progressive music in Québec, setting the pace for the upcoming 80′s and somehow saying “the trip is over, we’re far from home…”. This album is not only a concept album, but also the flow is great thanks to Chotem piano.

L’Heptade was Harmonium’s third and last studio album. After a few attempts to lay down the bases for a new album, it became obvious to Fiori and consorts that they had given their best. In late 1977, a press release announced the dissolution of Harmonium.

Line-up:
* Peter Bowman – Oboe
* Anthony Chotem – Guitar, Guitar (Classical)
* Neil Chotem – Celeste, Keyboards, Piano (Electric)
* Denis Farmer – Percussion, Drums, Noise
* Monique Fauteux – Keyboards, Vocals
* Serge Fiori – Guitar (Acoustic), Flute, Guitar, Percussion, Vocals, Guitar (12 String)
* Mike LaChance – Percussion
* Serge Locat – Organ, Synthesizer, Piano, Keyboards, Piano (Electric), Mellotron
* Michel Normandeau – Guitar (Acoustic), Guitar, Accordion, Vocals
* Estelle St. Croix – Vocals
* Richard Séguin – Vocals
* Robert Stanley – Guitar, Guitar (Electric)
* Libert Subirana – Clarinet, Flute, Clarinet (Bass), Sax (Alto), Wind
* Louis Valois – Bass, Piano, Piano (Electric), Vocals

Track List:
01. Prologue (4:20)
02. Comme Un Fou (7:50)
03. Sommeil Sans Ręves (1:25)
04. Chanson Noire (8:12)
I) Le Bien, Le Mal
II) Pour Une Blanche Cérémonie
05. L’Appel / Le Premier Ciel (11:12)
06. Sur Une Corde Raide / L’Exil (12:54)
07. Le Corridor (8:10)
08. Les Premičres Lumičres / Lumičres De Vie (14:11)
I) Lumičre De Nuit
II) Eclipse
III) Lumičre De Jour
IV) Lumičre De Vie
09. Prélude d’Amour / Comme Un Sage (14:03)
10. Épilogue (2:52)

Links in comments.

Harmonium

Who – Quadrophenia (1973) (@256)

25 Jun 2007

(Review wikipedia, rollingstone.com, amazon)

Quadrophenia is the Who at their most symmetrical, their most cinematic, ultimately their most maddening. They have put together a beautifully performed and magnificently recorded essay of a British youth mentality in which they played no little part, lushly endowed with black and white visuals and a heavy sensibility of the wet-suffused air of 1965.

The name is a variation on the incorrect popular usage of the medical diagnostic term schizophrenia as multiple personality disorder to reflect the four distinct personalities of Jimmy, the opera’s protagonist. It was also tied in to the Quadraphonic sound schemes then being introduced. It may be understood more literally as a Latin-Greek blend, of quadro- (Lt. ‘four, four-fold’) and -phenia (Gk. ‘shine; voice’), the “four voices” or “four faces” being the four members of the band (cp. epiphany).

The album open ups with the sound of the sea washing up on the beaches and snatches of refrains from the main themes of what is to come. The band comes crashing in with the rocker ‘The Real me’ and from then on you are taken on the roller coaster ride of a young impressionable wannabe Mod with plenty of highs as well as deeply disturbing lows. One of the highs is of Jimmy actually going to see his favorite band ‘The Who’ in concert. As Jimmy tries to emulate his heroes, his life spirals more and more out of control. With this the band’s playing becomes more and more frenzied, climaxing in the nine minutes of ‘Doctor Jimmy’, where, if you listen carefully, you can hear Roger Daltrey’s microphone being spun round the heads of all in the studio on its lead wire, and Townshend windmills his arm around his axe, building to the next frantic chorus. You can imagine the whole studio being destroyed at the song’s climax.

This album never really got the recognition it deserved. That’s not surprising considering the troubles that dogged it right from the beginning. After the Lifehouse episode the group wasn’t ready to swallow another magnum opus from Townshend all too easily. Inactivity had shaken Moon’s confidence. The group had trouble enough finding him to bring him into the studio to play and even more trouble getting him to play once he was there. The record was released after the tour began because of an unexpected shortage of vinyl. None of the members was ever satisfied with the way it was mixed initially. Once it was released It didn’t get much media exposure either, probably because there wasn’t much on it that would have been suitable for radio. On stage it was too complex for the band to play without a set of backing tapes. The tapes malfunctioned on a regular basis. When they did work they locked the band into a set rendition of the pieces. Moon made things worse one night by getting into monkey tranquillizers and collapsing on-stage. He recovered but wasn’t himself for the rest of the tour (he dried out in a nursing home after it ended). That couldn’t have helped the shows. The group never really shook off those problems and, after a short tour the following year (for the most), left it behind them.

Line-up:
* John Entwistle – bass guitar, horns, vocals
* Roger Daltrey – lead vocals
* Keith Moon – drums, percussion, vocals on “Bell Boy”
* Pete Townshend – guitars, synthesizers, piano, banjo, sound effects, vocals

Track List:
CD1 :
01. I Am the Sea – 2:08
02. The Real Me – 3:20
03. Quadrophenia – 6:15
04. Cut My Hair – 3:46
05. The Punk and the Godfather[2] – 5:10
06. I’m One – 2:39
07. The Dirty Jobs – 4:30
08. Helpless Dancer – 2:32
09. Is It in My Head – 3:46
10. I’ve Had Enough – 6:14
CD2 :
01. 5:15 – 5:00
02. Sea and Sand – 5:01
03. Drowned – 5:28
04. Bell Boy – 4:56
05. Doctor Jimmy – 8:42
06. The Rock – 6:37
07. Love, Reign O’er Me – 5:48

Links in comments.

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

Dio – Holy Diver (1983) (@320)

24 Jun 2007

(Review from allmusic.com, wikipedia)

After participating in five classic studio albums (three with Ritchie Blackmore’s Rainbow and two with Black Sabbath) in the late ’70s and early ’80s, legendary vocalist Ronnie James Dio formed a band bearing his own name in 1983. Dio states that he never intended to begin a solo career. His intention was to form a new band with fellow former Black Sabbath member drummer Vinny Appice. Naming the band Dio made sense from a commercial standpoint, as the name was already well-known at that time.

With the release of his self-monickered band’s debut album, Holy Diver, in 1983, Dio struck gold once again by injecting catchy melodies into the classic metal riffery of his previous groups. Besides Dio’s inspired songwriting, the album’s consistency owes a lot to his carefully chosen bandmates, including veteran bassist Jimmy Bain and drummer Vinny Appice, and a phenomenal find in young guitarist Vivian Campbell, whose creativity and technique are quite astounding. The album opens in full-tilt metal mode with the frenetic “Stand Up and Shout,” which segues into the epic title track, an album highlight thanks to it’s hypnotic, mid-paced riff. Dio himself plays keyboards (badly) on the hit single “Rainbow in the Dark,” and the remaining cuts range from further stabs at pop-metal (“Gypsy,” “Caught in the Middle”) to blatant metal anthems (“Straight Through the Heart,” “Invisible”). These two facets find a perfect balance on the excellent “Don’t Talk to Strangers,” arguably the album’s high point.

Dio quickly became one of the world’s top heavy-metal acts. In the late ’80s, lineup changes unsettled the group, but the tenacious frontman persevered, leading Dio into the 21st century still waving its classic headbanging flag high.

Line-up:
* Ronnie James Dio – Vocals, Keyboards
* Vivian Campbell – Guitar
* Jimmy Bain – Bass, Keyboards
* Vinny Appice – Drums

Track List:
01. Stand Up and Shout (Ronnie James Dio, Jimmy Bain) – 3:06
02. Holy Diver (Dio) – 5:51
03. Gypsy (Dio, Vivian Campbell) – 3:39
04. Caught in the Middle (Dio, Vinny Appice, Campbell) – 4:14
05. Don’t Talk to Strangers (Dio) – 4:53
06. Straight Through the Heart (Dio, Bain) – 4:31
07. Invisible (Dio, Appice, Campbell) – 5:24
08. Rainbow in the Dark (Dio, Appice, Bain, Campbell) – 4:21
09. Shame on the Night (Dio, Appice, Bain, Campbell) – 5:20

Link in comments.

Dio, Jimmy Bain, Ronnie James Dio, Vinny Appice, Vivian Campbell

Harmonium – Harmonium (1974) (@256)

24 Jun 2007

(Review from progarchives.com)

Harmonium is not only a group; it is an experience. It is the wake of a people, coming from old times to modernity with magic noise and sensitive words. Melancoly is the word if such a word can be described: the image of something that has been and will never be again.

Harmonium is THE group of the 70′s in Québec country and its work is not only musical, but also political. It represents not only the aspiration of the people to be free but also nostalgia and deception of a new world that is not always what you wanted it to be.

When you first listen to this album, you may not even notice that they do not have a drummer. Why bother? Why would this band need a drummer with so much rhythm and imagination? You have to focus on the words, on the stories in each of the songs. Enter this world and when you will leave you will be someone else.

Line-up:
- Serge Fiori / guitar, flute, zither harp, bass drum, vocals
- Michel Normandeau / guitar, accordion, vocals
- Louis Valois / bass guitar, electric piano, vocals
with :
- Alan Penfold / flugelhorn
- Rejean Emond / drums

Track List:
01. Harmonium
02. Si Doucement
03. Aujourd’hui, je dis bonjour ŕ la vie
04. Vielles courroies
05. 100,000 Raisons
06. Attends-moi
07. Pour un instant
08. De la Chambre au Salon
09. Un musicien Parmi tant d’Autres

Link in comments.

Harmonium

Who – Tommy (w. London Symphony Orchestra) (1972) (@256)

24 Jun 2007

(Info from wikipedia)

In late 1972 entrepreneur Lou Reizner presented two concert versions of Tommy at the Rainbow Theatre, London. The concerts featured The Who, plus an all-star guest cast, backed by the London Symphony Orchestra conducted by David Measham. The concerts were held to promote the release of Reizner’s new studio recording of this “symphonic” version of Tommy.

Both in concert and on record, major singing roles were performed by leading pop and rock stars of the day — David Essex, Maggie Bell, Sandy Denny, Steve Winwood, Rod Stewart, Richie Havens and Ringo Starr. Pete Townshend also plays a bit of guitar, but otherwise the music is predominantly orchestral.

There are some differences between the original Tommy and this one. “Overture” is missing the section starting with “Captain Walker didn’t come home,” as it is included in the beginning of It’s A Boy. “Underture” is also considerably shorter, almost cut in half. “There’s A Doctor” runs from the normal beginning of the song until the first appearance of the line “Go To The Mirror Boy!”, where the song of the same name promptly begins. Similarly, “Tommy’s Holiday Camp” is played until “We’re Not Gonna Take It,” is first heard, signaling the start of the song of the same name. Also, there is a change of order for the tracks. The original Tommy has “Sensation”, “Miracle Cure”, “Sally Simpson” and then “I’m Free”, while this version has “I’m Free”, “Miracle Cure”, “Sensation”, and them “Sally Simpson.” This does make some sense however because Tommy is “free” after the smashing of the mirror by his mother.

Track List:
01. Overture (London Symphony Orchestra)
02. It’s a Boy (Sandy Denny & Pete Townshend)
03. 1921 (Graham Bell, Maggie Bell, Roger Daltrey & Steve Winwood)
04. Amazing Journey (Pete Townshend)
05. Sparks (London Symphony Orchestra)
06. Eyesight to the Blind (Richie Havens)
07. Christmas (Roger Daltrey & Steve Winwood)
08. Cousin Kevin (John Entwistle)
09. The Acid Queen (Merry Clayton)
10. Underture (London Symphony Orchestra)
11. Do You Think It’s Alright? (Maggie Bell & Steve Winwood)
12. Fiddle About (Ringo Starr)
13. Pinball Wizard (Rod Stewart)
14. There’s a Doctor (Roger Daltrey, Richard Harris & Steve Winwood)
15. Go to the Mirror (Roger Daltrey & Steve Winwood)
16. Tommy, Can You Hear Me? (Maggie Bell)
17. Smash the Mirror (Maggie Bell)
18. I’m Free (Roger Daltrey)
19. Miracle Cure (Chamber Choir)
20. Sensation (Roger Daltrey)
21. Sally Simpson (Pete Townshend)
22. Welcome (Roger Daltrey)
23. Tommy’s Holiday Camp (Roger Daltrey & Ringo Starr)
24. We’re Not Gonna Take It (Roger Daltrey)
25. See Me, Feel Me (Roger Daltrey)

Links in comments.

John Entwistle, Keith Moon, Maggie Bell, Pete Townshend, Rod Stewart, Roger Daltrey, Sandy Denny, Steve Winwood, Who

Faithful Breath – Fading Beauty (1973) (@256)

23 Jun 2007

(Info from Crack in the Cosmic Egg)

Originally they were a symphonic rock band, in fact one of the earliest of the genre in Germany. Their debut album “Fading Beauty” has indeed justly become revered as a classic, having lengthy side-long suites, composed of a melodic, oft-sedate and dramatic rock, driven on by vast washes of keyboards (lots of mellotron and synthesizers) and lengthy involved instrumentals, merging in with mysterious songs with a science fiction fantasy concept.

Line-up:
* Manfred von Buttlar – organ, mellotron, synthesizer, piano, guitars, vocals
* Heinz Mikus – guitars, vocals
* Jürgen Weritz – drums, percussion, vocals
* Horst Stabenow – bass, 12-string guitar, vocals

Track List:
01. Fading Beauty
02. Lingering Gold
03. Tharsis

Link in comments.

Doobie Brothers – Toulouse Street (1972) (@320)

23 Jun 2007

(Review from amazon)

The Doobie Brothers shuffled personnel a bit after their debut album, changing bass players and adding a second drummer. For whatever reason, this sophomore effort was the one that kicked off their long streak as one of the most popular bands in America. The basic sound of “Toulouse Street” isn’t really all that different from the Doobies’ previous effort. There’s a similar mix of acoustic guitars, gospel harmonies, and overall post-hippie mellowness.

This time out, however, the songs have hooks as well as grooves. “Toulouse Street” produced the chugging and eminently infectious “Listen to the Music”, the Doobies’ breakthrough hit single. Other highpoints include the anthemic “Rockin’ Down the Highway”, which quickly became a radio staple; a considerably juiced-up version of the Byrds’ “Jesus is Just Alright;” the lovely, Crosby, Stills, Nash, Young-inspired title song; and a nice cover –with horns– of Sonny Boy Williamson’s blues classic “Don’t Start Me Talkin’”. Producer Ted Templeman gave the band a cleaner, harder-edged sound, and helped bring the band’s unique mix of roots rock, gospel, country, jazz, bluegrass, R&B, swamp boogie, and pop hooks into perfect focus.

Line-up:
* Patrick Simmons – guitars, vocals
* Tom Johnston – guitars, vocals
* Tiran Porter – bass, vocals
* John (Little John) Hartman – drums, percussion
* Michael Hossack – drums

Track List:
01. Listen to the Music – 4:44
02. Rockin’ Down the Highway – 3:18
03. Mamaloi – 2:28
04. Toulouse Street – 3:20
05. Cotton Mouth – 3:44
06. Don’t Start Me to Talkin’ – 2:41
07. Jesus Is Just Alright – 4:33
08. White Sun – 2:28
09. Disciple – 6:42
10. Snake Man – 1:35

Link in comments.

Doobie Brothers

Who – Who's Next (1971) (@256)

22 Jun 2007

(Review from allmusic.com, wikipedia)

Much of Who’s Next derives from Lifehouse, an ambitious sci-fi rock opera Pete Townshend abandoned after suffering a nervous breakdown, caused in part from working on the sequel to Tommy.

The album had its roots in the flotsam of the disastrous Lifehouse project, which Who bandleader Pete Townshend has variously described as intended to be a futuristic rock opera, a live-recorded concept album and as the music for as a scripted film project. The project proved to be intractable on several levels and caused stress within the band as well as a major falling out between Townshend and The Who’s producer Kit Lambert. Years later, in the liner notes to the remastered Who’s Next CD, Townshend wrote that the failure of the project led him to the verge of a suicidal nervous breakdown.

After giving up on recording some of the Lifehouse tracks in New York, The Who went back into the studio with new producer Glyn Johns and started over. Although the Lifehouse concept was abandoned, scraps of the project remained present in the final album. The introductory line to “Pure and Easy” which Townshend has described as “the central pivot of Lifehouse” shows up in the closing bars of “Song is Over”. An early concept for Lifehouse — feeding personal data from audience members into the controller of an early analog synthesizer to create musical tracks — was recycled as Townshend used the vital statistics of Meher Baba as random input to generate a backing track on “Baba O’Riley”. A primary result of the abandonment of the original project, however, was a newfound freedom: the very absence of an overriding musical theme or storyline (which had been the basis of previous Who projects) allowed the band to concentrate on maximizing the impact of individual tracks.

Apart from Live at Leeds, the Who have never sounded as loud and unhinged as they do here, yet that’s balanced by ballads, both lovely (“The Song Is Over”) and scathing (“Behind Blue Eyes”). That’s the key to Who’s Next — there’s anger and sorrow, humor and regret, passion and tumult, all wrapped up in a blistering package where the rage is as affecting as the heartbreak. This is a retreat from the ’60s, as Townshend declares the “Song Is Over,” scorns the teenage wasteland, and bitterly declares that we “Won’t Get Fooled Again.” For all the sorrow and heartbreak that runs beneath the surface, this is an invigorating record, not just because Keith Moon runs rampant or because Roger Daltrey has never sung better or because John Entwistle spins out manic basslines that are as captivating as his “My Wife” is funny. This is invigorating because it has all of that, plus Townshend laying his soul bare in ways that are funny, painful, and utterly life-affirming.

Line-up:
* Roger Daltrey – lead vocals
* Pete Townshend – guitar, piano on “Baba O’Riley”, synthesizer, backing vocals, lead vocals on “Song Is Over” and “Goin’ Mobile”
* John Entwistle – bass guitar, brass, backing vocals, lead vocals, piano on “My Wife”
* Keith Moon – drums, percussion

Track List:
01. Baba O’Riley – 5:59
02. Bargain – 5:34
03. Love Ain’t for Keepin’ – 2:11
04. My Wife (Entwistle) – 3:41
05. The Song Is Over – 6:16
06. Getting in Tune – 4:50
07. Going Mobile – 3:43
08. Behind Blue Eyes – 3:39
09. Won’t Get Fooled Again – 8:32
10. Pure and Easy (Bonus) – 4:22
11. Baby Don’t You Do It (Bonus) – 5:14
12. Naked Eye (Bonus) – 5:31
13. Water (Bonus) – 6:25
14. Too Much of Anything (Bonus) – 4:25
15. I Don’t Even Know Myself (Bonus) – 4:56
16. Behind Blue Eyes (Bonus) – 3:28

Links in comments.

