Freedom to Music
Archive for May, 2008
Medical Leave
28 May 2008
I’m going away for an operation (nothing serious) for the next few days.
I’ve updated the album index (finally), it might be a good time to catch-up with the albums you’ve missed the first time around.
Elvis Presley – Essential 70s Masters (1970-77) (@256)
26 May 2008
(Review from amazon)
Elvis Presley’s music in the 1970s is often dismissed as the bombastic, half-hearted hack work of an overweight, pill-addicted, badly dressed has-been.
This massive anthology shows that Presley, in fact, created a more impressive body of work in the 70s than almost any other pop act. Stripping away all the garish live recordings and album filler, this package concentrates on a core of 120 songs — the A- and B-sides of every single Presley recorded in the ’70s, 46 other studio tracks (including 13 previously unreleased performances), and 27 live tracks (including another 13 unreleased tracks)–that feature a still-magnificent singer collaborating with one of the funkiest bands of its time.
This body of work certainly doesn’t match Presley’s breakthroughs in the 50s, nor does it equal the achievements of Al Green, Neil Young, and Van Morrison in the 70s, but it does stack up well against the work of Bob Dylan and the ex-Beatles in the same decade.
Even in his laziest moments, Presley was a master of intonation and phrasing, delivering his rich baritone with a disarming naturalness. And when he caught a spark from his great T.C.B. Band (anchored by guitarist James Burton and drummer Ron Tutt), Presley could still out-sing anyone in American pop. You can hear it here on inspired versions of Tony Joe White’s “Polk Salad Annie,” Bob Dylan’s “Don’t Think Twice, It’s All Right,” Muddy Waters’ “Got My Mojo Working,” Wayne Carson’s “Always on My Mind,” Chuck Berry’s “Promised Land”, Paul McCartney’s “Lady Madonna”, Percy Mayfield’s “Stranger in My Own Hometown”, Dennis Linde’s “Burning Love” and Joe South’s “Walk a Mile in My Shoes”.
Track List:
CD1
01. The Wonder Of You – 2:37
02. I’ve Lost You – 3:31
03. The Next Step Is Love – 3:33
04. You Don’t Have To Say You Love Me – 2:31
05. Patch It Up – 3:10
06. I Really Don’t Want To Know – 2:46
07. There Goes My Everything – 2:59
08. Rags To Riches – 1:55
09. Where Did They Go, Lord – 2:29
10. Life – 3:11
11. I’m Leavin’ – 3:52
12. Heart Of Rome – 2:54
13. It’s Only Love – 2:43
14. The Sound Of Your Cry – 3:15
15. I Just Can’t Help Believin’ – 4:36
16. How The Web Was Woven – 3:26
17. Until It’s Time For You To Go – 4:00
18. We Can Make The Morning – 3:55
19. An American Trilogy – 4:32
20. The First Time Ever I Saw Your Face – 3:44
21. Burning Love – 2:51
22. It’s A Matter Of Time – 3:03
23. Separate Ways – 2:35
CD2
01. Always On My Mind – 3:40
02. Fool – 2:43
03. Steamroller Blues – 3:05
04. Raised On Rock – 2:40
05. For Ol’ Times Sake – 3:38
06. I’ve Got A Thing About You Baby – 2:21
07. Take Good Care Of Her – 2:52
08. If You Talk In Your Sleep – 2:35
09. Promised Land – 2:57
10. It’s Midnight – 3:23
11. My Boy – 3:20
12. Loving Arms – 2:52
13. T-R-O-U-B-L-E – 3:03
14. Mr. Songman – 2:08
15. Bringing It Back – 3:02
16. Pieces Of My Life – 4:04
17. Green, Green Grass Of Home – 3:37
18. Thinking About You – 3:01
19. Hurt – 2:08
20. For The Heart – 3:23
21. Moody Blue – 2:51
22. She Thinks I Still Care – 3:52
23. Way Down – 2:38
24. Pledging My Love – 2:50
CD3
01. Twenty Days And Twenty Nights – 3:18
02. I Was Born About Ten Thousand Years Ago – 3:29
03. The Fool – 2:25
04. A Hundred Years From Now (Informal Recording) – 1:40
05. Little Cabin On The Hill – 1:48
06. Cindy, Cindy – 2:33
07. Bridge Over Troubled Water – 4:30
08. Got My Mojo Working – Keep Your Hands Off Of It – 4:36
09. It’s Your Baby, You Rock It – 3:01
10. Stranger In The Crowd – 3:49
11. Mary In The Morning – 4:12
12. It Ain’t No Big Thing (But It’s Growing) – 2:48
13. Just Pretend – 4:04
14. Faded Love (Original Unedited Version) – 4:07
15. Tomorrow Never Comes (Includes False Start) – 4:06
16. Make The World Go Away – 3:36
17. Funny How Time Slips Away – 4:20
18. I Washed My Hands In Muddy Water (Long Version) – 4:58
19. Snowbird – 2:05
20. Whole Lot-Ta Shakin’ Goin’ On – 3:03
21. Amazing Grace (Alternate Take 2) – 3:28
22. (That’s What You Get) For Lovin’ Me – 2:09
23. Lady Madonna (Informal Recording) – 1:19
CD4
01. Merry Christmas Baby – 5:46
02. I Shall Be Released – 0:48
03. Don’t Think Twice It’s Alright – 4:01
04. It’s Still Here – 3:29
05. I’ll Take You Home Again Kathleen – 2:29
06. I Will Be True – 2:36
07. My Way – 4:33
08. For The Ggood Times – 3:13
09. Just A Little Bit – 2:32
10. It’s Different Now – 2:33
11. Are You Sincere – 2:01
12. I Got A Feeling In My Body – 3:35
13. You Asked Me To – 2:53
14. Good Time Charlie’s Got The Blues – 3:14
15. Talk About The Good Times – 2:38
16. Tiger Man – 3:05
17. I Can Help – 4:03
18. Susan When She Tried – 2:18
19. Shake A Hand – 3:49
20. She Thinks I Still Care – 3:27
21. Danny Boy – 3:57
22. Love Coming Down – 3:07
23. He’ll Gave To Go – 4:30
CD5
01. See See Rider – 2:33
02. Men With Broken Hearts (Short Poem) – 0:30
03. Walk A Mile In My Shoes – 2:56
04. Polk Salad Annie – 4:46
05. Let It Be Me (Je T’ Appartiens) – 3:27
06. Proud Mary – 2:32
07. Something (Master) – 3:40
08. You’ve Lost That Lovin’ Feelin’ – 4:22
09. Heartbreak Hotel – 1:41
10. I Was The One – 1:19
11. One Night – 1:48
12. Never Been To Spain – 3:28
13. You Gave Me A Mountain (Master) – 3:14
14. It’s Impossible – 2:52
15. A Big Hunk O’ Love – 2:01
16. It’s Over (Master) – 2:20
17. The Impossible Dream (The Quest) – 2:30
18. Reconsider Baby – 2:41
19. I’ll Remember You – 2:37
20. I’m So Lonesome I Could Cry – 2:14
21. Suspicious Minds – 4:28
22. Unchained Melody – 2:29
23. The Twelfth Of Never (Rehearsal) – 2:39
24. Softly As I Leave You (Rehearsal) – 2:16
25. Alla’ En El ”Rancho Grande” (Informal Rehearsal) – 2:03
26. Froggy Went A Courtin’ (Informal Rehearsal) – 2:16
27. Stranger In My Own Home Town (Informal Rehearsal) – 4:37
Links in comments.
Elvis Presley – Essential 60s Masters (1960-69) (@256)
25 May 2008
(Review from amazon)
Unlike its predecessor “Complete 50s Masters”, this 60s set focuses only on Elvis’ secular single and album releases, leaving out gospel and live recordings.
With those exceptions, every song Elvis recorded during the sixties is here. These include most of his big hits from the period, among them “It’s Now or Never”, “Are You Lonesome Tonight”, “Surrender”, “His Latest Flame”, “Good Luck Charm”, “Suspicion”, “She’s Not You”, “Don’t Cry Daddy”, “In the Ghetto” and “Suspicious Minds”.
Apart from the hits, you get all the album tracks, many of them long forgotten except by fans of Elvis. These include covers of “Fever” (Peggy Lee), “Memphis Tennessee” (Chuck Berry), “And The Grass Won’t Pay No Mind” (Neil Diamond), “Just Call Me Lonesome” (Eddy Arnold), “Gentle on My Mind” (Glen Campbell), “I’m Movin’ On” (Hank Snow) and “I’ll Hold You In My Heart” (Eddy Arnold) among them.
Among the songs written for Elvis but which remain obscure to all but his fans, there are many good songs, any of which might one day be rediscovered and used in a movie or TV advertisement. The song Gently, from one of his early sixties albums, was translated into French and recorded by Petula Clark. I can’t ever remember another cover of this song in any language, though there probably is one somewhere – just one of many great songs in this set that you’re not likely to hear on the radio.
The last half of the final CD is made up of selected alternate takes of some of the songs.
This is a fine collection of 130 tracks (19 previously unreleased) which will appeal to a far wider public than just his dedicated fans.
Track List:
CD1
01. Make Me Know It – 2:01
02. Soldier Boy – 3:05
03. Stuck On You – 2:20
04. Fame And Fortune – 2:30
05. A Mess Of Blues – 2:40
06. If Feels So Right – 2:10
07. Fever – 3:32
08. Like A Baby – 2:39
09. It’s Now Or Never – 3:16
10. The Girl Of My Best Friend – 2:22
11. Dirty, Dirty Feeling – 1:34
12. Thrill Of Your Love – 3:01
13. I Gotta Know – 2:16
14. Such A Night – 3:00
15. Are You Lonesome Tonight – 3:07
16. Girl Next Door Went A ‘Walking – 2:13
17. I’ll Be Home Again – 2:34
18. Reconsider Baby – 3:40
19. Surrender – 1:52
20. I’m Coming Home – 2:22
21. Gently – 2:17
22. In Your Arms – 1:51
23. Give Me The Right – 2:34
24. I Feel So Bad – 2:54
25. It’s A Sin – 2:41
26. I Want You With Me – 2:14
27. There’s Always Me – 2:16
CD2
01. Starting Today – 2:06
02. Sentimental Me – 2:32
03. Judy – 2:12
04. Put The Blame On Me – 1:58
05. Kiss Me Quick – 2:48
06. That’s Someone You Never Forget – 2:49
07. I’m Yours – 2:21
08. His Latest Flame – 2:08
09. Little Sister – 2:31
10. For The Millionth And Last Time – 2:07
11. Good Luck Charm – 2:25
12. Anything That’s Part Of You – 2:06
13. I Met Her Today – 2:43
14. Night Rider – 2:09
15. Something Blue – 2:59
16. Gonna Get Back Home Somehow – 2:29
17. (Such An) Easy Question – 2:20
18. Fountain Of Love – 2:14
19. Just For Old Time Sake – 2:09
20. You’ll Be Gone – 2:24
21. I Feel That I’ve Known You Forever – 1:40
22. Just Tell Her Jim Said Hello – 1:53
23. Suspicion – 2:35
24. She’s Not You – 2:10
25. Echoes Of Love – 2:39
26. Please Don’t Drag That String Around – 1:55
27. (You’re The) Devil In Disguise – 2:21
28. Never Ending – 1:59
29. What Now, What Next, Where To – 1:57
30. Witchcraft – 2:19
31. Finders Keepers, Losers Weepers – 1:48
32. Love Me Tonight – 2:02
CD3
01. (It’s A) Long Lonely Highway – 2:22
02. Western Union – 2:11
03. Slowly But Surely – 2:14
04. Blue River – 1:33
05. Memphis Tennessee – 2:09
06. Ask Me – 2:07
07. It Hurts Me – 2:28
08. Down In The Alley – 2:49
09. Tomorrow Is A Long Time – 5:22
10. Love Letters – 2:51
11. Beyond The Reef (Original Undubbed Master [Previously Unreleased]) – 3:05
12. Come What May (Alternate Take 7 [Previously Unreleased]) – 1:59
13. Fool Fall In Love – 2:06
14. Indescribably Blue – 2:48
15. I’ll Remember You (Original Unedited Master [Previously Unreleased]) – 4:06
16. If Every Day Was Like Christmas – 2:53
17. Suppose (Master [Previously Unreleased]) – 3:03
18. Guitar Man-What’d I Say (Original Unedited Master [Previously Unreleased]) – 2:56
19. Big Boss Man – 2:52
20. Mine – 2:37
21. Just Call Me Lonesome – 2:06
22. Hi-Heel Sneakers (Original Unedited Master [Previously Unreleased]) – 4:47
23. You Don’t Know Me – 2:28
24. Singing Tree – 2:19
25. Too Much Monkey Business – 2:32
26. US Male – 2:43
CD4
01. Long Black Limousine – 3:40
02. This Is The Story – 2:29
03. Wearin’ That Loved On Look – 2:45
04. You’ll Think Of Me – 4:00
05. A Little Bit Of Green – 3:22
06. Gentle On My Mind – 3:22
07. I’m Movin’ On – 2:53
08. Don’t Cry Daddy – 2:48
09. Inherit The Wind – 2:57
10. Mama Liked The Roses – 2:48
11. My Little Friend – 2:45
12. In The Ghetto – 2:47
13. Rubberneckin’ – 2:10
14. From A Jack To A King – 2:25
15. Hey Jude – 4:31
16. Without Love (There Is Nothing) – 2:53
17. I’ll Hold You In My Heart (Till I Can Hold..) – 4:33
18. I’ll Be There – 2:23
19. Suspicious Minds – 4:30
20. True Love Travels On A Gravel Road – 2:38
21. Stranger In My Own Home Town – 4:24
22. And The Grass Won’t Pay No Mind – 3:10
23. Power Of My Love – 2:34
CD5
01. After Loving You – 3:07
02. Do You Know Who I Am – 2:48
03. Kentucky Rain – 3:15
04. Only The Strong Survive – 2:42
05. It Keeps Right On A-Hurtin’ – 2:38
06. Any Day Now – 3:00
07. If I’m A Fool (For Loving You) – 2:44
08. The Fair Is Moving On – 3:09
09. Who Am I? – 3:19
10. This Time I Can’t-Stop Loving You (Informal Recording) – 3:50
11. In The Ghetto (Alternate Take 4) – 2:48
12. Suspicious Minds (Alternate Take 6) – 3:16
13. Kentucky Rain (Alternate Take 9) – 3:11
14. Big Boss Man (Alternate Take 2) – 3:38
15. Down In The Alley (Alternate Take 1) – 3:12
16. Memphis Tennessee (Alternate Take 1 From The ’1963 Session’) – 2:14
17. I’m Yours (Alternate Take 1 Undubbed Version) – 2:19
18. His Latest Flame (Take 4) – 2:01
19. That’s Someone You Never Forget (Alternate Take 1) – 2:39
20. Surrender (Alternate Take 1) – 1:52
21. It’s Now Or Never (Original Undubbled Master) – 3:16
22. Love Me Tender-Witchcraft (From ”Frank Sinatra Timex Special”) – 1:41
Links in comments.
Atmosphera – Lady of Shalott (1977) (@256)
25 May 2008
(Review from progarchives.com, seaoftranquility.org)
Atmosphera is an Israeli progressive rock band from the late 70s. They recorded two long, epic pieces for an album with English lyrics (Shakespeare & Lord Tennyson) but the album was too far-out for the small Israeli music industry, so the master tapes were archived and the album was never issued. 25 years later, a small collectors’ label gathered all the tapes and information on the lost band, and issued the album with bonus tracks.
Atmosphera’s style is heavily influenced by Yes’ symphonic style. The music is melodic, classical and well-arranged. Their drummer is influenced by Bruford’s style, the bassist emulates Squire’s sound, the keyboardist uses some of Wakeman’s tricks, and even their soloist sounds very much like Jon Anderson. Yes fans will find delight in this highly-capable group of musicians, who offer virtuousic abilites and solid compositional skills.
The opening title track is a real monster, clocking in at a whopping 16-minutes, and features the stunning guitar playing of Moti Fonseca and the symphonic keyboards of Yuval Rivlin. Along with the vocals of Efraim Barak, who sounds a bit like Jon Anderson, and the fat bass lines from Alon Nadel, this is one of the most Yes-sounding pieces. Rivlin and Fonseca are the stars on “Cukoo”, another lengthy 16 -minute song, this one a complex rocker, as the two trade lots of fiery solos, as well as create lush, majestic soundscapes that will bring to mind Relayer era Yes, and even Animals from Pink Floyd. “Tomorrow” is a great, moody piece, with Mellotron and dissonant guitar phrases, but features a different singer, who has nowhere near the voice of Barak. This tune, as well as “Love is Waiting for a Lover” are apparently early rehearsal demos recorded during the early days of the bands existence, and are extremely raw, and perhaps lacking the focus they would show later on.
Disc Two features live versions of “Tomorrow” and “Lady of Shalott”. There is also a song by Istopy, the band that Atmosphera eventually became, called “Catharsis”, recorded in 1981, and more in a Gentle Giant style, as well as three tunes by drummer Me El-Ma, which are pretty bizarre drums/synth/odd vocal oriented pieces that really don’t fit too well here.
Line-up:
- Efrayim Barak / vocals
- Moti Fonseka /guitar
- Alon Nadel / bass
- Yuval Rivlin / keyboards
- Ami Lipner (aka Mi El-Ma) / drums
Track List:
CD1
01. Lady of Shalott – 16:24
02. Cuckoo (Love’s Labour’s Lost) – 16:47
03. Tomorrow – 10:47
04. Love is Waiting for a Lover – 7:58
05. Cuckoo (Alternate Version) – 16:24
CD2
01. Announcement – 0:36
02. Tomorrow – Live At Beit Lessin – 11:00
03. Lady Of Shalott – Live At Galei-Tzahal – 12:41
04. Catharsis (Istopy) – 7:46
05. Nightmare (Me El-Ma) – 6:31
06. Toridtagitar (Me El-Ma) – 5:22
07. The Children Dance (Me El-Ma) – 8:59
Links in comments.
Whitesnake – Good to be Bad (2008) (@256)
25 May 2008
(Review from allmusic, about.com, dailymusicguide.com)
Whitesnake has been around for 30 years, and a band with that sort of longevity has to fight to stay modern and relevant. When it comes to new material from bands we grew up with, fans can be ambivalent. We’d rather hear “Fool For Your Loving”, “Still Of The Night” or “Ain’t No Love in the Heart of the City” for the billionth time than something new.
With “Good To Be Bad”, Whitesnake proves they still have plenty left in the tank. The songs on the album are classic Whitesnake, full of big guitar riffs and melodic hooks. There’s a nice combination of rockers and ballads. There is something for every classic rock fan on here, from the head bangers (‘Good To Be Bad’), to the lighter wavers (‘All I Want, All I Need’).
Beginning with the single “All for Love,” dead center on the album, with classic power chords as a majestic intro to the big bad crunch of a four-chord riff that the tune hinges on. Rough and rowdy, it’s still got a killer hook in the refrain that is pure trademark Whitesnake. Guitars don’t sound like this on records anymore, and it’s too bad because that solid wall of big fat distorted roar still sounds like a Les Paul. Music aside, Coverdale’s voice is a bit lower in the 21st century, but he’s still better than 90 percent of the frontmen out there. He can emote, growl, and get up above that dense mix.
Though the highlight on the album is without a doubt the epic ‘Summer Rain’. This is a gorgeous, upbeat ballad, which is up there with the likes of ‘Here I Go Again’ and their other most impressive material. There is even a bit of blues on the album, which is guaranteed to get you reaching for that air guitar (A Fool In Love).
A fresh blast from the past.
Line-up:
* David Coverdale – Vocals
* Doug Aldrich – Guitar
* Reb Beach – Guitar
* Timothy Drury – Keyboards
* Uriah Duffy – Bass
* Chris Frazier – Drums
Track List:
01. Best Years – 5:15
02. Can You Hear The Wind Blow – 5:04
03. Call On Me – 5:02
04. All I Want All I Need – 5:41
05. Good To Be Bad – 5:14
06. All For Love – 5:13
07. Summer Rain – 6:11
08. Lay Down Your Love – 6:01
09. A Fool In Love – 5:50
10. Got What You Need – 4:16
11. ‘Til The End Of Time – 5:35
Links in comments.
Zypressen – Zypressen (1996) (@256)
24 May 2008
(Review from progarchives.com)
Zypressen was a Japanese chamber music quintet with ties to fellow countrymen Lacrymosa. Their music is more in the lighter side of things — you would think that a band labeled avant-prog wouldn’t be soft, warm and gentle to the touch, but Zypressen are just that. It slides into Zeuhl territories at times. While the lineup consists of an electric guitar, drums & percussions, the dominant instruments in their tracks are the classical instruments such as cello, violin viola, piano, flute and clarinet.
Whether you’re listening to the dynamic and slightly sinister “Prelude” or the delicate “Hana”, every song is made with finesse and charm that Zypressen has mastered over the course of their sole album. Half of the songs present here have a strong sense of melody and harmony that many people would never think a group labeled as such would commonly have and that is probably the best quality Zypressen has. With these ear-friendly songs they smooth out the rough edges (which aren’t all that rough to begin with) that the other more adventurous songs present in the album have. This well balanced mixed is critical to the enjoyment of this album and also gives it an interesting dynamic and some well needed balance while still sounding cohesive. While the melodic songs are made mostly with classical instruments like piano, clarinet, cello, violin and flute, the adventurous songs are mostly dominated by rock instruments, but the classical instruments also play a role in them.
The album comes off as one of the most accessible releases from a chamber rock or avant-prog band. It manages to keep a good flow of interchanging sounds/themes and electric vs acoustic tracks. The combination of beautiful classical tinged compositions with avant-garde ones is something that many fans will enjoy listening to. Newcomers to this kind of music will have an enjoyable first experience listening to Zypressen, they aren’t too “weird” or “out there” for people getting into chamber rock.
Line-up:
- Hirofumi Imai / drums, marimba, xylophone, glockenspeil, wind synthesizer, voice, percussion
- Jun Takafuji / bass, cello, violin, keyboards
- Atsushi Asano / electric guitar
- Nobuyoshi Miyake / violin, viola
- koji yamagami / piano
with
- Takao Abe / flute (6,7)
- Kyouko Senke / violin (7)
- Shigeru Kasuga / bass clarinet (6)
Track List:
01. Point Of Compass – 6:31
02. Str (Against The Wind) – 5:31
03. Tangent (New Version) – 5:12
04. Etude – 5:57
05. Hana – 7:00
06. Prelude (Remix Version) – 5:21
07. [Japanese Title] – 6:59
08. [4 Hieroglyphs] (All The Vertical Stripes Are Eager To Cross Together) – 6:33
Link in comments.
Whitesnake – Live in the Shadow of the Blues (2006) (@192)
24 May 2008
(Review from revelationz.net)
Whitesnake is back with a fresh double live album with 20 tracks, but more appealing it contains 4 brand new studio tracks. These songs are the first new songs from Whitesnake in ages and all new tracks are written in collaboration with the splendid guitarist Doug Aldrich.