John Entwistle, Keith Moon, Pete Townshend, Roger Daltrey, Sakalli's Pick, Who

Who – Live at the Isle of Wight (1970) (@256)

22 Jun 2007

(Info from wikipedia)

The Who were one year and three months into their Tommy tour when they played their second engagement at the Isle of Wight Festival. As in 1969, they played most of their famous rock opera, which at this time was quite familiar to the festival crowd. Their extraordinary rendition of “We’re Not Gonna Take It/See Me Feel Me” was a highlight of the concert. Huge spotlights bathed the audience of some 600,000 attendees.

By August 1970, Pete Townshend was already introducing new songs to the setlist including “Water”, “I Don’t Even Know Myself”, and “Naked Eye.” These songs, which were being recorded at the time of the festival, were intended for an upcoming project known as Lifehouse. Although Lifehouse was eventually abandoned, the sessions paved the way to the Who’s classic album Who’s Next.

The Who also got to perform some live staples such as “Heaven and Hell”, “Substitute”, “My Generation”, “Magic Bus”, “I Can’t Explain”, and the perennial covers of “Shakin’ All Over” and “Summertime Blues”.

Line-up:
* Roger Daltrey – Harmonica, Vocals
* John Entwistle – Bass, Vocals
* Keith Moon – Drums, Vocals
* Pete Townshend – Guitar, Vocals

Track List:
CD1
01. Heaven And Hell – 5:16
02. I Can’t Explain – 2:45
03. Young Man Blues – 6:06
04. I Don’t Even Know Myself – 6:11
05. Water – 10:53
06. Overture – 5:08
07. It’s a Boy – 1:33
08. 1921 – 2:27
09. Amazing Journey – 3:19
10. Sparks – 5:10
11. Eyesight to the Blind (The Hawker) – 1:58
12. Christmas – 3:25
CD2
01. The Acid Queen – 3:41
02. Pinball Wizard – 2:50
03. Do You Think It’s Alright? – 0:22
04. Fiddle About – 1:15
05. Tommy, Can You Hear Me? – 0:58
06. There’s a Doctor – 0:22
07. Go to the Mirror – 3:32
08. Smash the Mirror – 1:16
09. Miracle Cure – 0:13
10. I’m Free – 2:24
11. Tommy’s Holiday Camp – 1:01
12. We’re Not Gonna Take It – 9:37
13. Summertime Blues – 3:24
14. Shakin’ All Over / Spoonful / Twist and Shout – 6:27
15. Substitute – 2:10
16. My Generation – 7:15
17. Naked Eye – 6:33
18. Magic Bus – 4:35

Links in comments.

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

Procol Harum – A Salty Dog (1969) (@256)

22 Jun 2007

(Review from progarchives.com)

Despite the many highs and relatively few lows (I’m talking musically) of Procol Harum’s initial decade-long run of 1967-1977, I think the group never made an album of such consistent brilliance as this one.

The fun starts with the title track which is about a crew on a sinking ship (The theme of maritime disaster is a real Procol Harum constant and is never far away on this album). Eschewing the traditional Procol Harum sound in which organ and guitar are pre-eminent, this song is a great pop/classical fusion. The tragic lyrics are brought to life by Brooker’s enormous aching voice, glorious orchestral string work and top-notch drumming from B.J. Wilson, who by this third album had become a real force to be reckoned with.

The rest of the album sees all the Procol elements at their peak on a wide range of material. There’s old school blues (Juicy John Pink) and a few Brooker-led stompers like the rasping The Milk Of Human Kindness, the ballsy The Devil Came To Kansas and the rather more subtle All This And More, all of which feature Trower’s stinging guitar, usually in tandem with Fisher’s organ. A really moody Too Much Between Us slips in and out, stopping only to slip a dagger between one’s ribs, courtesy of a Brooker solo on celeste.

There are also three pieces with lead vocals from Fisher. First off there’s the totally infectious “rich and fruity” marimba-driven calypso of Boredom. The Wreck Of The Hesperus is a glorious piece of sheer genius, driven by a constant rippling piano arpeggio and sweeping strings. It has a totally chilling fade-out as the sound of waves wash over our protagonists. The monumental organ-drenched Pilgrim’s Progress is perhaps the closest Procol Harum ever get to the A Whiter Shade Of Pale feel on this album, but Fisher’s vocals give the song a totally different flavour.

Then there’s Robin Trower’s stunning turn on Crucifiction Lane. Reid’s lyrics are magnificent and this awesome semi-Biblical bluesy rant chills me to the core. It’s a work of real power, on which Trower wields his guitar like a sword.

Indeed Trower was making his presence felt more than ever before, but the balance between Procol Harum’s blues and classical tendencies are virtually perfect on this album.

Line-up:
- Gary Brooker / lead vocals, piano, celeste, 3 string guitar, bells, harmonica, recorders, woods
- Matthew Fisher / organ, backing vocals, marimba, acoustic & electric rhythm guitars, piano, recorders
- Dave Knights / bass
- Keith Reid / words
- Robin Trower / acoustic & lead guitars, backing vocals, sleigh tambourine
- Barrie James Wilson / drums, tabla, congas

Track List:
01. A Salty Dog (4:41)
02. The Milk of Human Kindness (3:47)
03. Too Much Between Us (3:45)
04. The Devil Came from Kansas (4:38)
05. Boredom (4:34)
06. Juicy John Pink [Mono Version] (2:08)
07. Wreck of the Hesperus (3:49)
08. All This and More (3:52)
09. Crucifiction Lane (5:03)
10. Pilgrims Progress (4:32)

Link in comments.

Matthew Fisher, Procol Harum

Sub – In Concert (1970) (@256)

22 Jun 2007

(Info from Crack in the Cosmic Egg)

Formed in Munich in early 1969, originating from various local beat groups, Sub chose their name due to their affinity with the underground scene that was proliferating at the time. Though, unlike Amon Düül’s brand of underground music, Sub were much more inspired by American psychedelia, notably Vanilla Fudge, and British bands like Traffic, Egg and Soft Machine. They had a heavy riffing psychedelic style, an excellent lead vocalist, and knew how to jam and freak out. Strangely, fed up with waiting for a contract, an employee of Sub’s management, made off with the tapes of their album, getting it released in Italy. Masquerading as a live album, complete with overdubbed audience sounds, “Sub In Concert” was still a fine album, showcasing a style of music that’s little-heard from Germany. Only about a thousand were pressed, and in Germany they were still stuck with apathetic reactions. Sub split in 1971.

Line-up:
* Klaus Katel – guitar
* Christian Wilhelm – vocals
* Peter Stimmel – bass
* Johannes Vester – keyboards
* Lutz Ludwig – drums

Track List:
01. Sub Theme I
02. Off
03. Sub Theme II
04. Gimme Some Lovin’
05. Ma – Mari – Huanan
06. Match I
07. Match II
08. Number One (Off II) (Bonus)
09. I’m A Man (Bonus)
10. Ma-Mari-Huana (Bonus)
11. Coole Jerk (Bonus)
12. Warm And Tender Love (Bonus)

Link in comments.

Who – Live at Leeds (1970) (@256)

21 Jun 2007

(Review from wikipedia, amazon)

After releasing Tommy in mid-1969 The Who went on an extended world tour to promote it, and returned to England at year’s end with a desire to release a live album from the tour. However, they balked at the prospect of listening to the hundreds of hours of accumulated recordings to decide which would make the best album, so they ritually burned the tapes (to prevent bootlegging) and scheduled two shows, one at the University of Leeds and the other in Hull, for the express purpose of recording and releasing a live album. The shows were performed on February 14th (Leeds) and 15th (Hull) 1970, but technical problems with the recordings from the 15th – the bass guitar had not been recorded – made it necessary for the show from the 14th to be released as the album.

The original album only contained six songs, but it was a forceful assertion of the band’s power. The deluxe edition contains the entire show and it gives the listen the complete picture of what a Who show sounded like in 1970.

One of the reasons “Leeds” is prized among Who collectors is that it is one of the best-recorded; the mix is superbly equalized among all three instruments and Daltrey’s vocals, and Townshend’s guitar sounds especially full-bodied and wet. The performance is one of the tightest and note-perfect of that period–without losing any of its heat or raw power–and the audience is amazingly quiet and respectful, which almost gives the show a “live in the studio” quality.

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

Track List:
CD1
01. Heaven and Hell
02. I Can’t Explain
03. Fortune Teller
04. Tattoo
05. Young Man Blues
06. Substitute
07. Happy Jack
08. I’m a Boy
09. A Quick One, While He’s Away (Townshend)
10. Summertime Blues (Eddie Cochran & Jerry Capehart)
11. Shakin’ All Over (Johnny Kidd a.k.a Fred Heath)
12. My Generation (Townshend)
13. Magic Bus (Townshend)

CD2 (Tommy)
01. Overture (Townshend)
02. It’s a Boy (Townshend)
03. 1921 (Townshend)
04. Amazing Journey (Townshend)
05. Sparks (Townshend)
06. Eyesight to the Blind (Sonny Boy Williamson)
07. Christmas (Townshend)
08. The Acid Queen (Townshend)
09. Pinball Wizard (Townshend)
10. Do You Think It’s Alright? (Townshend)
11. Fiddle About (Entwistle)
12. Tommy, Can You Hear Me? (Townshend)
13. There’s a Doctor (Townshend)
14. Go to the Mirror (Townshend)
15. Smash the Mirror (Townshend)
16. Miracle Cure (Townshend)
17. Sally Simpson (Townshend)
18. I’m Free (Townshend)
19. Tommy’s Holiday Camp (Moon)
20. We’re Not Gonna Take It (Townshend)

Links in comments.

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

Dixie Dregs – Free Fall (1977) (@256)

21 Jun 2007

(Review from allmusic.com)

One of the top jazz-rock fusion ensembles ever, the Dixie Dregs combined virtuoso technique with eclecticism and a sense of humor and spirit too frequently lacking in similar projects. Guitarist Steve Morse and bassist Andy West played together as high school students in Augusta, Georgia in a conventional rock band called Dixie Grit. When Morse was expelled from school for refusing to cut his hair, he enrolled at the University of Miami School of Music, where he met violinist Allen Sloan, who had played with the Miami Philharmonic, and drummer Rod Morgenstein. The three decided to form a band, and Morse convinced West to come to Miami and join. The Dixie Dregs completed their lineup with keyboardist Steve Davidowski.

The debut recording from the Dixie Dregs (The Great Spectacular is considered a demo) stands as one of fusion’s high-water marks. This music is completely original and played with a freshness and vigor that had begun to wane in a genre that was becoming a model in self-parody. The influences here are plentiful, but it is the country roots that provide the music with its vitality. Founder/guitarist Steve Morse proved to be an important new guitarist, offering an inimitable style with the technique the music demands. The music is complex and challenging, but that’s easy to overlook due to the band’s sunny approach. While they would go on to create more fully realized recordings, this one proved that fusion had a soul.

Line-up:
- Rod Morgenstein / drums, percussion
- Andy West / bass guitar
- Allen Sloan / electric violin, viola, strings
- Steve Morse / guitars, guitar synthesizer, banjo
- Steve Davidowski / synthesizer, keyboards

Track List:
01. Free Fall (4:41)
02. Holiday (4:26)
03. Hand Jig (3:18)
04. Moe Down (3:49)
05. Refried Funky Chicken (3:17)
06. Sleep (1:54)
07. Cruise Control (6:15)
08. Cosmopolitan Traveler (3:02)
09. Dig The Ditch (3:52)
10. Wages Of Weirdness (3:46)
11. Northern Lights (3:14)

Link in comments.

Dixie Dregs, Steve Morse

Audience – Lunch (1972) (@320)

21 Jun 2007

(Review from progarchives.com)

While it is generally recognised that Audience’s previous release “The house on the hill” was an excellent jazz/prog rock album, the views on “Lunch” are far more divided. “Lunch” should have seen Audience delving deeper into the jazz/prog sound they had created so well on tracks like “Jackdaw” and “House on the hill”. Instead they created simply a fun album, and not one to take too seriously.

The band’s sound is driven by Werth’s strong voice (somewhat reminiscent of CCR’s John Fogerty) and acoustic guitar — there are no electric guitars or synths — and the tenor sax of Bobby Keys. Drums, bass, piano, vibes, marimba, trumpet, trombone, flute and accordion fill out the mix, and impart a joyful atmosphere to the proceedings.

For fans of classic British rock who like to smile.

Line-up:
- Howard Werth / guitar, vocals
- Tony Connor / drums, marimba, vibraphone
- Gus Dudgeon / percussion
- Keith Gemmell / clarinet, flute, saxophone (Tenor), wind
- Nick Judd / piano, keyboards
- Bobby Keys / saxophone, saxophone (Tenor)
- Jim Price / trombone, trumpet, horn
- Trevor Williams / bass, guitar (bass), keyboards, vocals

Track List:
01. Stand by the Door (3:56)
02. Seven Sore Bruises (2:36)
03. Hula Girl (2:39)
04. Ain’t the Man You Need (3:20)
05. In Accord (4:54)
06. Barracuda Dan (2:20)
07. Thunder and Lightning (3:37)
08. Party Games (3:19)
09. Trombone Gulch (2:42)
10. Buy Me an Island (5:10)

Link in comments.

Audience

21. Peron – 21. Peron (1975) (@256)

20 Jun 2007

(Info from homestead.com)

The Izmir College band was formed in 1970 highly influenced by Creedence Clearwater Revival, The Who and Crosby, Stills, Nash and Young and even performed Tommy at some schoolshows back in 1972. They won the Milliyet contest in 1973 with a self written tune. After that the group members changed, (due to graduating), a viola player was added and renamed their group into ’21.Peron’.

Their influences expanded and included Zappa, Genesis and Gentle Giant, with still sympathy for the Anatolian rock which they continued to develop. In 1974 they did a progrock jingle for a national radio show by Umit Tuncag who supported jazz and progressive music. By 1975 they moved to an instrumental style of music with some Yes and Genesis influences, which was respected but hard to understand for the (Turkish) general public. At that time they recorded 5 tracks themselves, but it was impossible to find a label to release this. More “experimental” or progressive music from small groups outside the Altin Mikrofon contest and the Milliyet (schoolband) contest simply were not promoted.

In 1977 the group had the permission by label owners Attila Ozdemiroglu and Sanar Yurdatapan to record in a professional studio another 6 songs. The tracks had to find a more compact form and balance for the market’s rules. The tapes were used once for a TRT national broadcast airplay but then were left unused ever since. In 1978 the band made live arrangements for an additional orchestra. “Petruska” was played live in a 12 minute version (rock band with orchestra), but this full version recording was not included on this album yet.

Around the same time the German band Embryo started their first world music tour (documented for the Indian & Pakistan parts afterwards on “Embryo’s Reise). In Turkey they played with 21. Peron although the important part of the violin wasn’t there, because Alp had to leave the band for his studies.

In 1979, just as a joke, the band suggested a song for the Eurovision song festival and won the national competition. Due to the oil crisis and threats by other Middle eastern countries, Turkey’s participation in Israel was cancelled, so the band never came to it.

Only recently Arkaplan label put their old recordings together to publish the album they once had dreamed of to release.

“Anne” has a anadolu rock flavour but also includes some psych organ, wah wah guitar and violin improvisation with a developed sound, varying from a garage psych feeling, but it is definitely symphonic in its evolution. “18400 TL.” is inventive with its sound, and compromises progressive rock, and bluesrock or beat rhythms, with anadolu folk and anadolu fuzz psych ideas, also in a symphonic way. Fantastic !

“F.M.O” is more experimental, improvised. Progressive music to lick your fingers to. The track was meant as an imaginary mini-soundtrack. “Petruska” is based upon Stravinski’s composition, in a great progressive / chamber music rock interpretation, inventively played. Stunning ! If this version of 6 minutes is already that good I wish to hear the 12 minute version with additional arrangements !! I’m sure Stravinsky would have approved this work.

Side B starts with “Cocukluk Anilarim”, a more relaxed track with a banjo-like ethno-folk instrument, electric guitars, great psych organ, violin, drums. “Inilti” and “Bes” are good symphonic tracks with much more keyboard chord input, guitars, and drums, just like various West European bands from mid seventies. “Sarap Mahzeninde Gece” has a combination of driving Anadolu elements, with heavy prog rock with refined but powerful arrangements, arranged perfectly into a progressive form. “FMO II”, a bit more moody, fits perfectly here with Curved Air like violin adaptation and a bit more experimenting within improvisation (with echoed and experimental sounds, guitars, violin). Last track “Arap Bebegin Dansi” (with a Debussy theme) starts a bit different, with a more fun rhythmical moog and organ (with some dance violin) combined unexpectedly with some heavy prog rock guitars. In some way it gives another aspect of the Anadolu rock scene, reminding me of Erol Buyukburc area/story, here it still is with all its seriousness intact.

Line-up:
* Alp Gultekin – Violin
* Andreas Wildermann – Keyboards
* Haluk Oztekin – Guitar
* Erden Erdem – Drums
* Aron Serez – Bass
* Gokhan Akcay – Bass
* Seyhan Eris – Guitar
* Halil Yildirim – Drums

Track List:
01. Anne
02. 18400 TL
03. F.M.O. (Film Muzigi Olabilir)
04. Petruska
05. Cocukluk Anilarim
06. Inilti
07. Bes
08. Sarap Mahzeninde Gece
09. F.M.O. II (Film Muzigi Olamadi)
10. Arap Bebegin Dansi
11. Anlatamiyorum (Bonus)
12. Koy Dugunu (Bonus)

Link in comments.

Sakalli's Pick, Turkish

Magna Carta – Songs from Wasties Orchard (1971) (@192)

20 Jun 2007

9 comments

(Review from progarchives.com, allmusic.com)

For anybody familiar with the group’s first two albums, Magna Carta’s own style remained constant, a collection of beautifully stylized folk ballads sung and gently strummed with a warmth and versatility.

Before Magna Carta’s third album, founding member Lyell Tranter left the band to return to Australia for romantic reasons. His place was filled by a young Davey Johnstone who had appeared as a guest musician on the previous “Seasons” album.

For “Songs from Wasties orchard”, the band retreated into their folk roots, even touching at times on country. The opening two tracks, “Time for the leaving” and “Beyond the Isle of Skye” both sound like traditional songs, but are in fact Chris Simpson compositions. Their pleasant understated acoustic nature follows on naturally from the second side of “Seasons”. Davey Johnstone contributes two songs, and co-writes a third. Of these, “Sponge”, an acoustic guitar workout, would sit well on any Fairport Convention album, especially “Angel Delight”.

There are a couple of upbeat numbers (“Good morning sun” and Parliament Hill”) where the Simon and Garfunkel sound of Magna Carta is very much to the fore. They are pleasant but very lightweight. “Home groan” and “Country jam” see the band venturing into country rock.

Line-up:
- Chris Simpson / guitars, vocals, percussion
- Glenn Stuart / vocals
- Davey Johnstone / guitar, vocals
with
- Ron Chesterman / bass
- Heather Corbett / percussion
- Chris Laurence / bass
- Nic Potter / bass
- Danny thompson / bass
- Johnnie van Derrick / violin
- Tony Visconti / bass, percussion
- Rick Wakeman / keyboards

Line-up:
01. The Bridge At Knaresborough Town
02. White Show Dove
03. Parliament Hill
04. Wayfaring
05. Down Along Up
06. Country Jam
07. Time For Leaving
08. Beyond the Isle Of Skye
09. Sponge
10. Sunday On The River
11. Good Morning Sun
12. Home Groan

Link in comments.