Three of the new studio tracks are solid rockers. Coverdale also uses some of the old tricks in the book to adapt fans to the new material, since “Dog” opens with Coverdale’s classic howl. The up-tempo “Ready to rock” has a wall of Led Zeppelin like guitars and a killer solo. A chunky riff and yet another killer solo from Aldrich makes “If you Want Me a” potential live favorite. The best rocker is “If you want me”, since it has the best melody line. The song is a hybrid of classic melodic Whitesnake and a fresh powerful modern edge. “All I Want Is You” is a brilliant power ballad. The thick bluesy guitar sound gives goose pimples.
Most of the live recordings are from the recent world tours. All 20 songs are amazing, representing the legacy of Whitesnake. Hearing those astonishing songs performed by an amazing band and Mr Whitesnake himself David Coverdale makes “Live..In the Shadow of the Blues” one of the best live albums of 2006. The songs off “Whitesnake 1987″ never get worn out and they still sound fabulous – in fact they sound very similar to the record and the solos are note for note. The two songs off “Slip of the Tongue” album, Judgement Day and The Deeper the Love works really well live. Doug Aldrich and Reb Beach are a dangerous guitar duo.
The band’s performance is damn consistent and the songs are timeless. On top is Coverdale’s expressive and unique voice, which has suffered a bit from the many years in rock ‘n’ roll. “Live : In the Shadow of the Blues” is the perfect present for the aged rock fan who loves quality rock.
Line-up:
* David Coverdale / Lead Vocals
* Doug Aldrich / Guitar, Backing Vocals
* Reb Beach / Guitar, Backing Vocals
* Timothy Drury / Keyboards, Backing Vocals
* Uriah Duffy / Bass, Backing Vocals
* Tommy Aldridge / Drums
Track List:
CD1
01. Bad Boys
02. Slide It In
03. Slow An’ Easy
04. Love Ain’t No Stranger
05. Judgement Day
06. Is This Love
07. Blues For Mylene
08. Snake Dance
09. Crying In The Rain
10. Ain’t No Love In The Heart Of City
11. Fool For Your Loving
12. Here I Go Again
13. Still Of The Night
CD2
01. Burn-Stormbringer Burn
02. Give Me All Your Love Tonight
03. Walking In The Shadow Of The Blues
04. The Deeper The Love
05. Ready An’ Willing
06. Don’t Break My Heart Again
07. Take Me With You
08. Ready To Rock (New Studio Record)
09. If You Want Me-I’ll Come Running (New Studio Recording)
10. All I Want Is You (New Studio Record)
11. Dog (New Studio Recording)
Links in comments.
Nice – Vivacitas Live in Glasgow (2002) (@256)
23 May 2008
(Review from progarchives.com)
After over three decades, Nice reformed in 2002 for a series of live concerts. David O’List, the original guitarist, did not take part, and he was replaced by Dave Kilminster. A 3-CD set “Vivacitas” was released from the shows.
Disc one here covers the first half of the performance, which is dedicated to reviving songs which originally appeared on albums by that band. As Lee Jackson says after the opening run through “America” and “Rondo” plus sundry other familiar melodies, not bad for a 32 year gap. Jackson’s distinctive tones have altered little over the years, his signing on a rather subdued “Little Arabella” being as throaty and distinctive as ever. The wonderful “Hang On to a Dream” sounds as fresh as it ever did, this rendition including a soft shuffling jazz interlude. The version of “The Karelia Suite” here sounds a little too like one of those awful tributes with Emerson simply rattling out the melody on a prosaic sounding synth. It certainly lacks the majesty and power of the Five Bridge version.
Disc two sees the Nice departing the stage, and Emerson returning to perform a couple of tracks taken from his solo albums, alone on piano. He is then rejoined by a Dave Kilmister and two new musicians. Phil Williams and Pete Riley take on the roles of Lake and Palmer for a run through of four ELP favourites, including a complete rendition of Tarkus. Listening to this version for the first time is rather disconcerting as there are initially no vocals, the vocals refrains being replaced by the lead guitar of Kilmister (a Karaoke version indeed!). Vocals do eventually appear for the Battlefield section which includes the diversion into an extract from King Crimson’s Epitaph that first appeared on the “Welcome back my friends” album.
Jackson and Davidson actually return to the stage for a spirited run through of “Fanfare” for the common man. Here we have an enjoyable duel between Emerson on keyboards and Kilmister on guitar, even if it does at times seem like something of a battle!
The title of the third disc (Interview with Chris Welch) is misleading. It is in fact Chris Welch interviewing the three members of the Nice involved in the reunion gig. The guys spend over 20 minutes reminiscing and swapping anecdotes about their time together.
Vivicacas is first and foremost an exercise in nostalgia. For those who have enjoyed the music of the Nice and ELP in the past, this is through a worthwhile experience.
Line-up:
- Keith Emerson / keyboards
- Lee Jackson / bass & vocals
- Brian Davison / drums
- Dave Kilmister / guitar
- Phil Williams / bass
- Pete Riley / drums
Track List:
CD1
01. America/Rondo (11:13)
02. Little Arabella (4:57)
03. She Belomgs To Me (6:21)
04. The Cry Of Eugene (5:02)
05. Hang On To A Dream (10:30)
06. Country Pie (5:57)
07. Karelia Suite (7:58)
CD2
01. A Blade Of Grass (2:11)
02. A Cajun Alley (4:11)
03. Tarkus (21:00)
04. Hoe Down (5:06)
05. Fanfare For The Common Man (7:55)
06. Honky Tonk (6:05)
CD3
01. Interview with Chris Welch (22:27)
Links in comments.
Weather Report – I Sing The Body Electric (1972) (@256)
23 May 2008
(Review from progarchives.com)
Weather Report can trace its origins to Miles Davis’ late 60s line up and breakthrough recordings. Leaning further perhaps towards the jazz end of the meter among their jazz-rock peers, they have made an essential contribution in the legacy of fusion.
The band’s second album is the direct musical continuity of the debut, even if the percussionists are different. Indeed, the all-stars Mouzon and Moreira had given way to relative unknown Gravatt and Um Romao, thus keeping the American-Central European- Brazilian equilibrium of the their debut album. Recorded, for half in concert, in the winter of 71-72, Body Electric is Weather Report’s most challenging album of their career, closely followed by their debut. The Zawinul-Vitous-Shorter trio is now really at ease with each other and it really sounds like it.
Starting out on the abstract and stunningly cosmic Unknown Soldier (a surrealist piece with a war interlude halfway through), then veering hard with the scorching Moors (goose bumps guaranteed when listened to loud), the album settles in a definitively trippy groove with Crystal (Vitous-penned and Vitous-starred, albeit superbly underlined by Shorter) only to finish on the torrid Second Sunday Of August, where the groups is violently slams you within the outer limits of your mind, barely escaping the infliction of permanent insanity.
The live-recorded flipside opens on a hot medley, with Shorter and Zawinul’s instruments on the constant brink of saturation, providing an incredible energy, something that the new rhythm section induces effortlessly with an implacable complex time sig. Of course improvs are around the corner and will drag on a few evitable (in the studios) lengths. The following Surucuců really shows the striking difference between the group’s live energetic facet and the more adventurous studio spirit. The closing Directions is another scorcher, even if it is clear that the different members try to outdo each other.
This album by Weather Report has it all, ground breaking electronic keyboards, highly original compositions, free jazz solos, and the latest in studio sound effects that help build a huge thick wall of sound.
Line-up:
- Eric Gravatt / drums
- Don Um Romao / percussion
- Wayne Shorter / soprano & tenor saxophones
- Miroslav Vitous / bass
- Joe Zawinul / acoustic & electric pianos, ARP 2600 synthesizers
with
- Joshie Armstead / backing vocals
- Yolanda Bavan / backing vocals
- Hubert Laws / flute
- Chapman Roberts / backing vocals
- Ralph Towner / 12 string acoustic guitar (2)
- Andrew White / English horn
- Wilmer Wise / piccolo, trumpet
Track List:
01. Unknown Soldier – 8:00
02. The Moors – 4:43
03. Crystal – 7:19
04. Second Sunday in August – 4:12
05. Medley – Vertical Invader – T.H. – Dr. Honoris Causa (Live) – 10:40
06. Surucucu (Live) – 7:41
07. Directions (Live) – 4:34
Link in comments.
Whitesnake – Live in the Still of the Night (2004) (@320)
23 May 2008
(Review from blogcritics.org)
Whitesnake has always been a revolving door of musicians supporting band founder and frontman David Coverdale since the breakup of the classic line-up. “Live In The Still Of The Night” is certainly no different, finding Coverdale again surrounded by five hired guns, who breath new life into the band. They certainly have the muscle to resurrect this blues-rock dinosaur at a time when most of these “nu-rock” bands need to be stepped on with a two ton paw.
Coverdale can still belt out the arena-rock ballads and blues-metal anthems with the best of them, and he oozes enough charisma to keep the audience eating out of his hands for the entire show. Doug Aldrich is clearly from the older Jimmy Page/Gary Moore school of blues-based rock guitar. He even has a ’58 re-issue Gibson Les Paul that he persuaded Page to scratch his initials into with a fork. Reb Beach is more from the ’80s, Van Halen/Steve Vai school of flash guitar, but he can still do it all. Coverdale has clearly given Aldrich the spotlight in this band, as he takes the majority of the guitar solos, and even gets two full songs “Blues For Mylene”, and “Snake Dance”, which were essentially his solo vehicles. Beach does add some excellent rhythm guitar and the occasional colorful solo, but was much less in the spotlight.
The setlist is a decent mix of old and new, going all the way back to the beginning with the Snakebite slow-blues ballad “Ain’t No Love In The Heart Of The City”, and as far forward as the Slip Of The Tongue anthem “Judgement Day” from 1989. The 1987 album Whitesnake gets the lion’s share, six of the album’s eleven songs are performed.
Line-up:
* David Coverdale – Vocals
* Doug Aldrich – Guitar
* Reb Beach – Guitar
* Marco Mendoza – Bass
* Timothy Drury – Keyboards
* Tommy Aldridge – Drums
Track List:
01. Burn – 8:32
02. Bad Boys – 5:27
03. Love Ain’t No Stranger – 4:40
04. Ready An Willing – 6:03
05. Is This Love – 4:50
06. Give Me All Your Love – 4:53
07. Judgement Day – 5:23
08. Blues For Mylene – 3:53
09. Snake Dance – 2:08
10. Cryin’ In The Rain Pt1 – 4:37
11. Drum Solo – 5:15
12. Cryin’ In The Rain Pt2 – 3:04
13. Ain’t No Love In The Heart Of – 9:05
14. Don’t Break My Heart Again – 6:08
15. Fool For Your Lovin’ – 4:49
16. Here I Go Again – 6:56
17. Take Me With You – 7:15
18. Still Of The Night – 8:54
Links in comments.
Emerson, Lake and Palmer – In the Hot Seat (1994) (@192)
22 May 2008
(Review from amazon, progarchives.com)
As “Love Beach”, “In the Hot Seat” was recorded in a wrong moment, when Carl Palmer went through surgery for carpal tunnel syndrome, Keith Emerson had problems with his right arm and for the wrong reason, because they had a contractual obligation.
When listening to “In the Hot Seat”, one can’t help but be reminded of Carl Palmer and Keith Emerson’s 3. Lake remains a powerhouse vocalist, whose voice (despite its limited range) is perfectly suited to perform this type of AOR influenced symphonic rock.
The tracks are no meandering, intricately orchestrated, overtly experimental epics with classical arrangements. Nor do they teem with long solos, frequent gear shifting and numerous instrumental breaks. They are concise songs with a well-defined buildup and memorable choruses that you’ll be able to sing along to (if you are so inclined) after hearing them a couple of times. Which does not mean to say that they are simplistic in any way. Throughout the album Lake’s guitars play second fiddle to Emerson’s rampant keyboards, which cater to piano, organ and synthesizer freaks alike without indulging in excessive posturing.
Opening cut “Hand of truth” and third in line “One by one” may be closest to ELP’s original style, but still sound accessible to the untrained ear. “Thin line” isn’t so tasty with its poprock approach and flawed drum computer sound. Both “Daddy” and the Bob Dylan cover “Man in the long black coat” summon an eerie mood. “Heart on ice” and “Give me a reason to stay” are two ballads that derive their main strength from Greg Lake’s vocal delivery, “Gone too soon” a fast-paced, AOR oriented track propelled by another delectable keyboard theme.
The album features a bonus shortened studio version of “Pictures At An Exhibition”, recorded in Dolby surround sound. Those 15:29 seconds of pure progressive and pompous rock are actually worth the whole album by themselves, for the first time we have an idea of how this great work sounds in a controlled environment and with an excellent production, the result couldn’t be better despite the fact that’s a reduced version.
This proved to be the band’s last studio album.
Line-up:
- Keith Emerson / keyboards
- Greg Lake / vocals, bass, guitar
- Carl Palmer / drums, percussion
with
- Bill Wray & Paula Mattioli / back vocals
- Kristen Olsen / back vocals (2)
- Fred White, Ricky Nelson, Lynn B. Davis, Linda McCrary / choir (11-16)
Track List:
01. Hand Of Truth – 5:22
02. Daddy – 4:42
03. One By One – 5:08
04. Heart On Ice – 4:20
05. Thin Line – 4:46
06. Man In The Long Black Coat – 4:12
07. Change – 4:44
08. Give Me A Reason To Stay – 4:15
09. Gone Too Soon – 4:11
10. Street War – 4:25
11. Promenade (Bonus Pictures at an Exhibition Studio) – 1:46
12. The Gnome (Bonus Pictures at an Exhibition Studio) – 2:08
13. Promenade (Bonus Pictures at an Exhibition Studio) – 1:45
14. The Sage (Bonus Pictures at an Exhibition Studio) – 3:10
15. The Hut Of Baba Yaga (Bonus Pictures at an Exhibition Studio) – 1:16
16. The Great Gates Of Kiev (Bonus Pictures at an Exhibition Studio) – 5:24
Link in comments.
Valhalla – Valhalla (1969) (@256)
22 May 2008
(Review from allmusic)
“Valhalla” is yet another forgotten group with a (selftitled) sole album. It mixes heavy rock, prog and psych with a predominant organ and powerful vocals on tracks like “Psychedelic Minds Going Nowhere” and “Overseas Symphony”.
Valhalla’s only album is a rather haphazard mix of end-of-the-’60s psychedelic and heavy rock influences. Even if it’s not particularly outstanding or original, however, it has its enjoyable aspects, especially for those who enjoy late-’60s combinations of bluesy hard organ and bluesy hard rock guitar. In its slightly overreaching, over-serious feel with a hint of religious pomposity, it’s often slightly reminiscent of early Deep Purple and — more distantly, especially in the fairly penetrating organ — the Crazy World of Arthur Brown, Graham Bond and Lee Michaels. Throw in some more guitar-oriented hard rock with songwriting and riffs reminiscent of Cream and the “Happenings Ten Years Time Ago”-era Yardbirds, and it’s a little surprising to learn that this band came from Long Island, not Britain.
At times, too, the record takes strange right turns into more orchestrated, skewed pop and jazzy tempos, as if they were trying to get a little more mainstream but couldn’t quite iron out their more uncommercial aspirations. Some faint symphonic pretensions both add and detract in some ways, but there are some pretty commanding lead vocals and organ, which put it a notch above many other secondary psychedelic albums of this kind.
Line-up:
- Bob Hulling / vocals
- Don Krantz / guitar, bass
- Rick Ambroser / bass, vocals
- Mark Mangold / organ, percussion, vocals
- Eddie Livingston / drums
Track List:
01. Hard Times – 4:33
02. Conceit – 4:54
03. Ladies In Waiting – 4:03
04. I’m Not Askin’ – 6:21
05. Deacon – 4:25
06. Heads Are Free – 3:51
07. Roof Top Man – 4:14
08. Jbt – 5:46
09. Conversation – 3:27
10. Overseas Symphony – 6:21
Link in comments.
David Coverdale – Into the Light (2000) (@320)
22 May 2008
(Review from allmusic)
In 2000, David Coverdale was officially a full-time solo artist again. Although not groundbreaking, 2000′s Into the Light is a decent solo effort that should please those who admire his ’70s and ’80s output. In fact, this isn’t a radical departure from the British singer’s work with Whitesnake and Deep Purple. Instead of attempting to be relevant to the alternate rock scene of 2000, Coverdale sticks with the type of commercial hard rock, arena rock, and power ballads that he is best known for.
Even though the songs aren’t quite in a class with his best Purple and Whitesnake offerings, they are enjoyable; Coverdale’s die-hard fans will find that he is as confident and assured on bluesy rockers like “Cry for Love” and “River Song” as he is on the power ballad “Don’t You Cry”. The album often sounds like it could have been recorded in the 1970s or 1980s.
“Into the Light” shows that Coverdale is still quite capable of holding attention.
Line-up:
* David Coverdale – lead vocals, guitar (1)
with
* Doug Bossi – guitar, back vocals
* Earl Slick – guitar
* Marco Mendoza – bass, spanish guitar (12), background vocals
* Denny Carmassi – drums
* Derek Hilland – keyboards (1, 8)
* Mike Finnigan – organ & piano
* John X. Volaitis – keyboards & percussion (3), keyboards (4, 10, 11), harp (11)
* Reeves Gabrels – solo resolve (3)
* Dylan Vaughan – guitar (4)
* Tony Franklin – bass (4)
* Bjorn Thorsud – tambourine (4)
* James Sitterly – strings (5)
* Ruy Folguera – string arrangement (5)
* Jimmy Z – harmonica (7)
* Linda Rowberry – vocal duet (12)
Track List:
01. Into The Light
02. The River Song
03. She Gives Me
04. Don’t You Cry
05. Love Is Blind
06. Slave
07. Cry For Love
08. Living On Love
09. Midnight Blue
10. Too Many Tears
11. Don’t Lie To Me
12. Wherever You May Go
Links in comments.
Emerson, Lake and Palmer – Live At the Royal Albert Hall (1992) (@256)
21 May 2008
(Review from allmusic)
Emerson Lake & Palmer recorded this 25th anniversary concert in London’s Royal Albert Hall in October 1992.
Known for their on-stage energy and full-force musical prowess, “Live at the Royal Albert Hall” is the farthest from disappointment a live album can get. Each member of ELP exhibits his individual talents on this astonishing audio spectacle that doesn’t let up at any point.
Spearheading the 11 songs on the album that runs almost 70 minutes is keyboardist Keith Emerson, whose earsplitting synthesizer rumbles and squeals with devastating vigor. His playing is loose and freewheeling, characterizing his devil-may-care style, and bursting with emotion. Equally forceful is Carl Palmer behind the drums, especially on “Lucky Man” and “Karn Evil No. 9″ where he showcases both his subtle mechanics and his frantic arm swirling. On guitar, Greg Lake fills in with some stellar bass work, whose impact can be felt even above the grandiose of the other two.
The songs that work best live from ELP are all included, amassing all the ardor and extravagance surrounding this threesome. In front of their home audience in England, they really steal the show with a nine-minute outpouring of “Tarkus”, as the combination of all their talents are fused together in instrumental wonderment. Even better is the grand finale, a 14-minute medley of “Fanfare for the Common Man”, “America” and “Rondo”. A truly volcanic display of keyboard driving from Keith Emerson sends this intense montage into a frenzy, ending the album on a fierce high.
Live at the Royal Albert Hall has the grandfathers of progressive rock sounding like sonically intoxicated teenagers.
Line-up:
- Keith Emerson / keyboards
- Greg Lake / vocals, bass, guitar
- Carl Palmer / drums, percussion
Track List:
01. Karn Evil No. 9 (1st Impression, Part 2) – 1:44
02. Tarkus (Medley) – 9:33
03. Knife Edge – 5:27
04. Paper Blood – 4:09
05. Romeo & Juliet – 3:40
06. Creole Dance – 3:16
07. Still… You Turn Me On – 3:17
08. Lucky Man – 4:37
09. Black Moon – 6:32
10. Pirates – 13:22
11. Finale (Medley – Fanfare, America, Rondo) – 14:40
Links in comments.
3 – To The Power of Three (1988) (@256)
21 May 2008
(Review from progreviews.com, progarchives.com, amazon)
When Carl Palmer missed out on an ELP album, the other two simply replaced the name Palmer with Powell, creating Emerson, Lake and Powell. When Greg Lake however had his sabbatical and Robert Berry was brought in, they didn’t become Emerson, Berry and Palmer, they simply became “3”.
In “To the Power of Three” the music is mostly album-oriented pop rock, along the lines of Journey or Styx. The album features upbeat, driving rhythms and simple, hook-laden melodies. It appears the trio were perhaps trying to “pull an Asia”, and break into the commercial market with a hit single or two.
Unfortunately the songs aren’t that memorable to stand out in an already over saturated AOR market. Tracks such as “Lover to lover”, “You do or you don’t”, and “Runaway” are pop rock drivel, which could have been recorded by any of thousands of Hairspray Heaven bands. There’s also a cover of the Byrds classic, “Eight miles high”, which manages to sanitise the song into a basic pop number. However the album ventures into progressive territory at times, such as the three-part “Desde La Vida” and closing track “On My Way Home” sounds a lot like ELP.
Robert Berry gives a string vocal performance, with a warm and steady voice that is perfectly suited for this kind of music. While he is clearly an accomplished singer, the general weakness of the material render his performance nondescript.
Those who think Asia was the worst thing to ever happen to progressive should probably stay away from this album. The slick, digital-sounding 80s production may also put off some people.
Line-up:
- Keith Emerson / keyboards
- Robert Berry / guitars, vocals, bass
- Carl Palmer / drums
with
- Suzie O’List / vocal
- Kim Liatt J. Edwards / vocal
- Lana Williams / vocal
Track List:
01. Talkin’ Bout – 4:03
02. Lover To Lover – 4:13
03. Chains – 3:43
04. Desde La Vida – 7:08
05. Eight Miles High – 4:12
06. Runaway – 4:44
07. You Do or You Don’t – 5:07
08. On My Way Home – 4:46
Link in comments.
Whitesnake – Restless Heart (1997) (@256)
20 May 2008
(Review from allmusic.com)
The reunion of Coverdale and Vandenburg in the “Starkers in Tokyo” unplugged show, inspired them to then work together on a new album – “Restless Heart”. Originally intended to be a solo album for Coverdale, the record company pressures made it a Whitesnake release.
After nearly a decade, the album shows not much changed in the Whitesnake realm and their R&B stylings. Though unlike their last two studio albums, this is not a showcase for rock’s most renowned hired guns. Adrian Vandenberg finally gets his full day in studio.
Instead of walloping listeners over the skull with an album opening rocker, the band kicks things off on a mellow note, with the bluesy ballad “Don’t Fade Away”, but harder-edged material soon follows, including the riff-rocking title track, and “Crying”, which shows the singer’s Zeppelin fixation remains.