Magna Carta, Nic Potter, Rick Wakeman

Who – Tommy (1969) (@256)

19 Jun 2007

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

Tommy is a full-blown rock opera about a deaf, dumb, and blind boy. It liberated the Who from a “singles band” stigma, marking them as a substantial artisticforce. Composer Pete Townshend had flirted with the conceptual format on two previous releases, but here his vision is spread over two ambitious records that play to the Who’s main strengths.

Tommy Walker is born while his father is off on some journey (‘It’s a boy’) from which he becomes several years late in returning. Tommy’s mother takes up with a lover, father returns, mother and lover kill father with Tommy as a witness, and mother and lover tell Tommy he saw and heard nothing (‘You didn’t hear it’). Tommy becomes functionally blind, deaf, and dumb to all outside appearances, however, it is evident that within his own head, he can see and hear everything (‘There’s a doctor I’ve found’). He is tormented by various malicious relatives (‘Cousin Kevin’ and ‘Fiddle About’) and ‘treated’ by various attempts, including hallucinogens (‘Acid Queen’). As he grows up, the only outside experience to which he responds is a pinball machine, at which he becomes expert (‘Pinball Wizard’). Tommy is finally cured by watching his image in a mirror smashed by, I believe, his mother’s lover (‘Smash the Mirror’). Being released from his isolation for Tommy is like being released from a practically lifelong mystical experience heightened by pinball. The charisma with which Tommy is imbued by this experience leads him to become a ‘New Messiah’ (‘Sally Simpson’) creating a movement which expands beyond local resources (‘Welcome’) and becomes institutionalized into a ritual modeled after playing pinball while deaf dumb and blind (‘Tommy’s holiday camp’). The story ends with a revolt of Tommy’s disciples against his new religion (‘We’re not gonna take it’).

Musically the album is made of complex pop-rock arrangements, generally based upon Townshend’s acoustic guitar and built up with many overdubs by the four members of the band using many instruments, including bass, electric and acoustic guitars, piano, organ, drumkit, gong, tympani, trumpet, French horn, three-part vocal harmonies and occasional doubling on vocal solos. Despite this instrumental richness the sound tends to be very “stark”, especially in comparison to the band’s later work. Many of the instruments only appear intermittently. Despite the complexity of the project, the Who never lost sight of solid pop melodies, harmonies, and forceful instrumentation, imbuing the material with a suitably powerful grace.

Tommy launched the band to international superstardom. Once the Tommy album was released, and the rock opera taken to the stages of Woodstock, the Metropolitan Opera House and everywhere in between, the Who found themselves firmly entrenched among rock’s premier acts.

Line-up:
* Roger Daltrey – lead vocals, harmonica
* Pete Townshend – guitars, keyboards, vocals
* John Entwistle – bass guitar, horns, vocals
* Keith Moon – drums, percussion, vocals
with
* Paul Townshend (Pete’s brother) – backing vocals
* Simon Townshend (Pete’s brother) – backing vocals

Track List:
01. Overture – 5:21
02. It’s a Boy – 0:38
03. 1921 – 2:49
04. Amazing Journey – 3:25
05. Sparks – 3:46
06. Eyesight to the Blind (The Hawker) – 2:13
07. Christmas – 4:34
08. Cousin Kevin – 4:07
09. Acid Queen – 3:34
10. Underture – 10:09
11. Do You Think It’s Alright? – 0:24
12. Fiddle About (Entwistle) – 1:26
13. Pinball Wizard – 3:01
14. There’s a Doctor – 0:23
15. Go to the Mirror! – 3:49
16. Tommy, Can You Hear Me? – 1:36
17. Smash the Mirror – 1:35
18. Sensation – 2:27
19. Miracle Cure – 0:12
20. Sally Simpson – 4:12
21. I’m Free – 2:40
22. Welcome – 4:34
23. Tommy’s Holiday Camp – 0:57
24. We’re Not Gonna Take It – 7:08

Links in comments.

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

Dire Straits – Love Over Gold (1982) (@256)

19 Jun 2007

(Review from rollingstone.com)

Love Over Gold is not just the title of Dire Straits’ fourth album, it is a statement of purpose. In almost suicidal defiance of commercial good sense, Mark Knopfler has chosen to follow his muse, fashioning a collection of radically expanded epics and evocative tone poems that demand the listener’s undivided attention. Certainly a quantum leap from the organic R&B impressionism of the band’s early albums (Dire Straits and Communique) and the gripping short stories of Making Movies, Love Over Gold is an ambitious, sometimes difficult record that is exhilarating in its successes and, at the very least, fascinating in its indulgences.

Two drastically different moods dominate the new album. One is sharp and fiery (like the bolt of lightning on the cover); the other is soft and seductive. That dichotomy is particularly explicit in “Private Investigations”, a long, unorthodox ballad in which Knopfler plays a private detective hardened by a life of combing through other people’s dirty laundry. Over a discreet synthesizer ring, gurgling marimba and a delicately plucked acoustic guitar, he grumbles into his whiskey glass like Bob Dylan in a trench coat: “You get to meet all sorts in this line of work Treachery and treason There’s always an excuse for it,” he recites in a raspy nicotine snarl. Then John Illsley sounds a quiet warning with a stalking bass line before the song erupts in dramatic bursts of guitar gunfire and tragic-sounding piano playing.

This wracking schizophrenia between the heart and the heartless, the loving and the pain, has always informed Knopfler’s songs and arrangements. Love Over Gold, however, finds Knopfler casting further than ever for ways to articulate the frustrations that color his romantic streak. At nearly fifteen minutes, the album’s opener, “Telegraph Road,” is certainly a challenge to the average pop fan’s attention span. But the song’s historic sweep and intimate tension–the building of America and the dashing of one man’s dreams in the wake of its accelerating crumble–enable Knopfler to deploy a variety of surprising instrumental voices, from the synthesized sunrise whistle at the beginning to the baroque piano motif in the middle. The song closes with an extended solo guitar crescendo that’s heated up by Pick Withers’ galloping drums. “Love Over Gold” is a whispery ballad that plays the jazzy tingle of vibes against an almost classical piano air and the violinlike pluck of a synthesizer to heighten its images of a casual, even cavalier, sex life. On the other hand, “Industrial Disease” – at five minutes, the shortest of the LP’s five songs and its most conventional rocker – crackles with a cynicism underlined by its cheesy “Wooly Bully” organ and coughing guitar effect.

At times, Mark Knopfler, who also plays producer here, seems to try too hard. “It Never Rains” is a harsh chip off the “Like a Rolling Stone” block. And nearly all the songs end in guitar solos, as if he had too many ideas and was unsure how to reconcile them. But in a period when most pop music is conceived purely as product, Love Over Gold dares to put art before airplay.

Line-up:
* Mark Knopfler – guitar, vocals
* Alan Clark – keyboard
* John Illsley – bass
* Hal Lindes – rhythm guitar
* Pick Withers – drums

Track List:
01. Telegraph Road – 14:15
02. Private Investigations – 6:45
03. Industrial Disease – 5:49
04. Love over Gold – 6:16
05. It Never Rains – 7:54

Link in comments.

Mark Knopfler

La Revolucion de Emiliano Zapata – Hoy (1972) (@256)

19 Jun 2007

(Info from wikipedia, freakemporium.com)

The relative obscurity of the band did not reduce the great impact achieved in those far-off areas. In 1972, they recorded their second album, “Hoy”. It continued the style of their first album of late sixties styled trippy psychedelia with male/female vocals and killer lead guitar.

Because the group’s musical concepts varied between several trends and influences, the search for new hits was fruitless. Adding to this was the emotional turmoil that the band members began to experience, unleashing a series of fights and disagreements that eventually led to changes in the lineup. Lead singer Oscar Rojas grew weary of both the city and the group environment, and left the group permanently in 1974, beginning the fall of La Revolución de Emiliano Zapata.

The band members of “Rev” decided to radically change their musical style, becoming singers of romantic ballads, thus ending their time as a rock band.

Track List:
01 – In The Middle of The Rain – 8.00
02 – Now Listen This Song – 6.02
03 – Petra Y Sus Camaradas – 5.28
04 – Otra Ves – 4.10
05 – Preludio A Le Felicidad – 3.08
06 – Fatman – 6.16
07 – So Long Ago – 4.53
08 – I Dig It – 10.17

Link in comments.

La Revolucion de Emiliano Zapata

Who – Sell Out (1967) (@256)

19 Jun 2007

(Review from wikipedia, amazon)

The Who Sell Out is The Who’s third album, released in 1967. It is a concept album, formatted as a collection of unrelated songs interspersed with faux commercials and public service announcements. The album purports to be a broadcast by pirate radio station Radio London. This is probably one of the most creative ideas in rock and roll history. Part of the intended irony of the title was that The Who were actually making commercials during that period of their career, some of which are included as bonus tracks.

There are masterpieces aplenty on this album, ranging from the big hit I Can See For Miles right down to underrated masterpieces like Armenia City In The Sky and Rael. And, like with any real radio broadcast, the band even did some mock commercials!

What is also remarkable is the playing and the singing. The vocal harmonies on Tatoo are just gorgeous, and when Townsend moved from Rickenbacker to Strat on “Miles” and pulled off those crunching chords and evil single note solo, there is so much of “less is more” about all this. Daltrey sings like an angel, as does Pete, and Mad Man Moon repeatedly kills the kit. Entwistle was always a stunning bass player, and it is no accident that the solo on My Generation was a bass solo, another first, played on a Danelectro bass.

This is a groundbreaking, magical, funny, moving and beautifully played total masterpiece. And don’t we all wish that just for once, we could have a bath in baked beans?!

Line-up:
* Roger Daltrey – lead vocals, backing vocals, percussion
* Pete Townshend – guitar, lead vocals, keyboards, pennywhistle, banjo, backing vocals
* John Entwistle – bass, lead vocals, horns, backing vocals
* Keith Moon – drums, lead vocals, backing vocals, percussion

Track List:
01. Armenia City in the Sky
02. Heinz Baked Beans
03. Mary Anne With the Shaky Hand
04. Odorono
05. Tattoo
06. Our Love Was
07. I Can See for Miles
08. I Can’t Reach You
09. Medac
10. Relax
11. Silas Stingy
12. Sunrise
13. Rael 1
14. Rael 2 (Bonus)
15. Glittering Girl (Bonus)
16. Melancholia (Bonus)
17. Someone’s Coming (Bonus)
18. Jaguar (Bonus)
19. Early Morning Cold Taxi (Bonus)
20. Hall of the Mountain King (Bonus)
21. Girl’s Eyes (Bonus)
22. Mary Anne With the Shaky Hand (Bonus Alternative Version)
23. Glow Girl (Bonus)

Links in comments.

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

La Revolucion de Emiliano Zapata – La Revolucion de Emiliano Zapata (1971) (@256)

18 Jun 2007

(Info from wikipedia)

A young band from Guadalajara headed by Javier Martin del Campo, formed with the intention of interpreting contemporary popular songs of the era in their own style. Initially, their hobby led them to play at local parties, but the resulting fame soon spread beyond their city. The group won the most call-in votes during a contest organized by a local radio station called “Radio ondas de la alegria” “Waves of Happiness Radio”, and earned themselves an audition with an important record label.

Initially reluctant, they signed a contract with Polydor Records, launching their brief but successful foray into the world of rock music. With an original musical concept and creative sense, the group moved to Mexico City, continuing to adapt their urban rhythms and establish a base for their new musical launches.

In 1971, they released their first album, their selftitled debut. It was an excellent piece of psychedelic acid rock with ripping fuzz lead guitars with English vocals.

Track List:
01. Nasty Sex – 7.28
02. Mel Ynda – 5.05
03. I Wanna Know – 3.45
04. If You Want It – 3.51
05. Shit City – 4.37
06. A King’s Talks – 4.33
07. Still Don’t (Not Yet) – 3.13
08. At The Foot At The Mountain – 4.33
09. Under Heavens – 3.58
10. In The Middle Of The Rain – 8.00
11. Petra Sus Camaradas – 5.24
12. Preludo A La Felicidad – 3.02
13. Fat Man – 6.12
14. I Dig It – 10.19

Links in comments.

La Revolucion de Emiliano Zapata

Ekseption – Live in Germany (1993) (@256)

17 Jun 2007

(Info from progarchives.com)

Ekseption is a Dutch band that was famous during the late sixties/early seventies for the way it combined themes from classical composers with contemporary rock and jazz in a blend of dominating, virtuoso keys and trumpet plus sax(es).

Ekseption’s only live album was recorded during two German concerts in November 1993. Ekseption had a reunion for some live performances.

If you’ve always wanted to listen to Ekseption live, here’s your chance.

Line-up:
- Rick Van Der Linden / Farfisa 1-3 +5 and Grand piano
- Rein Van Der Broek / trumpet, flugelhorn
- Max Werner / drums
- Frans Muys Van Der Moer / bass
- Dick Remelink / soprano & tenor saxophone

Track List:
01. Toccata (5:23)
02. Your home (4:51)
03. Peace planet (3:43)
04. Concerto (4:02)
05. Haydn (3:08)
06. Air (3:57)
07. Rhapsody in blue (4:45)
08. Thoughts (3:57)
09. Summertime (2:50)
10. For example (9:43)
11. The fifth (3:12)
12. Italian concerto (4:03)
13. Sabre dance (3:35)
14. My pianoman (2:45)

Links in comments.

Ekseption, Live, Max Werner, Rick van der Linden

Who – A Quick One (1966) (@256)

17 Jun 2007

(Review from amazon)

Like all the bands who survived from the mid-1960s into the 1970s, The Who’s output roughly divides into two eras, one of exciting R&B, the other of the more sophisticated and ambitious rock. Though they were always ambitious musically, it’s their latter era work that tends to gain most of the plaudits. The Who, though, are at their best when they simply throw off the shackles and go for it. Hence, ‘A Quick One’, their last work before they began to ‘grow up’, is both vibrant and ingenious.

This album is full of catchy tunes and adrenalin, yet it still unleashes a few surprises. The hard-driving ‘Run Run Run’ sets the standard, complete with winning harmonies. ‘Boris The Spider’, which contains the wonderful punchline, ‘He’s embedded in the ground’, is unforgettable. ‘Cobwebs And Strange’ is a nutty, anarchic, brassy mixture from the mind of Keith Moon. Of the other short songs, ‘Don’t Look Away’ and ‘So Sad About Us’ are probably the best. The band’s first foray into the form of rock opera is “A Quick One While He’s Away”, the title track of the album, a nine-minute suite of song snippets telling a story of infidelity and reconciliation.

The bonuses are mostly worthwhile — including a cover of the Beach Boys classic Barbara Ann, and even a cover of the theme to the sixties Batman TV series!

Line-up:
* Roger Daltrey – vocals
* Pete Townshend – guitar, vocals
* John Entwistle – bass guitar, keyboards, horns, vocals
* Keith Moon – drums, percussion, vocals

Track List:
01. Run, Run, Run – 2:43
02. Boris the Spider – 2:29
03. I Need You – 2:25
04. Whiskey Man – 2:57
05. Heat Wave – 1:57
06. Cobwebs and Strange – 2:31
07. Don’t Look Away – 2:54
08. See My Way – 1:53
09. So Sad About Us – 3:04
10. A Quick One While He’s Away – 9:10
11. Batman (Bonus theme from Batman) – 1:37
12. Bucket T (Bonus) – 2:12
13. Barbara Ann (Bonus) – 1:59
14. Disguises (Bonus) – 3:10
15. Doctor, Doctor (Bonus) – 2:59
16. I’ve Been Away (Bonus) – 2:08
17. In The City (Bonus) – 2:21
18. Happy Jack (Bonus Acoustic Version) – 2:55
19. Man With Money (Bonus) – 2:45
20. My Generation / Land of Hope and Glory (Bonus) – 2:05

Links in comments.

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

Trapeze – You Are the Music…We're Just the Band (1972) (@256)

17 Jun 2007

(Review from wikipedia, allmusic.com)

Trapeze were an English rock band formed in March 1969, by vocalist John Jones and guitarist and keyboardist Terry Rowley (who named the band), with singer and guitarist Mel Galley, bassist Glenn Hughes, and drummer Dave Holland. The band had a fairly fluid line up and although they never found commercial success themselves, several members went on to join better known bands including Deep Purple, Whitesnake, Judas Priest and Uriah Heep.

Though they were best known for a kind of muscular funk rock, the band Trapeze always had a jazzy element, and on their third album it is the softer tunes that stand out. This isn’t to say that there aren’t some good rockers here, since the title tune and “Keepin’ Time” are energetic and enjoyable. However it is on “Coast to Coast” and “What Is a Woman’s Role” that the band really shines. This is partly because both are really good songs, partly because both benefit from some inspired sax and vibes work from guests Jimmy Hastings and Frank Ricotti. Bassist Glenn Hughes takes the lead vocal on most tracks, and is very effective as long as he stays in his low range; on the rock tracks he uses his higher register, which tends to have a squealing or screechy tone. Those who only know Hughes from his subsequent work with Deep Purple may be surprised to hear his warm, soulful work on this disc, which was his last with Trapeze.

Line-up:
* Mel Galley – guitars, vocals
* Glenn Hughes – bass guitar, piano, lead and backing vocals, rhythm guitar
* Dave Holland – drums, percussion
* Pete MacKie – bass

Track List:
01. Keepin’ Time
02. Coast To Coast
03. What Is A Woman’s Role
04. Way Back To The Bone
05. Feelin’ So Much Better Now
06. Will Our Love End
07. Loser
08. You Are The Music, We’re Just The Band

Link in comments.

Glenn Hughes, Mel Galley, Trapeze

Peter Bardens – Peter Bardens (1971) (@256)

17 Jun 2007

(Review from allmusic.com)

Write My Name in the Dust was the American release of Peter Bardens’ second album, which was simply titled Peter Bardens in the U.K., though the contents were identical.

It was a curious low-key, slightly downbeat affair whose unspectacular mixture of hard rock, blues, some female soul-gospel backup vocal arrangements, and more meditative jazz-classical-influenced progressive music was very much of its time. Serious and stately passages demonstrated Bardens’ formidable genre-blending skills as a keyboardist, particularly on organ.

The next year Bardens was invited to join the freshly founded Camel who originated in Surrey.

Track List:
01. North end road
02. Write my name in the dust
03. Down so long
04. Sweet honey wine
05. Tear down the wall
06. Simple song
07. My house
08. Feeling hugh
09. Blueser

Link in comments.

Peter Bardens

Who – My Generation (1965) (@256)

16 Jun 2007

(Review from wikipedia, amazon.com, booklet)

The band crystallised around Townshend as the primary songwriter and creative force (though Entwistle would also make notable songwriting contributions). Townshend was at the centre of the band’s tensions, as he strove to write challenging and thoughtful music, while Daltrey preferred energetic and macho material (Daltrey would occasionally refuse to sing a Townshend composition and Townshend would thus sing it himself). Moon, not really a songwriter (although he contributed a handful of songs in the 60s), was a fan of American surf music.