The times may have changed, but David Coverdale is content with his old sound — and longtime Whitesnake fans won’t be disappointed.
After the tour of this album, Coverdale once again called it a day.
Line-up:
* David Coverdale – vocals
* Adrian Vandenberg – guitars
* Brett Tuggle – keyboards, back vocals
* Guy Pratt – bass guitar
* Denny Carmassi – drums and percussion
with
* Tommy Funderburk – back vocals
* Beth Anderson – back vocals
* Maxine Waters – back vocals
* Elk Thunder – harmonica
Track List:
01. Don’t Fade Away – 5:02
02. All In The Name Of Love – 4:42
03. Restless Heart – 4:50
04. Too Many Tears – 5:44
05. Crying – 5:34
06. Stay With Me – 4:09
07. Can’t Go On – 4:28
08. You’re So Fine – 5:10
09. Your Precious Love – 4:34
10. Take Me Back Again – 6:02
11. Woman Trouble Blues – 5:36
Link in comments.
Coverdale-Page – Coverdale-Page (1992) (@256)
20 May 2008
(Review from allmusic, rateyourmusic.com, amazon)
By the dawn of the 90s, Coverdale put Whitesnake on hold — opting to step out of the spotlight for a brief spell. At the same time neverending rumors about an impending Led Zeppelin reunion appeared as though it would finally come to fruition. However, when Robert Plant began to have cold feet concerning the reunion, the plan was nixed. As a result, Page united with Coverdale, after all the accusations of David Coverdale ‘ripping off’ Led Zeppelin in his group, Whitesnake. Some felt this was Page’s way of ‘getting back’ at Plant.
Though Coverdale/Page doesn’t recapture the pompous majesty of Led Zeppelin, it does leave all of the Zep clones in the dust. Jimmy Page plays better than he has since his Zep days and Coverdale sounds like Plant more than ever — in parts, you would be hard pressed to tell that Coverdale hadn’t suddenly been replaced halfway through a song by Robert Plant. The music is hard and raw without any of the almost AOR qualities we’ve come to expect from Coverdale. A mix of blues and Middle Eastern influences which Page would experiment further in his career.
Rockers such as Shake My Tree, Waiting On You, Pride and Joy, and Feeling Hot offer a fresh blast of Page’s guitar, who still can rock. On the lighter side, this album offers up some incredible slow-bluesier rockers such as Take Me For A Little While and Over Now.
If you’re a Led Zeppelin fan looking for a fix, don’t feel guilty — pick it up and give it a try.
Line-up:
* David Coverdale – lead vocals, acoustic guitar
* Jimmy Page – electric guitars, bass, harmonica, dulcimer, backing vocals
with
* Lester Mendel – keyboards, percussion
* Jorge Casas – bass
* Ricky Phillips (Philips) – bass
* Denny Carmassi – drums, percussion
* John Harris – harmonica
* Tommy Funderburk – back vocals
* John Sambataro – back vocals
Track List:
01. Shake My Tree – 4:53
02. Waiting On You – 5:16
03. Take Me For A Little While – 6:15
04. Pride And Joy – 3:31
05. Over Now – 5:23
06. Feeling Hot – 4:11
07. Easy Does It – 5:52
08. Take A Look At Yourself – 5:02
09. Don’t Leave Me This Way – 7:53
10. Absolution Blues – 5:59
11. Whisper A Prayer For The Dying – 6:54
Links in comments.
Eskaton – Fiction (1982) (@256)
20 May 2008
(Review from progarchives.com)
Eskaton’s third album sees the band losing a bit its Magma fascination and renews the Zeuhl genre. Violinist Patrick Lemercier who had come in with Ardeur is gone, so the group is back to the core six player including the two female singers Amara Tahir (the brunette) and Paule Kleynnaert (the blonde) and brother Marc Rozenberg on male vocals. Still unable to interest a major label with their superb music, Eskaton recorded this album in Sept 1982 at home and used a grim eye artwork with a digital time clock, giving it a post-atomic feeling.
Opening the album FX doesn’t seem to have brought that much less Magma overtones, but things changes quite quickly with Les Deux Trucs, a hilariously- written “screw you” theme, and Automute (a story of mutation for protection), both being funkier that was Eskaton had gotten used to and more Crimson-esque (the Belew era). Simplicius and Danse Des Feux are even more jazz-rock, planet Kobaia was eclipsed during recording of these tracks, even if the scatting chants still bear a slight trace. Mort De Tristans starts out on a gloomy almost dronal keyboard. The rest of the tracks are more or less a funky Zeuhlian jazz-rock with accessible and funny vocals/lyrics. The album-closing Paranthese is a slow electric piano instrumental.
This edition of the album comes with five bonus tracks from their fourth album Icare that was never released and although you can hear the difference with “Fiction”, they are strongly Eskatonesque as well, and make a lovely and valuable addition to “Fiction”. Actually Gilles Rozenberg left the band in 1984 prior to recording Icare, and much of the band’s drive was lost, even if they remained active until the late 80s, before finally folding. Musicien was recorded in 1983 and is probably the most Belew-era Crimson funky track on the album. The next four tracks are from 1985, recorded for Icare. Generally, Kobaia has fled the galaxy (except for the vocals) and the music is very 80-ish, but escaping the worst trends of that dreaded decade. Only the lengthy Le Cri reminds of earlier times.
This swansong of the band showed that the genre could move away from its Kobaian roots, a bit like Zao had managed to unveil but never confirm.
Line-up:
- Andre Bernardi / bass
- Paule Klaynnaert / vocals
- Gerard Konig / drums
- Gilles Rozenberg / guitar, organ, synth
- Marc Rozenberg / vocals, piano, synthetiseur
- Amara Tahir / vocals
Track List:
01. FX – 6:37
02. Les Deux Trucs – 4:10
03. Automute – 4:46
04. Simplicius – 6:56
05. La Dance Des Feux – 4:06
06. La Mort De Tristan – 4:30
07. Le Cinema – 3:29
08. Plus Et Moins – 3:39
09. Parenthese – 2:09
10. Le Musicien (Bonus) – 4:39
11. Marcel (Bonus) – 4:33
12. Le Chant (Bonus) – 4:14
13. Le Bruit (Bonus) – 4:20
14. Le Cri (Bonus) – 9:02
Links in comments.
Emerson, Lake and Powell – Space Gospel (Demos 1985) (@320)
19 May 2008
This is a soundboard recording collection of studio outtakes, demos and rehearsals that didn’t make it to the official studio album of Emerson, Lake & Powell.
Track List:
01. Back On The Road #1 – 4:43
02. Hooligan – 2:54
03. Learning To Fly – 3:34
04. Space Gospel – 3:15
05. Hooligan #2 – 4:23
06. Serious Pursuit #1 – 3:59
07. Back On The Road #2 – 3:45
08. Serious Pursuit #2 – 4:37
09. Back On The Road #2 – 4:50
Link in comments.
Emerson, Lake and Powell – Emerson, Lake and Powell (1985) (@320)
19 May 2008
(Review from wikipedia, progarchives.com)
Keith Emerson and Greg Lake planned to re-form the original ELP in 1985 but drummer Carl Palmer was unavailable because of contractual obligations to Asia. After auditioning a series of drummers unwilling to commit to the band, they approached Cozy Powell, a longtime friend of Emerson’s, to replace him. The band have always insisted that it was a coincidence that his surname also happened to start with a P, thus allowing the band to retain its original initials. Though they also joked about looking for a “Gene Prupa” and having approached “Phil Pollins” and “Ringo Parr” before Powell agreed to join.
The band’s self-titled studio album was a return to the familiar ELP style, with long progressive rock suites, mellow ballads and a classical theme (Mars, the Bringer of War by Gustav Holst). Though generally more commercial, there is an even quality throughout the album. Powell’s drumming is of course more beat focused and much less instrumental than Palmer’s.
The opening track “The score” follows on nicely from “Karn Evil 9 part 1”, even to the extent of repeating the “Welcome back my friends..” lyric. It’s a superbly crafted track, with a positive, upbeat feel. It is by far the most progressive track on the album, standing well alongside the ELP greats such as “Tarkus” and “Karn Evil 9, 3rd movement”.
“The Miracle” and “Touch and go” are the other standout tracks. Both are Lake driven songs, his voice sounding steady and clear, with a power to it which had been lacking on the immediately previous albums. “The miracle” is an out and out Lake ballad, while “Touch and go” features some inspired fanfare synthesiser by Emerson.
The band’s live tour was marred by a dispute which led to the band firing its management, and “ELPowell” disbanded without recording a second album.
Line-up:
- Greg Lake / vocals, guitar, bass
- Keith Emerson / keyboards
- Cozy Powell / drums, percussion
Track List:
01. The Score – 9:11
02. Learning To Fy – 3:53
03. The Miracle – 7:05
04. Touch And Go – 3:41
05. Love Blind – 3:13
06. Step Aside – 3:49
07. Lay Down Your Guns – 4:25
08. Mars, The Bringer Of War – 7:54
Link in comments.
Eskaton – Ardeur (1980) (@256)
18 May 2008
(Review from progarchives.com)
“Ardeur” takes from where their debut, “4 Visions” had left things. The group has lost guitarist Blesing and keyboardist Guillaume as members, tries to fill in with guest musicians adding violin,piano and guitar. As opposed to the debut album, the lion’s share of the songs is written by Marc Rozenberg, leaving just two songs to bassist Bernardi. But counting the two bonus Bernardi tracks from a previous EP, the balance evens out a bit more.
What we have here is a Magma-derivate and Ardeur, unlike 4 Vision or Fiction later, fails to build its own personality, especially in the vocals department, where you’d swear Stella Vander and the gang finally had time to take up French to sing on this album. Music-wise Ardeur is closest to Udu Wudu with a huge bass sound, and the usual zeuhl traits without any surprise, except the unusual intro of “Pierre Et L’Ange” and some bits of “Dagon”. Lemercier does bring in a much-needed breath of fresh air with his violin in “Un Certain Passage”, but this is the only noticeable contribution of his. Apparently the group decided to give it another shot to “4 Visions” album’s title track.
Included here are two bonus tracks from a two-tracks EP Musique Post-Atomique that was released prior to Ardeur and recorded with the full 4 Vision line-up. Chant De La Terre (Song Of The Earth) is a funky version of Zeuhl, stylistically halfway between their debut album and this one. If starts on windy sounds then flies on a war march at speed of light, with entertaining patterns with both Rozenberg brothers soaring with their respective organ and electric piano and wordless scats from the two singing graces Amara and Paule.
What strikes most with Ardeur, is that the group makes no effort at all to distance themselves from the Kobaian galaxy, except in the two bonus tracks.
Line-up:
- Andre Bernardi / bass
- Paule Klaynnaert / voices
- Amara Tahir / voices
- Gerard Konig / drum
- Gilles Rozenberg / guitar, organ and synth
- Marc Rozenberg / piano fender, acoustic piano
- Patrick Lemercier / violin on 1 and 6
- Eric Guillaume / keyboards (8, 9)
- Andre Blesing / guitars (8,9)
Track List:
01. Ardeur – 2:33
02. Couvert De Gloire – 4:28
03. Pierre Et L’ange – 4:04
04. Attente – 6:44
05. Dagon – 10:07
06. Un Certain Passage – 6:50
07. Eskaton – 6:05
08. Le Chant De La Terre (Bonus EP) – 6:25
09. If (Bonus EP) – 4:24
Links in comments.
Arcadium – Breathe a While (1969) (@256)
18 May 2008
(Review from progarchives.com)
Arcadium were a late 60′s psychedelic band fronted by songwriter, 12-string guitarist and lead vocalist Miguel Sergides. Like many, they played the clubs until a small label by the name of Middle Earth – who released a whopping total of five albums – finally approached them. In 1969, “Breathe Awhile” was issued on an LP, the only album the band ever recorded.