The Who’s first hit was the 1965 “I Can’t Explain”, influenced by the early Kinks hits (with whom they shared American producer Shel Talmy). This hit was followed by “Anyway, Anyhow, Anywhere”, which was the only song credited as being composed in a joint effort by Townshend and Daltrey, though Townshend implied Daltrey assisted in songwriting without credit in the liner notes to Meaty, Beaty, Big and Bouncy. Their debut album My Generation was released the same year.

The album that emerged in December 1965 was not the album the band set out to record. Early sessions for the album were held in March and April 1965, for release in July; however, when music columnist John Emery heard a tape of those sessions, he expressed disappointment that the band had relied on so many covers, and suggested they write more of their own stuff.

The advice was duly taken to heart and Pete Townsend started producing more originals. Four songs from the earlier sessions were retained and added to eight new tracks from new recording sessions in October to finally produce My Generation. The remaining tracks from the earlier sessions later saw release on 7″ singles and the rarities compilation Who’s Missing (the legal problems that followed the album’s release gave Decca the right to release and re-release a total of 24 songs, album tracks, single sides and others, from those sessions), and now form part of the bonus material on the second disc.

Their 1965 debut album immediately showed their promise and potential, filled with energetic, no holds barred, balls to the wall rock and roll. They combined the rawness of The Rolling Stones, the catchy pop hooks of the early Beatles singles, and the sardonic lyrical prowess of The Kinks’ Ray Davies.

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

Track List:
CD1
01. Out in the Street
02. I Don’t Mind
03. The Good’s Gone
04. La-La-La Lies
05. Much Too Much
06. My Generation
07. The Kids Are Alright
08. Please, Please, Please
09. It’s Not True
10. I’m a Man
11. A Legal Matter
12. The Ox
13. Circles (Instant Party)
14. I Can’t Explain (Bonus Track)
15. Bald Headed Woman (Bonus Track)
16. Daddy Rolling Stone (Bonus Track)
CD2
01. Leaving Here (Bonus)
02. Lubie (Come Back Home) (Bonus)
03. Shout and Shimmy (Bonus)
04. Heat Wave, (Love Is Like A) (Bonus)
05. Motoring (Bonus)
06. Anytime You Want Me (Bonus)
07. Anyway, Anyhow, Anywhere (Bonus alternate take)
08. Instant Party Mixture (Bonus)
09. I Don’t Mind (Bonus full length version)
10. The Good’s Gone (Bonus full length version)
11. My Generation (Bonus instrumental version)
12. Anytime You Want Me (Bonus a cappella version)
13. A Legal Matter (Bonus monaural version with guitar overdub)
14. My Generation (Bonus monaural version with guitar overdub)

Links in comments.

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

Who (as High Numbers) – Live at Marquee & Studio Sessions (1964) (@320)

16 Jun 2007

(Info from wikipedia, sleeve)

The Who first began in 1963. In their early days the band was known as The Detours. Like many of their British peers, the group was heavily influenced by American blues and country music, initially playing mostly rhythm and blues. The Detours changed their name to “The Who” in 1964 and, with the arrival of Keith Moon that year, their line-up was complete. However, for a short period during 1964, under the management of Peter Meaden, they changed their name to The High Numbers.

This is a bootleg CD, with live and studio material from that period.

Tracks 1-11 are live with decent sound considering the era. The tracks don’t flow smoothly and some cut in and out abruptly. Some sound like there is an audience while others don’t.

Tracks 12-18 are mono studio tracks. These are all instrumental, recorded in Abbey Road Studios.

As “High Numbers”, they released “Zoot Suit/I’m The Face”, a single designed to appeal to their mostly mod fans. When it failed to chart, the band fired Meaden and quickly reverted to The Who. They had also changed from The High Numbers to The Who because when they would have concerts, old ladies would come thinking that they could play bingo.

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

Track List:
01. Gotta Dance To Keep From Crying
02. You Really Got Me (Instrumental)
03. Young Man Blues
04. Green Onions
05. I Gotta Dance To Keep From Crying
06. Instrumental Jam
07. I Gotta Dance To Keep From Crying
08. Long Tall Shorty
09. Pretty Thing
10. Smokestack Lightning, Money (That’s What I Want)
11. Here ‘Tis
12. Smokestack Lightning
13. Walking The Dog (Instrumental)
14. Unknown Instrumental
15. I’m A Man (Instrumental)
16. Instrumental Jam
17. Memphis, Tennessee
18. Unknown Instrumental

Links in comments.

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

Peter Bardens – The Answer (1970) (@256)

16 Jun 2007

(Review from allmusic.com)

Prior to this solo debut, Peter Bardens had been on the British R&B-rock and psychedelic scene for about half a dozen years, playing in early bands with Ray Davies (Hamilton King’s Blues Messengers), Mick Fleetwood (Cheynes), Rod Stewart (Shotgun Express), as well as (briefly) in Them with Van Morrison. The Answer was his chance to step out of the shadows.

Devoted to a half-dozen lengthy tracks varying in duration from five to 13 minutes, Bardens offered a blues-progressive stew; featuring Love Affair singer Steve Ellis, session vocalist Linda Lewis, Bruce Thomas (later to back Elvis Costello in the Attractions), and most of all his old friend Peter Green. In fact, Green offers some of his best playing as a sideman on this record.

The 13-minute “Homage to the God of Light” is the highlight, its mesh of Latin-esque rhythms, burning organ, and bluesy guitar recalling some of early Santana’s more jammy grooves. It was also played in early Camel concerts as “God of Light”.

Track List:
01. Answer
02. Don’t Goof with a Spook
03. I Can’t Remember
04. I Don’t Want to Go Home
05. Let’s Get It On
06. Homage to the God of Light

Link in comments.

Peter Bardens, Peter Green

Blues Traveler – Straight on Till Morning (1997) (@320)

15 Jun 2007

(Review from allmusic.com)

The commercial success of Four was a mixed blessing for Blues Traveler. It did give them a wider audience, but it also put them in the delicate position of pleasing their new, hook-happy fans while retaining their hardcore, jam-oriented cult following. They skillfully manage to do just that on Straight on Till Morning, the bluesy, ambitious follow-up to Four. On the whole, Straight on Till Morning is a tougher album than any of its predecessors, boasting a gritty sound and several full-on jams. But the key to the album is its length and its sprawling collection of songs, which find Blues Traveler trying anything from country-rock to jangling pop/rock. They manage to be simultaneously succinct and eclectic, and they occasionally throw in a good pop hook or two. Blues Traveler are still too loose to be a true pop/rock band, and John Popper would still benefit from a sense of meter, but Straight on Till Morning is the first studio record that captures the essence of the band.

Line-up:
* John Popper – Harmonica, Vocals (Lead and Background), 12-string acoustic guitar (on “Yours”)
* Brendan Hill – Drums and Percussion
* Chan Kinchla – Guitars
* Bobby Sheehan – bass

Track List:
01. Carolina Blues – 4:44
02. Felicia – 4:42
03. Justify The Thrill – 4:06
04. Canadian Rose – 4:31
05. Business As Usual – 5:17
06. Yours – 6:34
07. Psycho Joe – 3:55
08. Great Big World – 5:37
09. Battle Of Someone – 6:03
10. Most Precarious – 3:27
11. The Gunfighter – 4:57
12. Last Night I Dreamed – 4:10
13. Make My Way – 7:24

Links in comments.

Blues Traveler, John Popper

Creedence Clearwater Revival – CCR Box Set (1961-1972) (@256)

15 Jun 2007

(Review from amazon.com, allmusic.com)

Popular but not hip, basic but not shallow, rooted but not retro, Creedence Clearwater Revival distinguished themselves in the late 1960s and early 1970s through these contradictions. At a time when rock was evolving further and further away from the forces that had made the music possible in the first place, Creedence Clearwater Revival brought things back to their roots with their concise synthesis of rockabilly, swamp pop, R&B, and country. CCR’s classic compositions both evoked enduring images of Americana and reflected burning social issues of the day. The band’s genius was their ability to accomplish this with the economic, primal power of a classic rockabilly ensemble.

The Creedence Clearwater Revival box set is very much a mammoth enterprise in its own right. Containing all seven original albums and two live albums, not to mention a whole CD full of material from their stints as Tommy Fogerty & The Blue Velvets and The Golliwogs, this is very much a unique set.

All tracks have been superbly remastered, thus salvaging their legacy for forthcoming generations. Once you possess this set, you need not even browse through the other compilations, since all of it is here, and a little bit more.

The undoubted highlight of the set is the first CD, focusing on the pre-Creedence period. The Blue Velvets singles make their debut appearance here (the most devout Creedence fan may have noticed that the third single is absent, because of its scarcity). The Golliwogs singles made their first appearance on vinyl on the 1975 Pre Creedence compilation, which also included the first single under the name of Creedence Clearwater Revival. To top it all off, there are even extra tracks among the singles that prior to this set never saw the light of day: “I Only Met You Just An Hour Ago”, “She Was Mine”, “Gonna Hang Around”, “Instrumental #1″, “Little Tina”, and “Try Try Try”, which in all sound a lot different compared to the Blue Velvets material, which harked back to ’50s style rock’n'roll. Another additional treat is the “abandoned” single “Tell Me”/”You Can’t Be True” (second version) that was never released; the CD finishes off with an Action USA radio promotional spot.

The B-side of the first Creedence single “Porterville”, “Call It Pretending”, opens CD 2, which, up to CD 5, focuses on the original Creedence albums until reaching Tracks 3 and 4 on CD 5. Probably the rarest of gems in the Creedence catalog, “45 Revolutions Per Minute (Parts 1-2)” was originally a promo CD recorded in late 1970 and distributed to radio stations. It is basically a group interview interspersed with added effects (not to mention a very amusing sequence where John Fogerty can be heard speaking backwards!) and musical backdrops to boot. This particular track is as yet not available elsewhere. The remainder of CD 5 and the sixth (and last) one display Mardi Gras plus the two live albums In Concert and Live In Europe (with additional tracks apparently taken from Live In Germany, which was recorded at the same time period as Live In Europe).

Hats off to CCR!

Line-up:
* John Fogerty – guitar, organ, harmonica, horn, tambourine, vocals
* Tom Fogerty – rhythm guitar, vocals
* Stu Cook – bass, piano, keyboards, vocals
* Doug Clifford – percussion, drums, vocals

Track List:
CD1 (1961-1967 Pre-Creedence) :
01 – Tommy Fogerty & Blue Velvets / Come On Baby
02 – Tommy Fogerty & Blue Velvets / Oh My Love
03 – Tommy Fogerty & Blue Velvets / Have You Ever Been Lonely
04 – Tommy Fogerty & Blue Velvets / Bonita
05 – Golliwogs / Don’t Tell Me No Lies
06 – Golliwogs / Little Girl (Does Your Momma Know)
07 – Golliwogs / Where You Been
08 – Golliwogs / You Came Walking
09 – Golliwogs / You Can’t Be True
10 – Golliwogs / You Got Nothin’ On Me
11 – Golliwogs / I Only Met You Just An Hour Ago
12 – Golliwogs / Brown-Eyed Girl
13 – Golliwogs / You Better Be Careful
14 – Golliwogs / Fight Fire
15 – Golliwogs / Fragile Child
16 – Golliwogs / She Was Mine
17 – Golliwogs / Gonna Hang Around
18 – Golliwogs / Try Try Try
19 – Golliwogs / Instrumental #1
20 – Golliwogs / Little Tina
21 – Golliwogs / Walking On The Water
22 – Golliwogs / You Better Get It Before It Gets You
23 – Golliwogs / Tell Me
24 – Golliwogs / You Can’t Be True #2
25 – Golliwogs / Action USA Promotional Spot
CD2 (1967-1969) :
01 – Call It Pretending
02 – I Put a Spell on You
03 – The Working Man
04 – Susie Q
05 – Ninety-Nine and a Half
06 – Get Down Woman
07 – Porterville
08 – Gloomy
09 – Walk on the Water
10 – Born on the Bayou
11 – Bootleg
12 – Graveyard Train
13 – Good Golly Miss Molly
14 – Penthouse Pauper
15 – Proud Mary
16 – Keep on Chooglin’
CD3 (1969) :
01 – Green River
02 – Commotion
03 – Tombstone Shadow
04 – Wrote A Song For Everyone
05 – Bad Moon Rising
06 – Lodi
07 – Cross-Tie Walker
08 – Sinster Purpose
09 – The Night Time Is The Right Time
10 – Down On The Corner
11 – It Came Out Of The Sky
12 – Cotton Fields
13 – Poorboy Shuffle
14 – Feelin’ Blue
15 – Fortunate Son
16 – Don’t Look Now (It Ain’t You or Me)
17 – The Midnight Special
18 – Side O’ The Road
19 – Effigy
CD4 (1970) :
01 – Ramble Tamble
02 – Before You Accuse Me
03 – Travelin’ Band
04 – Ooby Dooby
05 – Lookin’ Out My Back Door
06 – Run Through The Jungle
07 – Up Around The Bend
08 – My Baby Left Me
09 – Who’ll Stop The Rain
10 – I Heard It Through The Grapevine
11 – Long As I Can See The Light
12 – Pagan Baby
13 – Sailor’s Lament
14 – Chameleon
15 – Have You Ever Seen The Rain
16 – (Wish I Could) Hideaway
17 – Born To Move
18 – Hey Tonight
19 – It’s Just a Thought
CD5 (1970 Studio + 1972 Live) :
01 – Molina
02 – Rude Awakening #2
03 – 45 Revolutions Per Minute (part 1)
04 – 45 Revolutions Per Minute (part 2)
05 – Lookin’ for a Reason
06 – Take It Like a Friend
07 – Need Someone to Hold
08 – Tearin’ Up the Country
09 – Someday Never Comes
10 – What Are You Gonna Do
11 – Sail Away
12 – Hello Mary Lou
13 – Door to Door
14 – Sweet Hitch-Hiker
15 – Born on the Bayou
16 – Green River
17 – Tombstone Shadow
18 – Don’t Look Now (It Ain’t You or Me)
19 – Travelin’ Band
20 – Who’ll Stop the Rain
21 – Bad Moon Rising
22 – Proud Mary
23 – Fortunate Son
24 – Commotion
CD6:
01 – The Midnight Special
02 – The Night Time Is The Right Time
03 – Down On The Corner
04 – Keep On Chooglin’
05 – Born On The Bayon
06 – Green River – Susie Q
07 – It Came Out Of The Sky
08 – Door To Door
09 – Travelin’ Band
10 – Fortunate Son
11 – Commotion
12 – Lodi
13 – Bad Moon Rising
14 – Proud Mary
15 – Up Around The Bend
16 – Hey Tonight
17 – Sweet Hitch – Hiker
18 – Keep On Chooglin’ #2

Links in comments.

Camel – A Nod and A Wink (2002) (@320)

14 Jun 2007

(Review from progreviews.com, prog4you.com)

The artwork, almost like an illustration in a children’s book, strongly evokes the wistful and reflective mood of the album. In the cover, a boy is walking along, gazing upwards against a heavenly figure in a twilight landscape with archetypally drawn figures such as a horse, crescent moon, and flying figures that look half-way in-between birds and bats. The figure in the sky appears to be sleeping, or perhaps dreaming that he is the boy walking along. The background silhouette at first glance looks like a row of houses with the chimney of one blowing smoke into the air, but in actually it is a moving train blowing musical notes. Interestingly, on the back insert of the CD, this scenario is reversed: it is a man walking along, with a boy’s countenance in the sky either sleeping or dreaming.

It is these symbols, of progression, of memory, and of illusions and parallels, that underlie the album’s music and lyrics. Opening with the sounds of a train beginning to move, the title track is the album’s showpiece. The tick-tock melodies and lyrics, somewhat reminiscent of a gentler version of The Strawbs’ “Ghosts,” are a parent singing a lullaby to their child, encouraging their dreamworld journey in slumber. The lyrics also work on another, more emotional level, also suggesting a departed loved one communicating to a living relative (i.e., as could be another interpretation of the album cover). The introspective “A Boy’s Life” is another highlight of the disc, with the train sounds a recurring theme. The brief lyrical introduction at first suggests a tiff between couples (“I try to see through your eyes…are we so unalike?”) but further reveals itself to be Latimer addressing his adolescent self. From here, the song builds into a sad-sweet vista of slide guitar and mellotron-like keys, culminating into a majestic passage of ecstasy and liberated spirit that sounds — yes it sounds crazy, but it’s true — about as close to what Popol Vuh circa their Einsjäger and Letzte Tage – Letzte Nächte years might have sounded like in 2002.

“Fox Hill”, attempts some comic relief while clearly continuing the album’s theme of childhood innocence. Unfortunately, it is a bit too close for comfort to Gabriel-era Genesis, complete with wobbily “Slipperman” organ riffs and purposefully twee British accent that is nonetheless laid on a bit too thick for me to enjoy. Still, the musical segments that the song winds through are quite good. “Squigely Fair,” a largely instrumental with a brief dash of similarly exaggerated Brit carnival barking, is more pleasing.

Cordoning itself off from prog rock territory, “Simple Pleasures” goes for a laid back, respectable Dire Straits sound. “For Today”, an elegy to September 11th, follows a similar mode, and though moving with glacial pacing, features some heartfelt, definably Latimerian guitar at the end. The album ends suitably with the train chugging off into the distance.

Camel’s “A Nod and a Wink” marks a major milestone for the band and a great many of their fans. Camel is celebrating thirty years of musical excellence, adding another fine album to their substantial library. Even more amazing than the longevity is that the essential magic that is Camel has survived the time and the changes with an undiminished style, and having produced numerous albums without a clinker in the lot.

Line-up:
- Andrew Latimer / guitars, flute, keyboards, vocals
- Guy LeBlanc / keyboards, backing vocals
- Colin Bass / bass, backing vocals
- Terry Carleton / drums (tracks 2,6), percussion and backing vocals (track 7)
- Denis Clement / drums
- Susan Hoover / lyrics
- JR Johnston / backing vocals (track 7)

Track List:
01. A Nod and a Wink (11:16)
02. Simple Pleasures (5:31)
03. A Boy’s Life (7:20)
04. Fox Hill (9:09)
05. The Miller’s Tale (3:34)
06. Squigley Fair (8:02)
07. For Today (10:40)

Links in comments.

Camel, Colin Bass

Dom – Edge of Time (1971) (@192)

14 Jun 2007

(Info from Crack in the Cosmic Egg)

One of the legendary classics of the German underground. Two Hungarian brothers, a Pole and a German got together. The resultant music this international combo created resulted in some of the most inventive krautrock. A strange spacious and innovative album fusing rock, folk, ethnic and the avant-garde musics most uniquely, “Edge of Time” is one of those albums that is extremely difficult to describe. Just consider, it ranges from atmospheric Yatha Sidhra realms via electroacoustic collage, and free-form jazz, onto the chaotic psychedelic underground of Amon Duul. All this is the framework for a dreamy poetic semi-spoken song recanting the lyrics on the cover. Enigmatic through and through. And, if that weren’t enough, it all flows as if a grandiose conceptual opus, one which combines so many disparate elements that it becomes uncategorisable!

Line-up:
* Laszlo v. Baksay – bass, lyrics, vocals
* Gabor v. Baksay – percussion, vocals, flute
* Reiner Puzalowski – guitar, vocals, flute
* Hans Georg Stopka – organ, guitar, vocals

Track List:
01. Introitus
02. Silence
03. Edge Of Time
04. Dream
05. Flotenmenschen 1 (Bonus)
06. Flotenmenschen 2 (Bonus)
07. Flotenmenschen 3 (Bonus)
08. Flotenmenschen 4 (Bonus)
09. Let Me Explain (Bonus)

Link in comments.

REO Speedwagon – Live: You Get What You Play For (1977) (@192)

14 Jun 2007

Request of Rock Doctor.

(Info from wikipedia)

REO Speedwagon built their audience through constant touring. The band was always dissatisfied with the producers on their studio albums, because they continually failed to capture on tape the quality of the band’s live show.

Their first live album, Live: You Get What You Play For (1977), was the band’s first real commercial success and was certified platinum.

Line-up:
* Kevin Cronin – Guitar, Guitar (Rhythm), Vocals
* Neal Doughty – Keyboards
* Alan Gratzer – Drums, Vocals (back)
* Gregg Philbin – Bass, Vocals (back)
* Gary Richrath – Guitar, Vocals

Track List:
01. Like You Do – 6:54
02. Lay Me Down – 3:39
03. Any Kind of Love – 3:34
04. Being Kind (Can Hurt Someone Sometimes) – 6:35
05. Keep Pushin’ – 4:06
06. (Only A) Summer Love – 6:05
07. Son of a Poor Man – 5:30
08. (I Believe) Our Time Is Gonna Come – 4:49
09. Flying Turkey Trot – 2:35
10. 157 Riverside Avenue – 7:38
11. Ridin’ the Storm Out – 5:47
12. Music Man – 2:58
13. Golden Country – 8:26

Link in comments.

Live, REO Speedwagon

Magma – Mekanik Destruktiw Kommandoh (1973) (@256)

13 Jun 2007

(Review from vintageprog.com, progarchives.com)

Magma from France is one of the leading Zeuhl-bands and lead by Christian Vander. Their albums are based around a concept that told about a planet called Kobaia, and all the lyrics are sung in Kobaian (a language invented by the band themselves!).

As the peak of a mountain disgorges lava and it becomes art , Magma created from this volcano an endless flow of fusion from the gaping mouth/crater between classic (Stockhausen and Orff) , jazz (Coltrane) and transformed it into a rock and it is an extremely fine blend.

The whole album consists of a continuous suite in 7 parts that sounds like absolutely no other progressive rock band. The piece is strongly dominated by a 5-member choir who are singing more or less uninterrupted through the whole album. The rest of the arrangements consist of percussion, organ, piano, bass and various wind-instruments. But the choir remains the most visible part in the sound of this album. The melody-lines are often repetitive and have several memorable “hooks” (if you can use such an expression about this kind of music). The vocals are operatic, since lyrics aren’t understandable, vocals are another instrument increasing the impact of the wonderful music.

Magma managed to integrate several windinstruments, piano, guitars, drums and vocals to an organic mix of raw power, and subtle beauty. Maybe not everybody will like this type of music. But if you do, this could be your discovery of the year.

Line-up:
- Christian Vander / drums, vocals, organ, percussion
- Jannik Top / bass
- Klaus Blasquiz / vocals, percussion
- Jean-Luc Manderlier / piano, organ
- Rene Garber / bass clarinet, vocals
- Claude Olmos / guitar
- Stella Vander / choir organik Kommandeuhr
- Muriel Streisfeld, Evelyn Razymovski, Michele Saulnier, Doris Reihnardt, Stella Vander / choir
- Teddy Lasry / brass organik Kommandeuhr, flute

Track List:
01. Hortz Fur Dehn Stekehn West (9:34)
02. Ima Suri Dondai (4:28)
03. Kobaia Is De Hündďn (3:35)
04. Da Zeuhl Wortz Mekanďk (7:48)
05. Nebehr Gudahtt (6:00)
06. Mekanďk Kommandoh (4:08)
07. Kreuhn Kohrmahn Iss De Hundin (3:14)

Link in comments.

Christian Vander, Jannick Top, Magma

Pat Travers – Radio Active (1981) (@320)

13 Jun 2007

Request of Lou.

(Info from wikipedia, pattravers.com)

After an appearance before 35,000 people at the Reading Music Festival in England, both Thrall and Aldridge announced they were leaving the band to pursue other projects. Travers and Cowling forged on with drummer Sandy Gennaro and released Radio Active in 1981.

“Radio Active” was much different than Travers’ previous work, with more emphasis on keyboards than heavy guitars. On Radio Active, Travers plays everything from soulful ballads to Pink Floyd inspired instrumentals.

A co-headlining tour with Rainbow followed, and the two bands performed in major arenas across North America.

Line-up:
* Pat Travers – Guitar/Keyboards/Vocals
* Mars Cowling – Bass Guitar
* Sandt Gennaro – Drums
* Michael Schrieve – Percussion
* Pat Thrall – Guitar
* Tommy Aldridge – Drums

Track List:
01. New Age Music
02. My Life Is On The Line
03. (I Just Wanna) Live It My Way
04. I Don’t Wanna Be Awake
05. I Can Love You
06. Untitled
07. Feelin’ In Love
08. Play It Like You See It
10. Electric Detective

Link in comments.

Pat Travers, Tommy Aldridge

Camel – Rajaz (1999) (@256)

13 Jun 2007

16 comments

(Review from progarchives.com)

“The music of poets once carried caravans across great deserts. Sung to a simple metre of the animal’s footsteps, it transfixed weary travellers on their sole objective journey’s end. This poetry is called ‘rajaz’. It is the rhythm of the camel.”

And this is exactly the way you feel while listening to this album; like you are riding on the back of a camel in a caravan from one point in the deserted Saudi-Arabian desert to another, far far away.

Andrew Latimer plays most instruments on this album and they all have an “Arabian touch” to them, just as Ton Scherpenzeel’s keyboards. It really makes you feel like being on an Arabian journey on the back of a camel yourself. Camel singing about the rhythm of the camel. Makes sense doesn’t it?

Most of the tracks are also quite lenghty for which I cannot complain about. The whole album is pure magic, melody, tranquility and emotion. I just love this album since the very first time I spun it. It is just great.

Line-up:
- Andy Latimer / guitars, vocals, flute, keyboards, percussion
- Colin Bass / bass
- Ton Scherpenzeel / keyboards
- Dave Stewart / drums, percussion
- Barry Phillips / cello

Track List:
01. Three Wishes (6:58)
02. Lost And Found (5:38)
03. The Final Encore (8:07)
04. Rajaz (8:15)
05. Shout (5:15)
06. Straight To My Heart (6:23)
07. Sahara (6:44)
08. Lawrence (10:46)

Links in comments.

Camel, Colin Bass, Ton Scherpenzeel

Grup Cig – Cig Turkuleri (1998) (@256)

12 Jun 2007

9 comments

Mustafa Ozarslan and Oguz Aksac formed Grup Cig in Ankara in 1994, playing Turkish folk songs. What made Grup Cig so unique, was their duelling screaming vocals.

Grup Cig played in local bars of Ankara for many years, singing local folk songs originating from many different regions and cultures of Turkey.

In 1998, with the support of renowned artist Musa Eroglu, Grup Cig released their debut album “Cig Turkuleri”.

Line-up:
* Mustafa Ozarslan: Vocals, Wind Instruments
* Oguz Aksac: Vocals, Wind Instruments
* Murat Cinay: Vocals, Guitar
* Kemal Ozarslan: Baglama
* Levent Kahraman: Vocals, Percussion
* O. Deger Ozsu: Keyboards
* Yildaner Ozkazanc: Drums
with
* Musa Eroglu: Baglama
* Ahmet Ozgul: Acoustic, Electro, Classic Guitar
* Cuneyt Sozmen: Bass, Fretless Bass
* Can Kokrek: Bango
* Metin Ozbek: Bango
* Ferhat Erdem: Pipe
* Huseyin Gecer: Mey, Zurna (Shrill pipe)

Track List:
01. Kahpe Felek
02. Hekimoglu
03. Omrum
04. Yuksek Minare
05. Konuk
06. Essek
07. Halimem
08. Yarim Yarim
09. Ladik Semahi
10. Alisan
11. Hazal Gelin
12. Halay Potpori

Link in comments.

Turkish

Curved Air – Airborne (1976) (@256)

11 Jun 2007

Request of Master3D.

(Review from progarchives.com)

While “Airborne” (released in 1976) represents the declining years in terms of Curved Air’s success and popularity, it does have some historical significance as it was the band’s last official studio album. “Airborne” is also notable as Stewart Copeland, who went on to find superstardom as drummer with the Police, plays “heavy artillery” (i.e. drums) here. He had already appeared on Curved Air’s “Midnight wire” album, which was released just after the reunion of (most of) the original line up for “Curved Air live”. From that re-union, violinist Daryl Way remained in the band, the line up for “Airborne” being completed by guitarist Mick Jacques, and Tony Reeves on bass.

Copeland, who had recently married lead singer Sonja Kristina, participated in the song writing for the first time when he co-wrote the music for the opening track, “Desiree” (which was released as a single) along with Jacques, and the co-wrote lyrics with his new wife.

The three Daryl Way tracks are the eye catchers here, in particular “Moonshine”. This track stands head an shoulders above the other songs on the album, especially in prog terms. While not quite as appealing as previous Curved Air masterpieces such as “Vivaldi” (“Air conditioning”), or “Metamorphosis” (“Air cut”), “Moonshine”, which runs to about 10 minutes, is an impressive piece of work. The pace and mood of the track change regularly throughout, moving from soft delicate passages, to virtuoso violin by Way, and some fine symphonic keyboards. At times, there are echoes of Gentle Giant among others.

The rest of the tracks effectively play a supporting role. Side one consists of five short numbers. “Desiree”, is a pop-rock opener, which features multi-tracked vocals by Sonja Kristina, and some decent, if brief, lead guitar. Quite why the band felt the need to multi-track Kristina’s voice is something of a mystery, but it is a sound which features on several of the tracks here. Copeland’s composition “Kids to blame” is a fairly innocuous piece of pop rock, but he took it with him to The Police, where it featured in their live act.

The closing track on side one, “Touch of Tequila”, is the antithesis of “Moonshine”, being a dreadful pop influenced song, which sees Kristina sounding a bit too like Irish Eurovision star Dana!

There are a couple of decent ballads, “Broken lady”, co-written by Sonja Kristina, and Daryl Way’s lullaby “Dazed”, which closes the album.

“Airborne” is an album of peaks and troughs, ranging from the excellent prog of “Moonshine” to the disastrous pop of “Touch of Tequila”. In all though, a worthwhile effort, which will, in the main, please fans of the band.

Line-up:
- Stewart Copeland / drums
- Mick Jacques / guitars
- Sonja Kristina / vocals
- Tony Reeves / bass
- Darryl Way / violin, keyboards, vocals

Track List:
01. Desiree (3:12)
02. Kids To Blame (3:19)
03. Broken Lady (3:13)
04. Juno (3:23)
05. Touch Of Tequila (3:49)
06. Moonshine (11:36)
07. Heaven (Never Semmed So Far Away) (3:18)
08. Hot And Bothered (2:53)
09. Dazed (4:17)
10. Baby Please Don’t Go (Bonus) (2:31)

Link in comments.

Curved Air, Darryl Way, Sonja Kristina

Camel – Coming of Age (Live 1997) (@256)

11 Jun 2007

Recorded on March 13th, 1997 at The Billboard Live club in Hollywood, this double album captures a whole evening of Camel’s Harbour of Tears tour.

As usual with any Camel tour of a concept album; the album is played as a whole, among many Camel classics.

Line-up:
- Andrew Latimer/ guitar, vocals
- Colin Bass / bass vocals
- Foss Patterson / keyboards
- Dave Stewart / drums
with
- Mae McKenna / vocal on “Irish Air”

Track List:
CD1
01. Lunar Sea (8:57)
02. Hymn to Her (6:34)
03. Rhayader (2:53)
04. Rhayader goes to Town (5:03)
05. Preparation (3:19)
06. Dunkirk (5:05)
07. Drafted (4:28)
08. Docks (3:54)
09. Beached (4:00)
10. Spirit of the Water (3:09)
11. Ice (9:40)
12. Sasquatch (4:18)
CD2
01. Milk n’Honey (3:23)
02. Mother Road (4:29)
03. Needles (2:30)
04. Rose of Sharen (5:09)
05. Irish Air (0:57)
06. Irish Air Reprise (2:27)
07. Harbours of tears (3:16)
08. Cobh (0:52)
09. Send Home the States (4:04)
10. Under the Moon (1:46)
11. Watching the Bobbins (7:38)
12. Eyes of Irelands (3:13)
13. Running From Paradise (5:39)
14. End of the Day (2:44)
15. Coming of Age (7:38)
16. The Hour Candle (7:20)

Links in comments.

Camel, Colin Bass, Live

Spring – Spring Two (1972) (@256)

11 Jun 2007

Thanks to Chrisgoes for discovering this gem.

Spring’s previously unreleased second album. The band had split before it could be released. Three of its tracks were featured as bonus tracks in the re-issue of Spring’s first album. Here it is in full glory in a Japanese-only edition.

If you loved the first album, don’t miss this one.

Line-up:
- Pat Moran / vocals, mellotron
- Ray Martinez / guitars, mellotron
- Adrian ‘Bone’ Maloney / bass guitar
- Pick Withers / drums
- Kipps Brown / piano, organ, mellotron

Track List:
01 – Jack & Jim
02 – Hendre Mews
03 – Painted Ship
04 – High Horse
05 – Fernley Avenue
06 – Helping The Helpless
07 – A World Full of Whispers
08 – Losers
09 – Get My Share
10 – Hendre Mews (Bonus Diff. Mix)
11 – A World Full of Whispers (Bonus Diff. Mix)
12 – Fool’s Gold (Bonus)

Links in comments.

Spring

Camel – Harbour Of Tears (1996) (@320)

11 Jun 2007

(Review from progarchives.com)

“How can mere mortals make such beautiful music?” is the question I ask myself every time I listen to “Harbour of Tears”. It is a most exquisite concept album that tells the story of an Irish family who emigrates to the U.S. in order to start over – its musical themes are so convincing they manage to convey a nostalgia for places we’ve never even been to. ‘Harbour of Tears” is also very moody, even more so than “Dust & Dreams”, but that’s what makes it most poignant and exactly the way I like my Camel: with full-bodied arrangements and stunningly beautiful melodies.

Although the lyrics set the stage, it is the music that mesmerizes. It starts ever so delicately, with a simple a capella female singing an Irish air, something reminiscent of the eerie soundtrack of the movie ‘Titanic’ (and I don’t mean the Céline Dion tune). Next, the oboe picks up the theme and then Latimer’s guitar, the keyboards and the rest of the band step in, giving the album its first full Camel flavour. The third track, which develops the theme further still, introduces Latimer on vocals. Then comes this incredible short track entitled “Cobh”, one of those divine pieces that unmistakenly bring on the legendary lump in the throat, so familiar to Camel lovers. From here on, the album picks up the pace and gets better and better with every track. Among the best are the bluesy rocker “Watching the Bobbins”, the whirly/flighty “Running from Paradise”, the joyful “Coming of Age”, the whole thing culminating in “The Hour Candle” which features one of Latimer’s most heart-wrenghing blues guitar solos ever. The album ends with the sound of waves splashing on a lonely shore, leaving the listener with a strong, lingering feeling of homesickness

Line-up:
- Andrew Latimer / guitars, flutes, keyboards, penny whistles, vocals
- Colin Bass / bass guitar, vocals
- Mickey Simmonds / keyboards
- David Patton / bass, vocals
- Mae Mckenna / capella vocal
- John Xepoleas / drums
- Neil Panton / oboe, soprano saxophone, harmonium
- John Burton / French horn
- Barry Phillips / cello
- Karen Bentley / violin
- Anita Stoneham / violin

Track List:
01. Irish Air (0:57)
02. Irish Air (instrumental Reprise) (1:57)
03. Harbour Of Tears (3:13)
04. Cobh (0:51)
05. Send Home The Slates (4:23)
06. Under The Moon (1:16)
07. Watching The Bobbins (7:14)
08. Generations (1:02)
09. Eyes Of Ireland (3:09)
10. Running From Paradise (5:21)
11. End Of The Day (2:29)
12. Coming Of Age (7:22)
13. The Hour Candle (A Song For My Father (23:00)

Links in comments.

Camel, Colin Bass, David Paton

Scorpions – Lonesome Crow (1972) (@256)

11 Jun 2007

(Review from wikipedia, crack in the cosmic egg, amazon.com)

Scorpions is probably the most famous of all Hannover bands, originating in 1965 as a beat group and latterly becoming a popular heavy metal band in the late-70′s.

Rudolf Schenker, the band’s rhythm guitarist, set out to find a band in 1965. At first, the band was school-kind with beat influences and Schenker himself on vocals. Things began to come together in 1969 when Schenker’s younger brother Michael (14 years old at the time) and vocalist Klaus Meine joined the band. In 1972 the group recorded and released their debut album Lonesome Crow with Lothar Heimberg on bass and Wolfgang Dziony on drums.

In the early-70′s, the Scorpions were very different. With the honor of issuing the first Brain album: “Lonesome Crow”, they proved to be an exceptionally gifted band fronted by two very different guitarists. “Lonesome Crow” is a strange sort of musical madness. It has no resemblance to anything else done by the Scorpions. Other than Meine’s vocals, nothing will sound Scorpionsesque. And even the vocals are a different sort of primal angst.

A varied album, of mostly psychedelic hard-rock tracks, unusual ballads, it’s a creative and very progressive album, topped off by an amazing spaced-out experimental finalé, a mostly instrumental extravaganza, which touches onto Guru Guru freakiness.

During the Lonesome Crow tour, Scorpions opened for upcoming British band UFO. At the end of the tour the members of UFO offered guitarist Michael Schenker the lead guitar job; an offer which he soon accepted.

Line-up:
* Klaus Meine – vocals
* Rudolf Schenker – rhythm guitar
* Michael Schenker – lead guitar
* Wolfgang Dziony – drums
* Lothar Heimberg – bass

Track List:
01. I’m Going Mad – 4:52
02. It All Depends – 3:23
03. Leave Me – 5:02
04. In Search of the Peace of Mind – 4:56
05. Inheritance – 4:37
06. Action – 3:53
07. Lonesome Crow – 13:39

Link in comments.

Michael Schenker, Scorpions

Spring – Spring (1971) (@256)

10 Jun 2007

(Review from allmusic.com)

Spring has a legendary status among keyboard wonks; while many bands bubbled up from the creative ferment of the English progressive scene in 1970, only Spring was cheeky enough to employ three mellotronists in its lineup. To anyone familiar with the exasperating unreliability of the Mellotron, particularly when on the road, it’s staggering that this band managed to record and tour for two years without either murdering each other or their instruments.