Arcadium’s ominous, cathedral-like organ, distorted guitar and anguished vocals are clearly derivative of bands such as the Doors, Iron Butterfly and Vanilla Fudge — very much in the ‘downer-heavy’ school of the genre that was popular at the time. The album is something of a bad-trip soundtrack that relies on minor-key melodies, ghostly harmonies and anguished vocals. The music’s intensity and sense of urgency, the blazing acid-drenched guitars, the tortured vocals and heavy nightmarish sounds all perfectly convey the late 60′s atmosphere.
Fans of heavy psychedelia in search of a genuine dose of 60s will love this band.
Line-up:
- Graham Best / bass, vocals
- Allan Ellwood / organ, vocals
- John Albert Parker / drums
- Robert Ellwood / lead guitar, vocals
- Miguel Sergides / 12-string guitar, vocals
Track List:
01. I’m On My Way – 11:51
02. Poor Lady – 3:59
03. Walk On The Bad Side – 7:35
04. Woman Of A Thousand Years – 3:39
05. Change Me – 4:47
06. It Takes A Woman – 3:53
07. Birth, Life And Death – 10:19
08. Sing My Song – 4:18
09. Riding Alone – 2:49
Link in comments.
Whitesnake – Slip of the Tongue (1989) (@256)
18 May 2008
(Review from amazon, rollingstone.com, wikipedia)
Following the success of 1987, Adrian Vandenburg became a permanent member of Whitesnake. He and Coverdale co-wrote most of the songs of the upcoming successor album. Unfortunately Vandenberg suffered a debilitating hand injury related to isometric exercises and was unable to participate in the album sessions. With all of the foundation tracks completed, guitarist Steve Vai was called in to record all the guitar parts. The rock world and guitar fans everywhere waited with batedbreath for the result of this union.
The problem with Vai is that he always tries to sound like himself, because he’s a very authentic player. In doing this, he tries to avoid using blues and pentatonic-based licks. Instead of playing standard metal cliches, he overplays with his killer (but rather progressive) chops, going for unexplored avenues. The result is that, in a band like Whitesnake, he frequently moves away from the main song’s focus.
Unlike any Whitesnake album, there’s a lack of deep emotion all along this album — like the proverbial Ice Queen. Not passionate enough to evoke pleasure, not rude enough to spark contempt, it is an album that shies from both ends of the emotional spectrum.
Nevertheless, the re-recording of the earlier hit from “Ready An’ Willing” album, “Fool For Your Loving”, became an MTV favourite; while such raunchy rockers as the album-opening title track, “Cheap An’ Nasty”, and “Kittens Got Claws” fitted in well with the then-thriving party/glam metal climate. Even core fans found comfort in hard rockers like “Judgement Day” and “Wings of the Storm”.
A world tour of “Slip of the Tongue” was followed by a period of inactivity. It was no secret that Coverdale wanted out of the business at that point. He’d grown uncomfortable with the corporate, image-driven entity he felt Whitesnake had become. In a candid period interview, Coverdale sums it up in one sentence: “It got louder and louder, and so did I, to the point now where I have to get dressed up as a ‘girly man’ and tease ones questionable pants or hair and it’s all getting a bit … boring”.
Whitesnake officially went on hiatus in 1991.
Line-up:
* David Coverdale – vocals
* Steve Vai – Guitars
* Rudy Sarzo – bass
* Tommy Aldridge – drums
with
* Glenn Hughes – back vocals
* Tommy Funderburk – back vocals
* Richard Page – back vocals (4)
* Don Airey – keyboards
* David Rosenthal – keyboards
Track List:
01. Slip Of The Tongue – 5:20
02. Cheap An’ Nasty – 3:28
03. Fool For Your Loving (1990 version) – 4:11
04. Now You’re Gone – 4:12
05. Kitten’s Got Claws – 5:02
06. Wings Of The Storm – 5:01
07. The Deeper The Love – 4:22
08. Judgment Day – 5:16
09. Slow Poke Music – 3:59
10. Sailing Ships – 6:03
Link in comments.
Emerson, Lake and Palmer – Works Live (1977) (@320)
17 May 2008
(Review from wikipedia, allmusic)
ELP’s live album documenting their late 70s period was released posthumously in 1979, more as a contract-fulfilling album, since the band had broken up before then. It was recorded at the August 26, 1977 show at Montreal’s Olympic Stadium. Originally released with the title “In Concert”, it was re-released with the addition of more tracks from the same concert, this time under the name “Works Live”.
The band hired a 70-piece orchestra for some concerts of this tour but eventually had to dismiss the orchestra due to budget constraints that almost bankrupted the group. On the original album, the orchestra was featured in 4 tracks, the re-release adds 4 more orchestral tracks. Similar to most live albums, In Concert showcased fan favourites of previously released material. However, “Peter Gunn”, ELP’s take on the classic TV theme song, was never released on any of their other albums to date. ELP frequently opened with this song on the Works Volume II tour.
The set list is the widest ranging of their entire history, reaching back to “Knife Edge” (from their first album) and reviving “Abaddon’s Bolero”, an instrumental from Trilogy, plus a brace of tracks of all proportions from both Works albums.
There is a real sense listening to this album, however despite some light and disarming moments, that you’re really listening not so much to a band as to three personalities just chomping at the bit to go solo. Lake’s featured numbers were, by now, so guitar-focused that they sounded like a separate body of music, which they were. Carl Palmer, who had fully come into his own as a creative musician by this time had also achieved a distinct voice, matching that of the other two members.
The recording was done in a stadium, so it lacks the acoustics of other venues designed for music concerts. ELP isn’t as fiery as we were accustomed to in their early 70s concerts. Nevertheless, it’s a fair representation of the live late 70s ELP.
Line-up:
- Keith Emerson / keyboards
- Greg Lake / vocals, bass, guitar
- Carl Palmer / drums, percussion
with
- Diane Duguay, Jacques Lareau, Jeffrey Meyer, Claudette Roy, Yves Saint-Amant, Marjorie Sparks / singers
- Bruce Dukoff / concert master
- Godfrey Salmon / orchestra conductor
Track List:
CD1
01. Introductory Fanfare – 0:53
02. Peter Gunn – 3:35
03. Tiger In A Spotlight – 4:09
04. C’est La Vie – 4:15
05. Watching Over You – 3:59
06. Maple Leaf Rag – 1:14
07. The Enemy God Dances With The Black Spirits – 2:47
08. Fanfare For The Common Man – 10:56
09. Knife Edge – 5:04
10. Show Me The Way To Go Home – 4:20
CD2
01. Abaddon’s Bolero – 6:04
02. Pictures At An Exibition – 15:43
03. Closer To Believing – 5:30
04. Piano Concerto No.1 Third Movement: Toccata Con Fuoco – 6:42
05. Tank – 12:37
Links in comments.
Alusa Fallax – Intorno Alla Mia Cattiva Educazione (1974) (@256)
17 May 2008
(Review from vintageprog.com, progarchives.com)
Alusa Fallax is yet another band from the fruitful 70s Italian progressive rock scene, who falls into the vast and sad universe of bands which have unleashed a ‘masterpiece debut’ album and no follow ups whatsoever.
The group played symphonic progressive with a baroque edge, and their album shows that they were a band of high quality. The sound is dominated by flute, keyboards (piano, organ, harpsichord and synth) and some saxophone. The songwriting is incredible and varies from very beautiful (“Non Fatemi Caso” and “Per Iniziare Una Vita”) to very energetic (“E Oggi”) and to almost classical influenced and baroque (the title-track). The balance between vocal parts and instrumental parts is almost perfect through the whole album. And don’t get scared when you see that there are 13 tracks in here. All of them floats together and makes a incredible continuos piece of symphonic progressive rock.
Line-up:
- Guido Gabet / guitar
- Massimino Paretti / keyboards
- Guido Cirla / bass
- Duty Cirla / percussion, vocals
- Mario Cirla / saxophon, flute
Track List:
01. Soliloquio – 3:01
02. Non Fatemi Caso – 4:22
03. Intorno Alla Mia Cattiva Educazione – 4:13
04. Fuori Di Me, Dentro Di Me – 3:00
05. Riflesioni Al Tramonto – 3:04
06. Il Peso Delle Tradizioni – 1:40
07. Carta Carbone – 3:32
08. Perche Ho Venduto Il Mio Sangue – 1:42
09. Per Iniziare Una Vita – 4:19
10. E Oggi – 2:50
11. E Cosi Poco Quel Che Conosco – 2:54
12. Chio Che Nasce Con Me – 4:11
13. Splendida Sensazione – 5:43
Link in comments.
Whitesnake – Whitesnake (1987) (@256)
17 May 2008
(Review from amazon, wikipedia, planetrock.co.uk)
At the end of the “Slide It In” tour, Cozy Powell left to form Emerson, Lake & Powell. Veteran drummer Aynsley Dunbar (of Journey & Jefferson Starship fame) was brought in, as was ex-Ozzy and Rainbow keyboardist Don Airey. John Sykes’ collaboration with Phil Lynott had transformed Thin Lizzy’s sound into a heavier rock band, bordering on metal. His collaboration with David Coverdale did pretty much the same to Whitesnake.
The band’s eighth studio album titled 1987 or simply Whitesnake is the fruit of a concerted effort to break the US market. The recording is power drenched, the band and production sound light years ahead of most other releases of the time and this album is noteworthy not only for the blistering feel of the tracks but also for the blend of ballads and rockers. With his wonderful set of pipes and great backing band Coverdale can attack stuff like “Here I Go Again” and “Is This Love” yet still happily turn around and crank serious wattage with the likes of “Children of the Night”, “Bad Boys” and the plaintive “Crying in the Rain” – a power ballad with the emphasis on the power and a tune above the norm for this style of song.
All that’s without mentioning the mighty Zeppelin-esque “Still of the Night”. Seriously, a strong so strong that it blitzed just about every other hard rock track doing the rounds from other contemporary bands. A flagship tune and there ain’t no doubt – a track any band would be proud to have in it’s armoury with which to lay waste to their audience with.
Unfortunately this line-up too didn’t last long as Coverdale sacked all the other members of the band before even the album was released.
Line-up:
* David Coverdale – lead vocals
* John Sykes – guitar, backing vocals
* Neil Murray – bass
* Aynsley Dunbar – drums
with
* Don Airey – keyboards
* Bill Cuomo – keyboards
* Adrian Vandenberg – guitar solo (10)
Track List:
01. Still Of The Night – 6:36
02. Bad Boys – 4:06
03. Give Me All Your Love – 3:31
04. Looking For Love – 6:33
05. Crying In The Rain (1987 version) – 5:37
06. Is This Love – 4:43
07. Straight For The Heart – 3:39
08. Don’t Turn Away – 5:10
09. Children Of The Night – 4:24
10. Here I Go Again (1987 version) – 4:34
11. You’re Gonna Break My Heart Again – 4:11
Link in comments.
Emerson, Lake and Palmer – Love Beach (1978) (@256)
17 May 2008
(Review from progarchives.com)
Many of the right ingredients for an ELP album still seemes to be here, the side-long suite, the Greg Lake ballad, the Keith Emerson driven keyboard instrumental etc but the spark is missing.
The cover gave the first hints that something was amiss, with the three band members appearing in a photo straight from a boy band album, a million miles from Brain Salad Surgery’s innovative and striking presentation. To be fair, since the album was recorded in the Bahamas, the beach scene simply reflects their location at the time.