The band formed in Leicester in 1970, and their unusual lineup was soon noticed by others. After touring the UK as an opening act for the Velvet Underground, in 1971 the band released its first and only eponymous release. Featuring a combination of massed Mellotrons, melodic guitar and smoky vocals, it’s comparable in some ways to the Moody Blues or the more pastoral moments of King Crimson.

Although a second album was nearly completed, the band split apart before it could be released. The band members drifted into careers in production and session work; guitarist Ray Martinez went on to play in Airwaves; drummer Pique Withers, after a slight change of name to the more suitably twangy Pick Withers, surfaced as a member of the newly formed Dire Straits in 1978.

Line-up:
- Pat Moran / vocals, mellotron
- Ray Martinez / guitars, mellotron
- Adrian ‘Bone’ Maloney / bass guitar
- Pick Withers / drums
- Kipps Brown / piano, organ, mellotron

Track List:
01. The Prisoner (Eight By Ten) (5:34)
02. Grail (6:44)
03. Boats (1:53)
04. Shipwrecked Soldier (5:08)
05. Golden Fleece (6:59)
06. Inside Out (4:49)
07. Song To Absent Friends (The Island) (2:47)
08. Gazing (5:54)
09. Fool’s Gold (Bonus) (6:26)
10. Hendre Mews (Bonus) (7:14)
11. A World Full Of Whispers (Bonus) (3:57)

Links in comments.

Spring

Atomic Rooster – In Hearing Of (1971) (@256)

10 Jun 2007

(Review from wikipedia, amazon.com)

Singer Peter French joined Atomic Rooster for their third album, In Hearing of Atomic Rooster. It showed the band at full throttle.

This is a truly wonderful combination of hard rock and progressive, certain to please fans of both, as the opening cut “Breakthrough” demonstrates, with some great piano and organ work, and some nice bluesy vocals. “Break the Ice” features some truly guitar guitar riff from Cann himself, and more great organ work from Crane. “Decision / Indecision” is a piano-oriented ballad which is not typical for the album, but works fine. “A Spoonful of Bromide Helps the Pulse Rate Go Down” (luckily not a parody of “A Spoonful of Sugar Helps the Medicine Go Down” from Mary Poppins) is an instrumental piece and by far the most traditionally prog-oriented piece. “Black Snake” is a truly nice mellow number, dominated by Crane’s organ work, while the band rocks once again with “Head in the Sky”. “The Rock” is the album’s other instrumental piece, with some Chicago or Blood, Sweat & Tears-like horns (arranged by yours truly, Vincent Crane), imagine if those two bands sounded more like Atomic Rooster, this is what you get. The CD reissue also includes their superb single Devil’s Answer.

After this album; Cann, Hammond and French left the band. French went to join Cactus, while John Du Cann and Paul Hammond teamed up with ex-Quatermass bass player John Gustafson and founded Hard Stuff.

Line-up:
- Peter French / lead vocals (1-3, 6, 8)
- John Cann / guitars (1, 2, 4-8)
- Vincent Crane / Hammond organ (1-8), piano (1, 3, 4, 8), vocals (5)
- Paul Hammond / drums (1-8)

Track List:
01. Breakthrough (6:22)
02. Break The Ice (5:03)
03. Decision Indecision (3:54)
04. A Spoonful Of Bromide Helps The Pulse Rate Go Down (instrumental) (4:43)
05. Black Snake (6:03)
06. Head In The Sky (5:42)
07. The Rock (instrumental) (4:35)
08. The Price (5:20)
09. Devil’s Answer (Bonus) (3:30)

Link in comments.

Atomic Rooster, John Du Cann, Paul Hammond

Camel – Never Let Go (Live 1992) (@256)

10 Jun 2007

(Review from allmusic.com)

Progressive rock bands like Camel have to be creative in their touring schedules, often traveling to Europe in order to find a substantial concentration of fans in a single place. So it was that Camel arrived with their 20th anniversary tour at Enschede, Holland. After their 10th anniversary tour, few would have predicted a 20th, but the release of Dust and Dreams in 1991 suggested the band had found another creative wind. Never Let Go confirms the point that Camel has plenty of life left in it. Spread out across two discs, this live show features two distinct sets.

The first is a remarkable retelling of their earlier travels, recounting highlights from each of their releases up to Nude, in chronological order no less. It starts out deceptively simple, with Andrew Latimer strumming a slow version of “Never Let Go”, which soon explodes into a spot-on rendition. With keyboardist Mickey Simmonds (ex-Mike Oldfield/Fish) joining a returning Colin Bass and Paul Burgess, the new quartet does a marvelous job of capturing Camel in its various guises: from the instrumentals “Ice” and “Earthrise” to familiar songs like “Spirit of the Water” (sung by Bass) and “City Life”.

The second set is devoted to a pristine presentation of their recent opus, the concept album Dust and Dreams, in its entirety. As a bonus, Camel closes with the instrumental “Sasquatch” (one of the bright spots from The Single Factor) and a beloved mirage from the past, “Lady Fantasy”. Latimer’s voice has grown a little thinner over the years (and it was pretty thin to begin with), but his guitar work gets sharper with age.

Line-up:
- Andrew Latimer / guitars, flutes, keyboards, vocals
- Colin Bass / bass, keyboards, vocals
- Paul Burgess / drums
- Mickey Simmonds / keyboards

Track List:
CD1 :
01. Never Let Go
02. Earthrise
03. Rhayader
04. Rhayader Goes To Town
05. Spirit of the Water
06. Unevensong
07. Echoes
08. Ice
09. City Life
10. Drafted
CD2 :
01. Dust Bowl
02. Go West
03. Dusted Out
04. Mother Road
05. Needles
06. Rose Of Sharon
07. Milk n’ Honey
08. End Of The Line
09. Storm Clouds
10. Cotton Camp
11. Broken Banks
12. Sheet Rain
13. Whispers
14. Little Rivers And Little Rose
15. Hopeless Anger
16. Whispers In The Rain
17. Sasquatch
18. Lady Fantasy

Links in comments.

Camel, Colin Bass, Live

Camel – Dust and Dreams (1991) (@256)

09 Jun 2007

(Review from progarchives.com)

During a six year hiatus, Latimer was fighting with lawyers to get some due royalties and to evacuate the problems with their former manager.
Changes in their record company (Decca) made it clear that Camel had to try and put an end to their contract. Both amically agreed to do so on April tenth, 1985. Latimer, who had already started a new project (which will become “Dust & Dreams”) was free to sign with another label. He got contacts with EG but after six months of useless talks Latimer put an end to the negotiations when he was asked why Peter Frampton had left the band.

Latimer decided to sell his London house and he settled to the US in 1988. At this time, he decided to re-write the second half of “Dust and Dreams”. He used the money from the sales of his house to build a small studio where “Dust and Dreams” was recorded and produced. After an improductive attempt with Virgin, Latimer used the money which was left to setup his own production firm : Camel Productions. With sales that took off, the company organized a world tour and got the license to release old Camel works to CD. Their first album reaching the bins at the same time as “Dust and Dreams” on a CD format.

The largely instrumental “Dust and Dreams” marked the revival of Camel. Latimer with Bass, Burgess, Scherpenzeel and seven guests recorded a musical evocation of John Steinbeck’s classic novel The Grapes of Wrath.

It starts with the prying wind theme “The Dust Bowl” that turns into a vocal manifesto of the family’s unrelenting hope “Go West”. Then we have a short symphonic masterpiece “Dusted Out” whose dramatic performance shows the drama of the Okies being kicked out of their homes. “Mother Road” brings another important message namely that you and the road you are traveling along are the one thing. The next instrumental piece is “Needles”, the city on the Joads’ way to the milk ‘n’ honey land, a quite nice transition to a beautiful and heartfelt song “Rose Of Sharon” which is even more sentimental in pitch than the book itself. The last vocal number is called “End Of The Line” which touches the problem of loneliness and helplessness among the trackers whose desperation increases steadily to the point of unutterable anger masterly expressed by the one of the final tracks “Hopeless Anger” in which Latimer`s guitar solo tears your heart apart. And at last the Joads are free to decide which way to go and what they left behind belongs to the past now, and the heavy rain drops bring relief and hope for a change.

“Dust and Dreams” is a great concept album from Camel, with nice melodies and good compositions. Celestial and emotional moments : we are brought back to the early Camel. What a nice comeback!

Line-up:
- Andrew Latimer / guitars, flute, vocals, keyboards
- Colin Bass / bass
- Ton Scherpenzeel / keyboards
- Don Harriss / keyboards
- Paul Burgess / drums
- Christopher Bock / drums
- Neil Panton / oboe
- Kim Venaas / timpani, harmonica
- John Burton / french horn
- David Paton / vocals
- Mae McKenna / vocals

Track List:
01. Dust Bowl (1:54)
02. Go West (3:42)
03. Dusted Out (1:35)
04. Mother Road (4:15)
05. Needles (2:34)
06. Rose of Sharon (4:48)
07. Milk n’ Honey (3:30)
08. End Of The Line (6:52)
09. Storm Clouds (2:06)
10. Cotton Camp (2:55)
11. Broken Banks (0:34)
12. Sheet Rain (2:14)
13. Whispers (0:52)
14. Little Rivers And Little Rose (1:56)
15. Hopeless Anger (4:57)
16. Whispers in the Rain (2:54)

Link in comments.

Camel, Colin Bass, David Paton, Ton Scherpenzeel

King Crimson – Three of a Perfect Pair (1984) (@256)

08 Jun 2007

Request of Anil.

(Review from progarchives.com)

One half pop driven art rock and the other half abstract instrumental works. This is the last album of the 80′s Crimson line-up, the next album would consist of the double trio. Adrian Belew, who often doesn’t get enough credit for his guitarwork, makes notice on this album with precision playing while singing; Robert Fripp continues his refined and identifiable style as well as creates rich synth atmospheres; Tony Levin uses the standard bass guitar more than the stick on this album, and his technique is superb, often using a popping/slap sound to give the songs a meaty feel; and Bill Bruford, who drums with precision, although the sound of his kit on this album is not up to par with the rest of the band.

The first half of the album consists of vocal driven songs, the highlights of which being Three of a Perfect Pair, which features a startingly tricky 6/8 riff that Belew plays and sings with remarkable ease. Man With an Open Heart is one of the poppier tunes on the album, but it has a consistent riff (although part of it reminds me of Thomas Dolby’s “She Blinded Me With Science”) and some strong lyrics and vocals. Sleepless was the single from the album, and it is a strong track. Starting with an amazingly catchy Levin bass line, and some great guitar work from the two wizards, this and the next song, the instrumental Nuages, end the first side. The second side opens with Industry, which is a very slow instrumental. It starts out with snare and synth, but as time progresses, the sounds get more and more layered and many things go on at once. It’s a favorite of mine on the album. Dig Me is the closest thing King Crimson ever got to a Captain Beefheart type atmosphere. Belew’s disjointed, almost atonal, chords mix with the mayhem during the verses, but the chorus is catchy and makes the song worthwhile. No Warning is essentially a prelude to “Larks Tongue in Aspic Part III”, which is a continuation of the famed “Larks Tongue in Aspic” series. This is a more synthesized effort, but it nonetheless captures the “Larks Tongue in Aspic Part III” atmosphere from 10 years before.

Overall, this is a very strong finale to the 80′s incarnation of King Crimson.

Line-up:
- Adrian Belew / lead vocals, fretted and fretless guitars
- Bill Bruford / acoustic and electronic drums
- Robert Fripp / guitar
- Tony Levin / Stick, bass, synths, backing vocals

Track List:
01. Three of a perfect pair (4:11)
02. Model man (3:56)
03. Sleepless (5:20)
04. Man with an open heart (3:00)
05. Nuages (that which passes, passes like clouds) (4:42)
06. Industry (7:22)
07. Dig me (2:59)
08. No warning (3:28)
09. Larks’ tongues in aspic part III (6:01)
10. The King Crimson Barber Shop (Bonus) (1:37)
11. Industrial Zone A (Bonus) (1:44)
12. Industrial Zone B (Bonus) (4:33)
13. Sleepless (Bonus Tony Levin Mix) (7:26)
14. Sleepless (Bonus Bob Clearmountain Mix) (5:24)
15. Sleepless (Bonus Dance Mix – F. Kevorkian) (6:17)

Links in comments.

Adrian Belew, Bill Bruford, King Crimson, Robert Fripp, Tony Levin

Allman Brothers Band – Atlanta International Pop Festival (1970) (@320)

08 Jun 2007

10 comments

(Review from allmusic.com)

The festival took place while the Allmans were in the process of recording their second album, Idlewild South, when they appeared on July 3 as the hometown openers of the entire festival and proceeded to blow the minds of over 100,000 people — for their last set on July 5 at 3:50 a.m. they performed in front of as many as 500,000.

The July 3 set is magical. There is a stunning version of “Dreams” lasting almost ten minutes with beautiful Hammond/guitar interplay between Gregg and Dickey. Long and ferocious versions of “Whipping Post” and “Mountain Jam” are here, but the track on the July 3 set is Berry Oakley’s feral vocal read of Willie Dixon’s “Hoochie Coochie Man.” ” A short (5:49) version of this song, it has a rock & roll immediacy that is strained out of the longer versions to gain the improvisational edge. Disc one also restores Gregg Allman’s “Every Hungry Woman,” to its rightful place — previously only having been available on an anthology. Harp player Thom Doucette, no stranger to ABB fans, is here aplenty, adding his righteous, stinging harp lines to many tracks on both nights. The way Gregg’s organ playing is recorded here offers a new view of just how integral an anchor he was for both guitarists to play off. He is a monster musician and, even at this early date, was showing off his improvisational and rhythmic skills.

Disc two is graced by the original live mixes of “Statesboro Blues” and “Whipping Post” that were released on First Great Rock Festivals of the Seventies and these are stunning for their intensity and focus, as well as clarity. “Don’t Keep Me Wonderin’” is as tough a set opener as there is with the ringing slide guitars attacking one another and going for broke to kick things off. The long versions of “Stormy Monday” and “‘Liz Reed” are among the most intimate and groundbreaking the band ever recorded, while “Whipping Post” transmutes itself into a jazz tune for a few minutes and changes everything. The nearly half-hour “Mountain Jam” is deepened here by the addition of a third guitarist: Johnny Winter sits in with the Allman Brothers Band and Doucette for the definitive version of this classic — you can forget the one on Eat a Peach after this.

This live album provides an excellent, even mind-blowing introduction to a band that was at the peak of its power.

Line-up:
* Duane Allman: slide guitar and lead guitar
* Gregg Allman: vocals, organ
* Dickey Betts: lead guitar,
* Berry Oakley: bass guitar, backing vocals
* Butch Trucks: drums
* Jai Johanny “Jaimoe” Johanson: drums, congas
* Thom Doucette: Harmonica

Track List:
CD1 (July 3) :
01. Introduction
02. Statesboro Blues
03. Trouble No More (Muddy Waters)
04. Don’t Keep Me Wonderin’
05. Dreams
06. Every Hungry Woman
07. (I’m Your) Hoochie Coochie Man
08. In Memory of Elizabeth Reed
09. Whipping Post
10. Mountain Jam, Pt. 1
11. Rain Delay
12. Mountain Jam, Pt. 2
CD2 (July 5) :
01. Introduction
02. Don’t Keep Me Wonderin’
03. Statesboro Blues
04. In Memory of Elizabeth Reed
05. Stormy Monday
06. Whipping Post
07. Mountain Jam

Links in comments.

Allman Brothers Band, Duane Allman, Jaimoe Johnson, Live

REO Speedwagon – Two (1972) (@320)

08 Jun 2007

(Info from wikipedia)

REO Speedwagon took its name from the REO Speed Wagon, a truck manufactured by the REO Motor Car Company (“R.E.O.” are initials of the company’s founder, Ransom Eli Olds). The name was suggested to fellow bandmates by keyboard player Neal Doughty, who learned about the truck at the university, in a class about the history of transportation.

Although the rest of the band’s line-up remained stable, REO Speedwagon switched lead vocalists three times for their first three albums. This second album featured Kevin Cronin, a folksinger/guitarist beforehand, with little to no experience fronting a loud rock & roll outfit of REO in 70s.

Two, under the musical leadership of guitarist Gary Richrath, continued the musical direction set on 1971′s debut album with his own classic compositions, lyrically being influenced by or being joint efforts with Luttrell (who did not perform on the record but lingered as an influence), carrying the record. This album launched the band on its first national tour and contains many songs still in the bands set list to this day and is very well regarded by early fans of the band.

Line-up:
* Neal Doughty – keyboards
* Gary Richrath – guitar
* Kevin Cronin – guitar, vocals
* Alan Gratzer – percussion, drums
* Gregg Philbin – bass

Track List:
01. Let Me Ride
02. How the Story Goes
03. Little Queenie
04. Being Kind (Can Hurt Someone Sometimes)
05. Music Man
06. Like You Do
07. Flash Tan Queen
08. Golden Country

Link in comments.

REO Speedwagon

Nice – Nice (1969) (@256)

08 Jun 2007

(Review from vintageprog.com, progarchives.com)

Nice was, as many of you will know, Keith Emerson’s first band. There’s no point in denying the fact that Nice had an tremendous impact and importance for the evolution of progressive rock in the late 60′s. They were one of the very first bands to fuse rock with classical music and jazz, but it was often in a very embryonic way and not all of their music have stood the test of time.

“The Nice” was their third album, and it’s a quite messy album, consisting of live-tracks, cover-versions and even a re-recorded version of the b-side of a one of their singles.

It has a ‘half studio/half live’ divide across the album’s two sides, with four studio songs and two live tracks which occasionally show the direction the band would go in with the orchestral ‘Five Bridges’ and the musical direction Emerson was soon to take with ELP. As such, it could be considered as a transitional album.

Line-up:
- Brian Davidson / drums, percussion
- Keith Emerson / keyboards
- Lee Jackson / vocals, guitar, bass

Track List:
01. Azrael Revisited (5:52)
02. Hang on to a Dream (4:46)
03. Diary of an Empty Day (3:54)
04. For Example (8:51)
05. Rondo ’69′ (7:53)
06. She Belongs to Me (12:15)

Link in comments.

Brian Davison, Keith Emerson, Lee Jackson, Nice

Camel – Pressure Points : Live in Concert (1984) (@256)

08 Jun 2007

(Review from progarchives.com, progreviews.com, wikipedia)

“Pressure Points : Live in Concert” was recorded at the Hammersmith Odeon on May 11th, 1984; weeks after the release of “Stationary Traveller”.

There’s a soaring, yet subtle gentleness about much of the concert, dotted with moments of energy, led by Andy Latimer’s guitar and/or Tom Scherpenzeel’s keyboards. It’s slick and inoffensive in almost every possible way. It’s a reflection of the “Stationary Traveller” era. As bonuses, we get guest solos from Mel Collins on “Fingertips” and Peter Bardens on the “Rhayader Goes to Town”.

After the release of the live Pressure Points in late 1984, Camel disappeared without trace as far as the public was concerned. Finishing the contract with Decca, Latimer was unable to interest other British record companies and eventually moved to California when the lawsuit ended (successfully for him).

Line-up:
- Andy Latimer / guitar, flute, vocal
- Colin Bass / bass, vocal
- Ton Scherpenzeel / lead keyboards
- Christopher Rainbow / vocal, keyboards
- Richie Close / keyboards
- Paul Burgess / drums, percussion
with:
- Mel Collins / sax
- Pete Bardens / organ

Track List:
01. Pressure Points (7:17)
02. Drafted (3:51)
03. Captured (3:02)
04. Lies (5:16)
05. Sasquatch (4:09)
06. West Berlin (5:19)
07. Fingertips (4:48)
08. Wait (4:28)
09. Rhayader (2:29)
10. Rhayader Goes To Town (6:05)

Link in comments.

Camel, Chris Rainbow, Colin Bass, Live, Mel Collins, Ton Scherpenzeel

Vita Nova – Vita Nova (1971) (@320)

07 Jun 2007

(Review from amazon.com)

Vita Nova was like too many prog rock bands of the ’70s, released one album and then disappeared. Their only album came out in 1971.

Their music is really a unique brand of progressive rock, lots of nice organ work with great variations throughout the whole album. It’s full of energy and full of progressive time signature changes and instrumental prowess. The vocals aren’t used that much, but when used, it’s exclusively in Latin! Not sure what they’re singing about. There are some nice, more rocking pieces, the occasional exploration of ethnic styles, like Istanbul, which has a more Middle Eastern feel, to some really majestic organ passages and everything in between.

What’s really interesting is Sylvester Levay would later compose the theme song to the TV series Airwolf, which of course, was heavily electronic in an ’80s fashion, not unlike Tangerine Dream doing the theme song to Streethawk (another short-lived TV program from roughly the same era, the mid 1980s). Of course nothing even remotely resembling the Airwolf theme to be found on Vita Nova’s sole album from 1971, just great organ-driven progressive rock, with the exception of the occasional Emerson, Lake & Palmer reminder, reminds me of no other progressive rock group.

Overall a great album and one of the true treasures of the 70′s underground.

Line-up:
- Eddy Marron / all guitars, solo vocals
- Sylvester Levay / vocals, vintage keyboards, Hohner clavinet, hybrid harpsichord
- Christian Von Hoffman / drums, vocals

Track List:
01. Quomodo manet
02. Vita Nova inventions
03. Whirl wind
04. Istanbul
05. Sylvester
06. Wildman
07. Inventions finale
08. Heva-cleva
09. Adoramus
10. Sunt alteri
11. Adoramus finale
12. Tempus Est
13. Lacrimosa (Bonus)
14. Olymp 99 (Bonus)

Links in comments.

Judas Priest – Priest… Live! (1987) (@256)

07 Jun 2007

(Review from amazon.com)

Priest…Live! was recorded during two shows in their World Tour of 1986.

When it comes to the live albums, this one generally takes a beating from the fans because it doesn’t contain any of the 70′s Priest classics. Instead, this live album picks up after Hell Bent for Leather and showcases their best hits from British Steel to Turbo. It is missing some key songs such as ‘Grinder’ and ‘Hot Rockin’, but the songs that they do have here prove that the Priest is still the best when they’re live.

The album opens with the Turbo productional ballad ‘Out In The Cold’. It does get the crowd going, although I would have rather them open with ‘Electric Eye’. Next is ‘Heading Out To The Highway’ which proves to be much better than the original with the added guitar solos. Then it breaks into ‘Metal Gods’ which is heavier than the original, but missing the sound effects. ‘Breaking the Law’ is where the band starts kicking it into overdrive, as it is played faster and with more screaming than the original. ‘Love Bites’ was a very haunting Priest song in the studio, but it manages to play well in an arena setting. ‘Some Heads Are Gonna Roll’ is alright, but I prefer the original. Next is ‘The Sentinel’ played with sheer intensity as Halford screams out, “Condemn to Hell!!”. Even the more quiet bridge setting is excellent. The last track on the first disc is Turbo’s ‘Private Property’ which does rock, but isn’t epic like the last the last song.

Next up, ‘Rock You All Around The World’. I didn’t like the studio version much because it felt out of place, but in a live setting it fares much better. Now we get to ‘Electric Eye’ which contains cannons firing during ‘The Helion’. ‘Turbo Lover’, despite what everyones says, rocks the arena withh a passionate intensity not found in any other Turbo songs. I prefer the original, but Glenn and K.K. hold well with all the guitar synthesizer parts being played. Next is my favorite track on here:’Freewheel Burning’ opening with Halford driving in on a Harley! ‘Parential Guideance’ is the only song I think that shouldn’t be here. The album ends perfectly with sped up versions of ‘Living After Midnight’ and ‘You’ve Got Another Thing Comin’.

As a whole, this is a well-rounded live album. It has more variety in the song order than ‘Unleashed’, but ‘Unleashed’ is still the heavier of the two. Don’t listen to those who say that this album “has the heartless soul of Turbo”, when in fact they simply don’t have open minds due to their love for 70′s metal and hatred for 80′s metal. Priest is a metal band all about versitality, and this live show displays it perfectly. They rocked hard in the 70′s and still rocked in the 80′s.

Line-up:
* Rob Halford: Vocals
* K.K. Downing: Guitars
* Glenn Tipton: Guitars
* Ian Hill: Bass Guitar
* Dave Holland – Drums

Track List:
01. Out In The Cold
02. Heading Out To The Highway
03. Metal Gods
04. Breaking The Law
05. Love Bites
06. Some Heads Are Gonna Roll
07. The Sentinel
08. Private Property
09. Rock You All Around The World
10. Electric Eye
11. Turbo Lover
12. Freewheel Burning
13. Parental Guidance
14. Living After Midnight
15. You’ve Got Another Thing Comin’

Links in comments.

Glenn Tipton, Judas Priest, Live, Rob Halford

Camel – Stationary Traveller (1984) (@256)

06 Jun 2007

(Review from progarchives.com)

This version of Camel sounds slightly different than the band of the seventies. Since the release of Nude the songs are mainly built on the splendid guitar melodies of Latimer. He uses his position as de facto leader to showcase his guitar prowess. Kayak’s Ton Scherpenzeel joins Camel on keyboards. Throughout the album the influence of Scherpenzeel is noticeable as he puts some colour to the music. He even wrote one little instrumental which fits in perfectly. Chris Rainbow takes lead vocals on a couple of the tracks.

The cover art of this album takes you back to Berlin at the time when the wall was built. Stationary traveller may be a concept album but its concept isn’t dominating the music. You can easily listen to the fine songs separately without digging deep into the lyrics, although the lyrics explain why there isn?t an uplifting mood.

The result is an excellent album by any standards. Once again, we have one of Camel’s striking opening themes, with a brief but dramatic lead guitar piece instantly grabbing the listeners attention and setting the mood for the rest of album.

Stationary Traveller is probably one of the most underrated albums of the eighties. Unfortunately it would be the last Camel album for the decade.

Line-up:
- Andy Latimer / flute, guitar, vocals
- Ton Scherpenzeel / organ, synthesizer, piano, keyboards, mellophonium, vocals
- David Paton / bass, vocals
- Paul Burgess / percussion, drums
- Mel Collins / sax
- Chris Rainbow / vocals

Track List:
01. Pressure Points (instrumental) (2:10)
02. Refugee (3:47)
03. Vopos (5:32)
04. Cloak and Dagger Man (3:55)
05. Stationary Traveller (instrumental) (5:34)
06. West Berlin (5:10)
07. Fingertips (4:29)
08. Missing (instrumental) (4:22)
09. After Words (instrumental) (2:01)
10. Long Goodbyes (5:14)

Link in comments.

Camel, Chris Rainbow, David Paton, Mel Collins, Sakalli's Pick, Ton Scherpenzeel

Pat Travers – Black Pearl (1982) (@320)

06 Jun 2007

Request of anonymous.

(Info from canadianbands.com)

In 1982, Travers was in the studios once again working on what would become the Black Pearl album with the raucous tracks “I’d Rather See You Dead,” “Who’ll Take The Fall,” “Amgwanna Kick Booty” and soulful “Can’t Stop The Heartaches”. But the album was breaking new ground, with Beethoven’s Fifth one of the highlights from added keyboardist Don Harriss. “I La La La La Love You” was featured on the soundtrack to “Valley Girl” in 1983.

Line-up:
* Pat Travers – guitar, vocals, keyboards
* Peter “Mars” Cowling – bass
* Sandy Gennaro – drums, tympanies
* Don Harriss – piano, synthesizers

Track List:
01. La La La Love You (Pat Travers) 3:40
02. I’d Rather See You Dead (Pat Travers/E. Alonso Travers/D. Harriss) 4:14
03. Stand Up (G. Wallace) 4:30
04. Who’ll Take The Fall (Pat Travers) 4:17
05. The Fifth (Ludwig Von Beethoven) 3:27
06. Misty Morning (Bob Marley) 5:06
07. Can’t Stop The Heartache (Pat Travers) 5:11
08. Amgwanna Kick Booty (Pat Travers/Peter Cowling/D. Harriss/S. Gennaro) 3:27
09. Rockin’ (Pat Travers) 5:36

Link in comments.

Pat Travers

Camel – On the Road 1982 (@256)

06 Jun 2007

(Info from The Nature of the Beast)

Camel’s third official bootleg was recorded live to celebrate the band’s then 10-year anniversary in 13 June 1982.

Originally intended for broadcast by a Dutch radio station, the master had been destroyed, and this album was mastered from a tape recorded by the sound engineer Pete Ward. Latimer consider this source “less then desirable” from a production standpoint, as “the bass end is not quite up to scratch because it was recorded directly through the mixing desk and this tends to lose the live ambience you get in the hall. But the gig itself was great fun and I think that shows.”.

Recorded just after the release of “Single Factor”, the concert features the same line-up. The set list was compiled from The Single Factor, I Can See Your House From Here, Rain Dances and Nude.

Three other songs which were performed at that night, Remote Romance, Rhayader Goes to Town and No Easy Answer were beyond salvage and do not appear on the album. Otherwise, the concert is as it was on the night, no dubs.

Line-up:
- Andy Latimer / guitars, vocals, keyboards
- David Paton / bass
- Chris Rainbow / vocals
- Kit Watkins / keyboards
- Stuart Tosh / drums
- Andy Dalby / back-up guitar

Track List:
01. Sasquatch (4:30)
02. Highways Of The Sun (4:38)
03. Hymn To Her (5:23)
04. Neon Magic (4:04)
05. You Are The One (5:21)
06. Drafted (4:01)
07. Lies (5:10)
08. Captured (3:19)
09. A Heart’s Desire – End Peace (4:34)
10. Heroes (5:36)
11. Who We Are (6:21)
12. Manic (4:11)
13. Wait (4:49)
14. Never Let Go (6:44)

Links in comments.

Camel, Chris Rainbow, David Paton, Kit Watkins

Quicksilver Messenger Service – Quicksilver Messenger Service (1968) (@256)

05 Jun 2007

(Review from wikipedia, amazon)

The Quicksilver Messenger Service was never as well-known as some other San Francisco bands of the late sixties like Jefferson Airplane and Grateful Dead. Essentially a jam band, their early albums and live shows contributed to some of the best instrumental jams of the period.

Although already enjoying a huge reputation for their extended live improvisations, the band favours a more restrained approach in their first studio album. The accent is put evenly on melodic content and instrumental guitar prowess. The album includes six compositions that the band played regularly during its glory years (roughly 1966-1969) and the performances are inspired and technically excellent.

The twin guitars of John Cippolina and Gary Duncan keep on bringing out flashes of awesome sonic dreamscapes. Although Cippolina’s highly melodic, twangy, vibrato laden, individualistic lead guitar style dominates the proceedings, Gary Duncan should not be considered a second gun; his interest in jazz as well as his guitar interplay with Cippolina were crucial to the Quicksilver sound as a whole.

In a day when studio tricks have washed out the human qualities of most rock bands, this album sounds like there’s real human beings, playing in concert, right here. The very elements that make it dated make it desirable from a music lover’s point of view.

Line-up:
* John Cipollina – Lead Guitar
* Gary Duncan – Guitar, Vocals
* David Freiberg – Bass Guitar, Vocals, Viola
* Greg Elmore – Drums

Track List:
01. Pride Of Man – 4:08 (Hamilton Camp)
02. Light Your Windows – 2:38 (Gary Duncan, David Freiburg)
03. Dino’s Song – 3:08 (Dino Valenti)
04. Gold and Silver [Instrumental] – 6:43 (Gary Duncan, Schuster)
05. It’s Been Too Long – 3:01 (Polte)
06. The Fool – 12:07 (Gary Duncan, David Freiburg)

Link in comments.

Quicksilver Messenger Service

Spot – Spot (1971) (@256)

05 Jun 2007

(Info from freakemporium.com)

An early seventies Swiss band that showcases heavy blues-rock in fusion with the psychedelic influences of other swiss bands like Krokodil or Country Lane. Some excellent guitar playing.

Includes Spot versions of Donovan’s “Jersey Thursday” and a particularly manic “Sabre Dance”.

Track List:
01. I Am One (1:55)
02. By The Way (4:44)
03. Portobello (4:42)
04. In My Dreams (3:50)
05. Free (4:30)
06. Travelling Man (3:28)
07. Jersey Thursday (6:30)
08. I Know (4:22)
09. Oh What A Day (4:58)
10. Sabre Dance (Bonus) (3:34)
11. Who Are You (Bonus) (3:22)

Link in comments.

Ozric Tentacles – Hidden Step (2000) (@256)

05 Jun 2007

(Review from progarchives.com)

The band entered the new millenium with another fantastic album. I thought this was an improvement over “Waterfall Cities”, not so much the wankfest that plagued that previous album, and having the band get back to business. It’s also more guitar-oriented as well. The album opens up with “Holohedron”, which finds the band doing some intense jamming. The title track finds the band starting off in techno-land, before they go out of control with guitars and keyboards, before the Arborescence-like ambient experiment at the end that just blows me away! Then there’s a couple exercises in middle eastern styles with “Ashlandi Bol” and “Aramanu”, often reminescent of “Erpland”. “Pixel Dream” harkens back to their earlier cassette-era material, but with much better production. “Tight Spin” is by far their most techno-oriented piece, almost going a bit too far in techno for my liking. “Ta Khut” is basically an ambient experiment, with Egyptian styles.

Great to see the band making great music, it’s too bad that drummer Rad was starting to have emotional problems that caused him to leave the band early in 2001, but still “The Hidden Step” was an excellent way for Rad to finish his time in the band.

Line-up:
- Ed Wynne / guitar, keyboards
- John Egan / flute, vocals
- Zia Geelani / bass
- Seaweed / keyboards
- Rad / drums, percussion

Track List:
01. Holohedron (5:49)
02. The Hidden Step (7:47)
03. Ashlandi Bol (6:04)
04. AraManu (5:59)
05. Pixel Dream (6:21)
06. Tight Spin (8:45)
07. Ta Khut (7:05)

Link in comments.

Ed Wynne, Ozric Tentacles

Camel – The Single Factor (1982) (@192)

04 Jun 2007

(Review from progarchives.com)

I am not sure if the title is a reference to the generally more commercial nature of the tracks here, but it is certainly appropriate. While there is nothing which immediately comes across as having the potential to be a huge hit single, the tracks are virtually all short and direct.

This was the first album without drummer Andy Ward who according to the sleeve- notes had suffered a serious injury to his hand. He had of course previously suffered at the hands of drink and drugs, especially around the time of the ‘Nude’ album. This meant that of the original band members, only Andy Latimer remained.

On the plus side, the appearance of David Paton and Chris Rainbow on vocals instantly addresses the weary criticism which Camel have always suffered in that department. Paton’s delivery on tracks such as the emotive ‘Heroes’, one of the album’s highlights, is superb. The presence of these vocalists, coupled with the generally lighter nature of the music can make this sound more like an Alan Parsons Project album than a Camel one. Other notable guests were Sky members Tristan Fry and Francis Monkman (ex-Curved Air), and early Genesis member Anthony Phillips. Latimer’s partner Susan Hoover provides the bulk of the lyrics for the album, with only the first two tracks and the very brief “Lullabye” featuring Latimer’s own words.

Latimer does not surrender vocal duties completely by any means though, the opening “No easy answer” being a pop structured song with his lead vocal, and accompanying la las by Rainbow and Paton. The following “You are the one” initially sounds like it is to be a bluesy dirge until the lightweight upbeat chorus bursts in, sounding as out of place as a prog song in the Eurovision song contest.

The aforementioned “Heroes” starts with an instrumental which sounds for all the world like it has been lifted straight from “The Snowgoose”. It really is a beautiful piece, which understandably could easily be mistaken for the aforementioned APP. The song is followed by an emotional lead guitar instrumental “Selva” where Latimer’s fine Gilmouresque lead guitar work is backed by the classical guitar of Anthony Phillips and the synthesiser of Duncan MacKay.

The instrumental track ‘Sasquatch’ (the Red Indian word for ‘Big Foot’, allegedly referring to Andy Latimer’s feet!) which opens side two is interesting, as it features former band member (the now sadly departed) Peter Bardens on keyboards. We return to more pop based territory for the surprisingly rock based “Manic”, one of the heaviest songs Camel have ever recorded. “Camelogue” reflects on the painful break-up of the original line up of the band, Hoover’s lyrics clearly reflecting Latimer’s own feelings well. The following “Today’s goodbye”, while on the face of it telling the tale of a romantic break up, may well also relate to the difficulties within the band.

The wonderful vocals of (Glasgow born) Chris Rainbow finally take centre stage on the two part closing track “A heart’s desire/End Peace”. Ironically, there’s a “Local hero” (film) feel to Andy Latimer’s guitar work here, Anthony Phillips’ keyboard landscapes providing the perfect backdrop for this emotionally charged performance.

“The Single Factor” tends to get a bad press because it is often perceived to be something of a sell out album. While there are undoubtedly some worryingly commercial aspects to some of the songs, scratch the surface a bit further and there is actually a significant proportion of quality material. The problem, if there is one, is that the album is inconsistent. Worth exploring for fans of the band though.

Line-up:
- Andy Latimer / guitar, piano, vocal
- Graham Jarvis / drums
- Peter Bardens / organ, Mini moog
- David Paton / bass, vocal
- Chris Rainbow / vocal
- Dave Mattacks / drums
- Haydn Bendall / keyboard
- Duncan Mackay / keyboard
- Simon Phillips / drums
- Francis Monkman / keyboard
- Anthony Phillips / keyboards
- Tristan Fry / glockenspeil
- Jack Emblow / accordian

Track List:
01. No Easy Answer
02. You Are the One
03. Heroes
04. Selva
05. Lullabye
06. Sasquatch
07. Manic
08. Camelogue
09. Today’s Goodbye
10. A Heart Desire
11. End Peace
12. You Are The One (Bonus Single Edit)

Link in comments.