“Love Beach” is essentially split into two sides, with Lake and Emerson engaging the full-time services of Peter Sinfield. The first side of music (or the Lake-side part) features the usual assortment of ballads and stories, pale shadows of earlier successes. Some of the old darkness creeps in on “Taste of My Love”, while “Canario” isn’t so far removed from their classic instrumental workouts, but none of this ranks as top-shelf stuff. Better in thought and execution is the side-long “Memoirs of An Officer and A Gentleman”, which is a rare song cycle from Emerson and Sinfield that hits the occasional high point. “The Education of a Gentleman” in particular finds the band hitting their stride and “Letters From The Front” is centered around an interesting melody.
“Love Beach” never does build up the momentum needed to leave the Earth, but anyone who found merit in the Yes album “Tormato”, will find some here as well.
Line-up:
- Keith Emerson / keyboards
- Greg Lake / vocals, guitars
- Carl Palmer / drums, percussion
Track List:
01. All I Want Is You – 2:35
02. Love Beach – 2:46
03. Taste Of My Love – 3:33
04. The Gambler – 3:23
05. For You – 4:28
06. Canario (From Fantasia Para Un Gentilhombre) – 4:01
07. Memoirs Of An Officer And A Gentleman – 20:15
Link in comments.
Poll-y want a cracker
16 May 2008
Emerson, Lake & Palmer and after that Simon & Garfunkel series will be over soon. I’ve setup a new group poll in the right sidebar of the blog for you to determine which group will be up next. As always everybody can vote!
Tonton Macoute – Tonton Macoute (1971) (@256)
16 May 2008
(Review from vintageprog.com, progarchives.com)
The band got its name from the Haitian dictator Papa Doc Duvallier’s brutal presidential guard that was named “Tonton Macoute”. Their only album is full of jazz-inspired prog rock with long instrumental interplay in even longer tracks. Their music oozes fun and good-natured moods and should please most everyone, even the ones wary of jazz-tinged music, as this is hardly their only inspiration.
The opener “Just Like a Stone” is dominated by flute and el-piano and has a quite relaxed and laidback feel. “Don’t Make Me Cry” is jazzy, early 70′s prog as good as it gets. Lots of cool organ riffs with extended flute/sax/vibe solos. “Flying South in Winter” is an excellent and atmospheric flute-driven instrumental and one of the best tracks on the album. Side 2 opens with the simple but utterly beautiful melodic “Dreams”. It features a tasty arrangement, and the melody is simply just wonderful. “You Make My Jelly Roll” is a piano-driven, bluesy jazz-tune (or jazzy blues?). The two-part closing number “Natural High” is cleverly composed track with several good melodies, riffs and solos.
Line-up:
- Paul French / acoustic & electric pianos, organ, vibes, vocals
- Chris Gavin / bass, acoustic & electric guitars
- Dave Knowles / Alto & Tenor saxes, flute, clarinet, vocals
- Nigel Reveler / drums, percussion
Track List:
01. Just Like Stone (6:30)
02. Don’t Make Me Cry (8:48)
03. Flying South In Winter (6:26)
04. Dreams (3:57)
05. You Make My Jelly Roll (7:58)
06. Natural High (Part 1) (6:55)
07. Natural High (Part 2) (3:53)
Link in comments.
Whitesnake – Slide It In (1984) (@256)
16 May 2008
(Review from allmusic, wikipedia)
Following up the splendid “Saints & Sinners” album was no easy task, but 1984′s Slide It In turned out to be an even greater triumph for Whitesnake.
From the boisterous machismo of “Spit It Out” and “All or Nothing” to the resigned despair of “Gambler” and “Standing in the Shadow” and the embarrassingly silly title track, everything seems to click. For hit singles, look no further than the twin guitar attack of “Guilty of Love” and the sheer poetry and emotion of “Love Ain’t No Stranger”, a great power ballad. Not to be outdone, “Slow an’ Easy” is a masterpiece of sexual tension and the kind of power-blues which no one does as well as Whitesnake.
This edition is the album’s original version. It features a stronger presence of keyboards by Jon Lord, and the bass is more noticeable.
Later on, a more slickly produced, radio-friendly version of the album was released in the US. Neil Murray was brought back and the bass parts were re-recorded with him and with the addition of John Sykes as a third guitarist, his sound was layered on top of the original guitar parts.
Line-up:
* David Coverdale – lead vocals, percussion, piano
* Micky Moody – guitars
* Mel Galley – guitars, backing vocals
* Colin Hodgkinson – bass
* Jon Lord – keyboards
* Cozy Powell – drums
Track List:
01. Gambler – 3:57
02. Slide It In – 3:20
03. Standing in the Shadow – 3:32
04. Give Me More Time – 3:41
05. Love Ain’t no Stranger – 4:13
06. Slow an’ Easy – 6:09
07. Spit It Out – 4:11
08. All or Nothing – 3:34
09. Hungry for Love – 3:57
10. Guilty of Love – 3:18
Link in comments.
Emerson, Lake and Palmer – Works Vol 2 (1977) (@256)
15 May 2008
(Review from progarchives.com)
Like the earlier Volume 1, this splits its time between group and individual contributions. It’s no more eclectic than its predecessor, but by containing the experiment to a single album it may feel that way. “Works Volume 2″ is essentially a catch-all compilation of old material (like the 1973 B side, “When The Apple Blossoms Bloom…”), solo singles from Keith Emerson and Greg Lake, and songs that were new to listeners if not new themselves.
‘Tiger In A Spotlight’ is an unsophisticated bopping number recorded in 1973, with plenty of Emerson’s synthesizer but also honky-tonk piano, Palmer bashing away in the background and Lake’s singing, slightly gravelly in places. ‘When The Apple Blossoms Bloom In The Windmills Of Your Mind I’ll Be Your Valentine’ is an instrumental recorded in the sessions for “Brain Salad Surgery” but did not appear on the album, although it ended up as the B-side of the single ‘Jerusalem’.
As its name suggests, the track ‘Brain Salad Surgery’ was also a cast-off from the “Brain Salad Surgery” sessions : it’s brash, has plenty of synthesizer, Lake’s gravelly shouting singing, and is catchy. ‘Bullfrog’ is a jazzy number by Palmer, Aspery and Hodgekinson, and is essentially a percussion showcase for Palmer. ‘Barrelhouse Shake-down’ is an Emerson boogie-woogie, honky-tonk number and is great. With trumpet and/or trombone in the background this shows that the right track can be given the ‘big band’ treatment without sounding pretentious. This track was released as the B-side on Emerson’s 1976 single “Honky Tonk Train Blues”.
‘Watching Over You’ is a Lake lullaby with acoustic guitar. This really *is* a song that you could play to a baby or small child to lull it to sleep, as he wrote it for his daughter when she was very little. It’s a nice song with a simple but pleasant tune, with a genuine feel about it. It was released as a single in 1978. ‘So Far To Fall’ is a Lake song that sounds like it came from the same ‘big band’ session as his songs on “Works Volume 1”.
Scott Joplin’s ‘Maple Leaf Rag’ needs no introduction. A great piece of music and Emerson gives it the full treatment with ragtime band backing (by the London Philharmonic Orchestra!). It sounds like Emerson is playing either a clavichord or an upright, overstrung piano. Whatever it is, he’s the business.
‘I Believe In Father Christmas’ was Lake’s 1975 UK single and it became a Christmas regular along with Slade’s and Wizzard’s Christmas songs. It’s a wonderful piece, using Prokofiev’s Troika from the Lieutenant Kije Suite, Opus 60 as a refrain. Like ‘The Only Way (Hymn)’ on “Tarkus”, it’s an antireligious song. The lyrics by Sinfield are hugely full of irony. It’s a clever song, dressing up a disdainful message in beautiful, Christmassy sounds.
‘Close But Not Touching’ is a Carl Palmer/Harry South ‘big band’ number that spilled over from “Works Volume 1”. ‘Honky Tonk Train Blues’ is another of Emerson’s honky-tonk piano forays, this time his arrangement of Meade “Lux” Lewis’ famous jazz number from 1927. It has trumpets/trombones to give it a jazz swing. This track was released as a single in 1976. ‘Show Me The Way To Go Home’ is Emerson’s arrangement of the 1925 song by Irving King, with Lake crooning as if he’s been doing it all his life. Emerson expertly tickles the ivories and the orchestra provides excellent ‘big band’ support. A great version of a good song.
The album is a rather disparate collection of tracks, which reduces its impact. In this case the whole is not greater than the sum of the parts, each part having its own story.
Line-up:
- Keith Emerson / all keyboards and synthetizers
- Greg Lake / all guitars, bass, and vocals
- Carl Palmer / all drums and percussion
Track List:
01. Tiger In A Spotlight – 4:35
02. When The Apple Blossoms Blossom In The Windmills Of Your Mind I’ll Be Your Valentine – 3:59
03. Bullfrog – 3:51
04. Brain Salad Surgery – 3:10
05. Barrelhouse Shake-down – 3:51
06. Watching Over You – 3:55
07. So Far To Fall – 4:57
08. Maple Leaf Rag – 2:03
09. I Believe In Father Christmas – 3:18
10. Close But Not Touching – 3:23
11. Honky Tonk Train Blues – 3:11
12. Show Me The Way To Go Home – 3:30
Link in comments.
Ahora Mazda – Ahora Mazda (1970) (@256)
15 May 2008
(Review from progarchives.com)
This delightful Dutch band had its roots in 1965, a band called Free Art Group. This band played music, mostly inspired by classic and avant-garde jazz musicians. In 1968, Tony Schreuder joined the other three from the Free Art Group in bass and Peter Abbink switched to guitar. At first they named themselves Group 67/68, eventually settling for Ahora Mazda — a corrupt version of the chief deity of Zoroastrianism, Ahura Mazda. (Zarathustra religion is also called “Mazdaizm”).
Their music is a reflection of the “spacy” music in Netherlands, yet, they owe more to the cosmic music scene of Germany than the symphonic approach of their fellow countrymen such as Focus, Kayak and Finch. The band was known for their long jam sessions, but they recorded shorter and more arranged songs for their self-titled debut (and only) album. The sessions only took three days.
This album is a really fabulous psychedelic nugget from the land of the flowers and the windmills. It combines both more close-to-earth flute fronted bluesy jazz rock in style of German Rufus Zuphall and free freak-out improvisational soundscapes with some really cool jazz styled saxophones.
These elements are presented in the funny opening track “Spacy Tracy”, telling us a tale of a girl intetrested in the psychedelic way of life, starting as a mellow groovy rocker later morphing as completelly free improvisation. “Timeless Dream” is then a minor key melodic tune, having sadly a quite disturbing fade-out ending taking place in the middle of the song! The two following about eight minutes long songs combine again the freefrom improvs and nice themes, featuring some very good jazz saxophone tunes and also some really good raw electric guitar solos in style of Jimi Hendrix and Manuel Gottsching. “Power” is one of the few mostly constructed songs, containing really weird and scary effects used in the singing verse, creating a very mysterious overall feeling.
The last five bonus tracks are a bunch of excerpts from the band’s collective jazz improvisations, which sound sometimes resemble the primitive passages of Syd Barret’s “Lanky”, sometimse the cosmic electronic soundwalls of Hawkwind, and sometimes as the ethnic perscussion gear swithces on with the saxophone, Miles Davis’ “Bitched Brew” could be another association. Sadly the excerpts are only cuts, varying in length from under two minutes to over four.
During the next year, Tony Schreuder and Winky Abbink had problems playing and rehearsing — at concerts they needed the help of substitute musicians. The lack of atmosphere that came with the substitutes led the band to dissolve.