Anthony Phillips, Camel, Chris Rainbow, David Paton, Francis Monkman, Peter Bardens

Peter Hammill – Sitting Targets (1981) (@192)

04 Jun 2007

Request of Cogurcio.

(Review from tranglos.com)

Perhaps 1981 was the true “test” for the integrity of progressive musicians. Faced with a consolidated singles market (as opposed to the dominant album market of the early 1970s) and a creeping encroachment towards AOR radio in the music industry, many musicians moved towards the “centre” in an attempt to maintain their high profile within the business. One need only think of Asia, Cinema-Yes and Genesis for the most financially successful examples, but their were several imitators who followed in their wake. Earlier progressive bands such as Yes and Gentle Giant were no longer an active part of the community; Genesis became more commercial, Jethro Tull had broken off from their previous lineup; and Pink Floyd were on the path to internal disintegration. Accordingly, it seems as good a time for a watershed mark as any.

Despite having a few “trappings” of the times, Sitting Targets is in many ways more unusual than Hammill’s earlier solo material. Dark, disturbing and at times stunningly eloquent, this easily ranks at one of Hammill’s masterpieces — his musical arrangements, moreover, are at times designed as to deliberately offset any mainstream tendencies.

The album’s front cover features an image of two crash-test dummies prior to impact. This is extremely significant as regards the development of the album, with its many car-related metaphors eventually suggesting a complete breakdown of the artist’s sanity (as suggested by the “after” image on the inside cover). Seldom has Hammill been able to maintain such high levels of intensity as is featured throughout this album.

Line-up:
- Peter Hammill / vocals, guitars, keyboards, bass
- Guy Evans / drums
- Phil Harrison / synthesizers
- David Jackson / saxes, flute
- Morris Pert / percussion

Track List:
01. Breakthrough (3:57)
02. My Experience (3:15)
03. Ophelia (3:10)
04. Empress’s Clothes (4:03)
05. Glue (3:40)
06. Hesitation (4:07)
07. Sitting Targets (5:22)
08. Stranger Still (4:54)
09. Sign (3:45)
10. What I did (3:39)
11. Central Hotel (4:41)

Link in comments.

Peter Hammill

Vanilla Fudge – Renaissance (1968) (@256)

04 Jun 2007

Request of Sonix.

(Review from progarchives.com)

The band started out by doing artistic cover versions of tunes composed by other people on their first successful album, and this third album presents us the matured fruits of their own composing process. And how wonderful Cognac does they make of! The previous “The Beat Goes On” was more like an abstract artsy tryout when compared to this masterpiece! The most dominant elements here are strong organ chords, powerful vocal harmonies and very strong emotional load, resembling religious pathos (in a positive way).

A crash of gong opens the album and the dualistic song “The Sky Cried – When I was A Boy”. The beginning holds a mysterious haze of psychedelic sounds seeking their form, which will be a aggressive storm being dominated by furious fuzz guitar and driven by stormy drums, wild raw keyboards and preachy vocals. The verse brings a calm eye to this storm with some sound effects. This is more powerful than their strongest peaks on their first album, and as the compositions are original and witty, what else can I do but be awestruck? The song changes from “The Sky Cried” as “When I was A Boy” via short graveyard soundscape. This section is truly full of anxiety. “Thoughts” is a shorter song dominated by a chorus section in the beginning and as chorus, having also a calmer verse in between, and being a wonderful composition full of exploding emotion. “Paradise” starts with eerie organ solo painting very raw and interesting visions. This is another bit longer track running for over six minutes, and it takes it time to build up. The rest of the band creeps in with multi vocal harmonies, which are also a dominant feature on this album. The main part of the composition is another wonderful melancholic keyboard driven calm sequence with celestial pauses in it.

Then there’s a batch of two shorter songs. ”That’s What Makes a Man” has a dynamic theme, which is followed by another poetic composition shifting from calm verse growing in power for the strong chorus. ”The Spell That Comes After” begins with abstract rhythmic process of voices creating a magical feeling. These melt as another powerful melodic tune following the stylistic line of previous the songs. There’s a cool short jazzy quotation arranged in the middle of it, and there’s lots of space used for the aural description of magical events, making this one of the most impressionistic numbers here. ”Faceless People” continues to flow nicely after it, bringing a calm vision of space, slowly starting to move and making room for the aggressive iconoclastic purge carving out the more conventional composition out of the chaos. This process was first introduced in their debut album, and it’s a cool way to enrich basic rock tunes. Some may of course find such as artsy overdoing, but I like it, as it brings more atavistic elements to the music. There’s also very interesting raw guitar solo on this one.

The last song is the long ”Season of the Witch” running nearly nine minutes. This also begins very slowly and impressionistic, letting quiet drops to fall over a distant humming of the organs. The vocal melodies start to drive the composition, which pulses in slow and frightful waves. This song relies much on the vocals, and there’s even some kind of narrated part of it, and the end of it is very grim.

Line-up:
- Carmine Appice / drums
- Tim Bogert / bass
- Vince Martell / guitar, lead vocals
- Mark Stein / keyboards

Track List:
01. The Sky Cried – When I Was a Boy (7:41)
02. Thoughts (3:32)
03. Paradise (6:04)
04. That’s What Makes a Man (4:29)
05. The Spell That Comes After (4:32)
06. Faceless People (6:07)
07. Season of the Witch (8:47)
08. You Keep Me Hanging On (Bonus 7′ Version) (3:00)
09. Come By Day Come By Night (Bonus) (2:58)
10. People (Bonus) (5:20)

Link in comments.

Carmine Appice, Tim Bogert, Vanilla Fudge

Camel – On the Road 1981 (@320)

03 Jun 2007

Thanks to Silveraintr for this one.

(Review from amazon.com)

This concert was recorded for the BBC originally and was broadcast on Radio 1 in April 2nd, 1981. Camel at the time of the ‘Nude’ tour had two keyboard players, Kit Watkins and Jan Schelhaas. Their jazz riffs, particularly in ‘Song Within A Song’ and the unforgettable ‘Lunar Sea’, are quite noticable. The track ‘Never Let Go’ seems to appear on virtually every Camel Live album and the rest of the CD comprises of an abridged version of the studio album ‘Nude’ performed live. Heavier than it’s studio counterpart this version shows the versatility of the band. Latimer’s guitar screams it’s way through ‘Docks’,'Beached’ and ‘Captured’ accompanied by Andy Wards drumsticks hitting the skins with energy. Yet classical musicianship comes to the fore in ‘Landscapes’ and ‘Reflections’. The ethnic beat of ‘Changing Places’ is that little bit more energetic than it’s studio counterpart and the flute solos remain haunting to this day. A whole range of styles in one concert.

Line-up:
- Andrew Latimer / lead guitar, flute, vocals
- Colin Bass / bass guitar, vocals
- Andy Ward / drums
- Kit Watkins / keyboards, flute
- Jan Schelhaas / keyboards

Track List:
01. Never Let Go
02. Song Within A Song
03. Lunar Sea
04. City Life
05. Nude
06. Drafted
07. Docks
08. Beached
09. Landscapes
10. Changing Places
11. Reflections
12. Captured
13. The Last Farewell

Links in comments.

Andy Ward, Camel, Colin Bass, Jan Schelhaas, Kit Watkins, Live

Fairport Convention – Babbacombe Lee (1971) (@320)

03 Jun 2007

(Review from progarchives.com)

Surprisingly perhaps, this is Fairport Convention’s only concept album. It tells the true story of young John “Babbacombe” Lee, who was tried for the murder of his employer Miss Emma Keyse, and found guilty. Lee protested his innocence, but was sentenced to be killed by hanging. After three attempts to complete the hanging, which were foiled on each occasion by the trap door failing to open, his sentence was, in accordance with the law of the land, commuted to life imprisonment. What makes the case interesting is that the evidence against him did not really stack up, and thus the “act of God” in sparing him is now seen as justice.

The first two chapters (we cannot speak of tracks here a 6 and 10 min long respectively) speak of the happier and “lawful” days of the hero, while the much shorter third chapter starts out with the brutal description of a murder and tells you how the hero gets accused. A rather duller 7-min fourth chapter represents the prisoner’s lament but, as mentioned previously, the final chapter provides a loadful of drama and an increasingly tense and haunting climate regularly interrupted by verses and choruses. Clearly the album’s highlight.

“Babbacombe Lee” is probably the most under-valued of Fairport Convention’s extensive catalogue. Because it does not contain the usual array of traditional songs, it is often perceived to be something of a fish out of water. What we have here though, is a wonderfully put together concept album, full of strong melodies, and first class performances.

Line-up:
- Dave Swarbrick / vocals, fiddle, viola, mandolin
- Dave Pegg / vocals, bass guitar, mandolin
- Dave Mattacks / drums, harmonium, tambourine, electric piano
- Simon Nicol / vocals, electric& acoustic guitars, electric dulcimer

Track List:
01. John’s Reflections On His Boyhood…
02. This Was The Happiest Period In His Life…
03. Tragedy Now Strikes hard…
04. John Was Hardly More Than A Bewildered Observer…
05. When It Comes He Cannot Sleep…

Link in comments.

Fairport Convention

Camel – I Can See Your House From Here (1979) (@192)

03 Jun 2007

(Review from progarchives.com)

The first challenge here is to get past the questionable taste of the sleeve, which was intended to show that the band does in fact have a sense of humour. The title for the album was originally to be ‘Endangered species’, but despite Andy Latimer’s protestations he was overruled by the rest of the band, and both the name and the sleeve were changed.

With Peter Bardens having left the band before completion of the ‘Breathless’ album, Andy Latimer had become the de-facto leader, keyboard duties being shared by Jan Schelhaas and Kit Watkins.

In terms of the contents, what we have here is actually a very enjoyable album. While many of the tracks find the band continuing to explore more commercial territories, the closing track is cited by many as the best Camel track of all. ‘Ice’ is a 10 minute guitar instrumental recorded live in the studio, with Phil Collins guesting on percussion. Apparently Latimer played what he felt was a bum note at the beginning of his solo and wanted to re-record the track, but those present pursued him to leave it be. When you think about it, there really are far too few long, well developed lead guitar solos like this around. For those familiar with Camel’s later ‘Nod and a wink’ album, ‘Ice’ resembles the final track ‘For today’.

Looking at the rest of the album, ‘Wait’ is rather weak for the opening track on a Camel album, devoid of the usual striking guitar and/or synth melody we have come to expect. It has a passing resemblance to some of the songs Russ Ballard wrote during his time with Argent.

‘Who we are’ is the other feature track. It starts as a jazz fusion piece along the lines of the Average White Band’s ‘Cut the cake’, with a distinctive theme which is developed and improvised upon. Later the introduction of vocals signals a complete change in the track, as it becomes a highly appealing ballad with building orchestration and some atmospheric flute. While the two distinct parts of the track do not sit particularly well together, the track as a whole is classic Camel.

There are a few pop based songs on the album, some of which work better than others. ‘Remote romance’ is an awful song which serves only to show that Camel, or perhaps their record label, were becoming increasingly desperate to find a hit single. The track is 80′s electronica in the mould of Devo, M, or Soft Cell. Even the lyrics are amusing because they’re so bad! ‘Your love is stranger than mine’ is as bad lyrically, but is more acceptable musically. It has a decent sax solo (by Mel Collins who appears as a guest on the album) and a bouncy, inoffensive feel.

The instrumental ‘Eye of the storm’ is interesting in that it also appeared on Happy the Man’s album ‘Better late’, as keyboard player Kit Watkins had been a member of that band before joining Camel. It is thus a very rare example of Camel doing what is technically a cover version. ‘Hymn to her’ manages to perpetuate the corny title syndrome the band manage to include on virtually every album, but the track itself has echoes of the ‘Moonmadness’ era, with some good guitar work, and a pleasant melody.

In all, something of an underrated album in the Camel catalogue, with some symphonic prog, a little fusion, and some melodic pop. The album does have its flaws, but the track ‘Ice’ renders the album essential for anyone who enjoys the music of this great band.

Line-up:
- Andrew Latimer / guitars, vocals, flute, autoharp
- Andy Ward / drums
- Colin Bass / bass, vocals
- Jan Schelhaas / keyboards
- Kit Watkins / keyboards
with:
- Mel Collins / sax
- Phil Collins / percussion
- Rupert Hine / vocals

Track List:
01. Wait (4:50)
02. Your Love Is Stranger Than Mine (3:14)
03. Eye Of The Storm (3:42)
04. Who We Are (7:26)
05. Survival (1:04)
06. Hymn Ho Her (5:23)
07. Neon Magic (4:39)
08. Remote Romance (4:01)
09. Ice (10:10)

Link in comments.

Andy Ward, Camel, Colin Bass, Jan Schelhaas, Kit Watkins, Mel Collins, Phil Collins

Smash – Todas Sus Grabaciones (1969-78) (@256)

02 Jun 2007

(Info from freakemporium.com, progarchives.com)

Formed by the sitar / guitar player Gualberto in 1967, the band Smash recorded at the beginning of the seventies two classic rarities of psych / prog rock for Philips label (“Glorieta de los Lotos” in 1970 and “We Come To Smash This Time” in 1971). The early death of the vocalist Julio Matito will mark the end of the band’s adventure. In itself, Smash’s music has similarities with Moody Blues and Vanilla Fudge’s psychedelic mood. The flamenco touch is evident, applying on traditional “palos” (tarantos…) thanks to Manuel Molina guitar style. In parallel the leader Gualberto has recorded a few progressive albums with Ricardo Mino, mixing Hindu music to conventional Spanish flamenco guitar works.

This is the complete recordings set by this classic Spanish hard psych-prog band including both “La Glorieta de los Lotos” and “We Come to Smash This Time”. Heavy rock/pop music with some very nice psychedelic touches, characterised by swathes of wailing guitars. At times the band suddenly go off into totally tripped out acid rock with sitars, backward guitars, phased vocals and all manner of crazy freak-outs.

Line-up:
* Gualberto – guitar, flamenco sitar, tabla…
* Antonito Rodriguez – drums
* Henrik Michael – violin & flute
* Julio Matito – vocals
* Silvio – percussions

Track List:
CD1:
01. Scouting
02. Soneto
03. Ensayo no1
04. I left you
05. One hopeless whisper
06. Decision
07. Look at the rainbow (flying in the sky)
08. Forever walking
09. Light blood, dark bleeding
10. Free as the green little man
11. Tove and all that
12. It’s only nothing
13. Glorieta de los lotos
14. Nazarin again
15. Love millionaire
16. (I want to be 7 minutes) sitting on the truth.
CD2:
01. Ottenos
02. Ahimsa
03. Rock and roll
04. Well, you know
05. First movement
06. Behind the stars
07. We come to smash this time
08. My funny girl
09. Don’t be sad baby
10. Fail safe
11. Goodbye
12. El garrotin
13. Tangos de ketama
14. Ni recuerdo, ni olvido
15. Alameda’s blues
16. Tarantos

Links in comments.

Kiss – Kiss (1974) (@256)

02 Jun 2007

(Review from allmusic.com, wikipedia)

Rooted in the campy theatrics of Alice Cooper and the sleazy hard rock of glam rockers the New York Dolls, Kiss became a favorite of American teenagers in the ’70s. Most kids were infatuated with the look of Kiss, not their music. Decked out in outrageously flamboyant costumes and makeup, the band fashioned a captivating stage show featuring dry ice, smoke bombs, elaborate lighting, blood spitting, and fire breathing that captured the imaginations of thousands of kids. With their makeup and costumes, they took on the personas of comic book-style characters: the Demon (Simmons), the Star Child (Stanley), the Space Ace (Frehley), and the Cat Man (Criss).

Kiss’ 1974 self-titled debut is one of hard rock’s all-time classic studio recordings. Kiss is chock full of their best and most renowned compositions, containing elements of Rolling Stones/New York Dolls party-hearty rock & roll, Beatles tunefulness, and Sabbath/Zep heavy metal, and wisely recorded primal and raw by producers Richie Wise and Kenny Kerner (of Gladys Knight fame). Main songwriters Stanley and Simmons each had a knack for coming up with killer melodies and riffs, as evidenced by “Nothin’ to Lose” and “Deuce” (by Simmons), “Firehouse” and “Black Diamond” (by Stanley), as well as “Strutter” and “100,000 Years” (collaborations by the two). Also included is the Ace Frehley alcohol anthem “Cold Gin,” “Let Me Know” (a song that Stanley played for Simmons upon their very first meeting, then titled “Sunday Driver”), and one of Kiss’ few instrumentals: the groovy “Love Theme From Kiss” (penned by the entire band). The only weak track is a tacky cover of the 1959 Bobby Rydell hit “Kissin’ Time,” which was added to subsequent pressings of the album to tie in with a “Kissing Contest” promotion the band was involved in at the time. Kiss’ self-titled debut is one of their finest studio albums, and has only improved over the years.

Line-up:
* Gene Simmons – bass guitar, vocals
* Paul Stanley – guitar, vocals
* Ace Frehley – lead guitar
* Peter Criss – drums, vocals

Track List:
01. Strutter
02. Nothin’ to Lose
03. Firehouse
04. Cold Gin
05. Let Me Know
06. Kissin’ Time
07. Deuce
08. Love Theme from Kiss
09. 100,000 Years
10. Black Diamond

Link in comments.

Kiss

Embryo – We Keep On (1973) (@256)

02 Jun 2007

(Review from progarchives.com)

Largely made of improvised jazz rock melt with ethnic percussions, Indian “raga” scales (for the beginning) and “ritualistic” bamboo flute parts, this album can represent a great interest for those who want to discover “world” fusion jazz music. ‘Abdul Malek’ starts with a rising African percussion part rapidly followed by a dynamic jazz rock with tumultuous, brief sitar sequences. Horrible vocals are added to the mix. “Don’t come tomorrow” is a mysterious composition made of jazzy piano accompaniment, solo flute parts and xylophone passages. A spacey, calm “exotic” composition punctuated by Mellotron passages. One of the best moments of the album. “Ehna, Ehna, Abu Lele” is distinguished by “amazing” vocals sustained by tribal percussions mixed to drums. The track progressively lets the place to a freaky out improvisation dominated by electric keyboards and sax sequences. “Hackbrett-dance” delivers a strange mix of many “world” influences, reaching the listener into an original, colourful universe. An escape composition. To sum up things, this is a complex “world” jazz fusion item whose music is perfectly played.

Line-up:
- Roman Bunka / guitar, saxophone, vocals, percussion, bass (6)
- Christian Burchard / drums, vocals, percussion, marimba, vibes, hackbrett, Mellotron
- Charlie Mariano / alto & soprano saxes, flute, nagasuram, bamboo flute
- Dieter Miekautsch / acoustic & electric pianos, bass piano on the clavinet

Track List:
01. Abdul Malek
02. Don’t Come Tomorrow
03. Ehna, Ehna, Abu Lele
04. Hackbrett-Dance
05. No Place To Go
06. Flute And Saz
07. Ticket To India (Bonus Track)
08. Flute, Saz And Marimba (Bonus Track)

Link in comments.

Embryo

Camel – Breathless (1978) (@256)

01 Jun 2007