Line-up:
- Peter Abbink / guitar, vocals, piano, trumpet, organ
- Rob van Wageningen / flute, saxophone, vocals, percussion, kalimba
- Tony Schreuder / bass, percussion
- Winky Abbink / drums
with
- Rik Lina / tabla (6)
Track List:
01. Spacy Tracy – 8:31
02. Timeless Dream – 3:35
03. Oranje Vrijstraat – 7:32
04. Fallen Tree – 9:16
05. Power – 6:50
06. Fantasio – 5:25
07. Vybral Stroll (Bonus) – 2:00
08. Nosy Noise (Bonus) – 3:08
09. Huppo Jaw (Bonus) – 1:57
10. Pushy (Bonus) – 4:44
11. Try To Forget (Bonus) – 2:59
Links in comments.
Whitesnake – Saints and Sinners (1982) (@256)
15 May 2008
(Review from allmusic, hardrockheavymetal.wordpress.com)
David Coverdale returned to music the next year, reforming Whitesnake and the band rushed to studio for their next album.
Their 1982 album, “Saints and Sinners” features a blend of solid instrumentation: great dual guitar lines, solid backline, and Lord’s organ all blended with Coverdale’s gritty vocals. Rowdy bursts of bluesy aggression are all over the album like in “Rough an’ Ready”, “Bloody Luxury” and the downright nasty “Young Blood.” David Coverdale also reached new heights with the astounding heavy blues of “Crying in the Rain” and the timeless power ballad “Here I Go Again”. More boogie woogie rock comes out on “Love An’ Affection” and “Rock An’ Roll Angels” with the piano prominent again in both songs.
This proved to be the last album of the “classic” line-up as Bernie Marsden, Neil Murray and Ian Paice left. Whitesnake’s line-up never stabilized ever since.
Line-up:
* David Coverdale – lead vocals
* Bernie Marsden – guitars
* Mel Galley – guitars
* Micky Moody – guitars, backing vocals
* Jon Lord – keyboards
* Neil Murray – bass
* Ian Paice – drums
Track List:
01. Young Blood – 3:30
02. Rough An’ Ready – 2:52
03. Bloody Luxury – 3:23
04. Victim Of Love – 3:33
05. Crying In The Rain – 5:59
06. Here I Go Again – 5:08
07. Love An’ Affection – 3:09
08. Rock An’ Roll Angels – 4:07
09. Dancing Girls – 3:10
10. Saints An’ Sinners – 4:23
Link in comments.
Emerson, Lake and Palmer – Works Vol 1 (1977) (@256)
14 May 2008
(Review from progarchives.com)
ELP returned from an extended hiatus to reinvent their music in 1977, sweetly oblivious to the fact that progressive rock was on the decline. It was highly anticipated, since their last studio album was released four years ago.
“Works” is a worthy attempt at keeping the band together by giving each member their own space. In a similar way to what Pink Floyd’s did with Ummagumma, each of the three worked on their own contribution, The difference here is that, whereas the members of Pink Floyd got half a side of an LP each, Emerson Lake and Palmer each get a whole one.
Keith Emerson chose to dedicate his entire side to a piano concerto, complete with full orchestra, and devoid of any “rock” instruments. The piece stands up well as a classical composition, partly inspired apparently by watching his own house burn down. Emerson at times attempt to move into serious music, by tending to be over enthusiastic with the percussion and volume.
Greg Lake’s side is more faithful to the ELP brand, or at least to his contributions to it. The tracks are all 4 to 5 minute songs in the mould of “Still you turn me on”, and “From the beginning”. The best tracks in this section are the ballads “C’est la vie” and “Closer to believing”.
Carl Palmer’s side is inevitably percussion based, but by and large he avoids over indulgence. He plays Bach and Prokofiev’s music with amazing quality and imagination. “Tank” is reworked as a jazzier piece, the rest of the tracks following in a similar vein.
The final side consists of 2 more traditional lengthy band tracks. “Fanfare for the common man” is effectively “Trilogy part 2”, an excellent Emerson led instrumental, which succeeded as a single in edited form. The final track “Pirates”, includes orchestral accompaniment. The track has a stage show feel to it.
As an ELP album, “Works Vol 1” sees the band moving away from the formula which had brought them fame and fortune on preceding albums. It was a brave, but probably necessary change which, while serving to give the band members’ egos the space they needed, unfortunately alienated many fans.
Track List:
CD1
01. Piano Concerto No.1, First Movement – Allegro Giojoso – 9:24
02. Piano Concerto No.1, Second Movement – Andante Molto Cantabile – 2:13
03. Piano Concerto No.1, Third Movement – Toccata Con Fuoco – 6:49
04. Lend Your Love To Me Tonight – 4:05
05. C’est La Vie – 4:19
06. Hallowed Be Thy Name – 4:38
07. Nobody Loves You Like I Do – 4:00
08. Closer To Believing – 5:34
CD2
01. The Enemy God Dances With The Black Spirits – 3:19
02. L.A. Nights – 5:44
03. New Orleans – 2:47
04. Two Part Invention In D Minor – 1:55
05. Food For Your Soul – 4:00
06. Tank – 5:09
07. Fanfare For The Common Man – 9:46
08. Pirates – 13:19
Links in comments.
Apple – An Apple A Day (1969) (@256)
14 May 2008
(Review from wikipedia, allmusic, amazon)
Apple is a rather typical British psychedelic-pop group of the late ’60s. Their sound is characterized by a blend of spiky guitar and piano, as well as accomplished harmonies. They were one of the few groups from the period that managed to release an album, it was the singles that this group produced that gained them their reputation and paved the way for their sole album.
“An Apple A Day”, is a fine mixture of piano based psych pop / psychedelic and heavier R&B / garage songs. Their first two 45s are included and these four tracks are among its finer moments. “The Otherside” truly bends the ear with with its wonderful sad melody and captivating piano-guitar arrangement. Another highlight is “Buffalo Billy Can” with its similar inventive guitar and piano figures.
The album was a commercial failure, and the band ceased to exist shortly after its release. However, during the subsequent years several of its tracks were dubbed classics of British psychedelic rock by critics, making “An Apple A Day” a famous album among the British psychedelic rarities.
Line-up:
* Dennis Regan / vocals
* Robbo Ingram / guitar
* Jeff Harrod / bass
* Charlie Barber / piano
* Dave Brassington / drums
Track List:
01. Let’s Take A Trip Down The Rhine – 2:59
02. Doctor Rock – 3:08
03. The Otherside – 3:18
04. Mr. Jones – 2:51
05. The Mayville Line – 2:55
06. Queen Of The Hearts Blues – 2:30
07. Rock Me Baby – 3:30
08. Buffalo Billycan – 3:05
09. Photograph – 4:11
10. Psycho Daisies – 2:24
11. Sporting Life – 5:52
12. Pretty Girl Love You – 2:43
13. Let’s Take A Trip Down The Rhine (Bonus Single Mix) – 3:05
14. Buffalo Billycan (Bonus Single Mix) – 3:08
15. Doctor Rock (Bonus Single Mix) – 3:12
16. The Otherside (Bonus Single Mix) – 3:20
Link in comments.
Whitesnake – Come an Get It (1981) (@256)
14 May 2008
(Review from amazon)
Confident from the success of ‘Ready An’ Willing’, Whitesnake went into the studio, effortlessly knocking out vintage blues rock.
There are many highlights including ‘Child Of Babylon’, an epic song showing off Coverdale at his best, the grooving title track and the monolithic anthem ‘Don’t Break My Heart Again’ with its nod towards a more pop metal direction. The fun blues boogie numbers ‘Would I Lie To You’ and “Wine, Women An’ Song” were brilliantly humorous and even more fun when played live! ‘Till The Day I Die’ features a superb vocal performance from Coverdale.
As on their previous album, the Purple duo Jon Lord and Ian Paice, turns in solid professional performances. Also of note is the typically old-school guitar work from Moody/Marsden throughout the album, especially on the song ‘Hit An’ Run’ which given a bit more development in the chorus department could have been a classic. Neil Murray’s bubbling basslines can also be heard throughout to great effect.
After the release of this album, Coverdale took time off to look after his sick daughter. He decided to temporarily break up the band.
Line-up:
* David Coverdale – vocals
* Micky Moody – guitar
* Bernie Marsden – guitar
* Jon Lord – keyboards
* Neil Murray – bass guitar
* Ian Paice – drums
Track List:
01. Come An’ Get It – 3:57
02. Hot Stuff – 3:22
03. Don’t Break My Heart Again – 4:01
04. Lonely Days, Lonely Nights – 4:14
05. Wine, Women An’ Song – 3:43
06. Child Of Babylon – 4:50
07. Would I Lie To You – 4:30
08. Girl – 3:54
09. Hit An’ Run – 3:21
10. Till The Day I Die – 4:27
Link in comments.
Emerson, Lake and Palmer – Welcome Back My Friends (Live 1974) (@256)
13 May 2008
(Review from vintageprog.com, progarchives.com)
Overblown, bombastic, self-indulgent…. That’s the ELP we all know and love, and we wouldn’t have them any other way. This double (triple on vinyl) live album captures the band at their heyday, finishing their best and most creative years.
The album opens with a fast and energetic version of “Hoedown” and it really proves that ELP were one of the most technical perfect and impressive groups of the 70′s. The beautiful “Jerusalem” and their aggressive version of “Toccata” are also performed in a way that makes it sounds like the easiest thing in the world for the trio. Then you’re in for a real treat with a monumental version of “Tarkus” that is so long that it continues on the third side of the album! And the track sounds different enough from the studio-version to make it interesting all the way through.
“Take a Pebble” is performed as a long medley with lots of piano-improvisations from Emerson and also some really emotional versions of “Still…You Turn Me On” and “Lucky Man” performed by nothing else than Lake and his acoustic guitar. “Jeremy Bender” and “The Sheriff” are melted into one track and demonstrate the poppier and less serious side of the band very well.
The last track, Karn Evil 9 is here as it was composed, a whole 35 minutes epic, not in parts as in “Brain Salad Surgery”. It’s great to finally listen to the epic as a whole, Palmer’s great percussion solo improvisation is cherry-on-top.
The quality of the recording, and the performance itself are, as would be expected of ELP, of a high standard. This album should be a real feast for anyone into keyboard-based 70′s progressive rock, and it’s also from the trio who actually invented that genre.
Line-up:
- Keith Emerson / keyboards, vocal (4)
- Greg Lake / vocals, bass, electric and acoustic guitar
- Carl Palmer / drums, percussion
Track List:
CD1
01. Hoedown – 4:27
02. Jerusalem – 3:18
03. Toccata – 7:23
04. Tarkus – 27:24
05. Take a Pebble – 11:06
CD2
01. Piano Improvisations – 11:53
02. Take a Pebble – 3:14
03. Jeremy Bender / The Sheriff – 5:24
04. Karn Evil 9 – 35:18
Links in comments.
Third Ear Band – Alchemy (1969) (@256)
13 May 2008
(Review from progarchives.com)
The band originated from Canterbury and started out as a psychedelic band called “Giant Sun Trolley” gaining residency in south-London clubs doing long and improvisations and eventually changing their names to “Hydrogen Jukebox”, recording one live album as such with Sweeney’s percussions as scissor’s clipping noise (with the mike attached to them) as he progressively undressed completely his girlfriend by clipping her dress during the concert (cut-out were very “in” at that time). Having finished their concert recording they discovered all their equipment stolen. So by sheer coincidence and obvious necessity, they became an acoustic band taking the name Third Ear Band.
Published during the late 60s, their first album, “Alchemy” is seen as a landmark of ethnic fusion music, including many elements of improvisations and obvious eastern and medieval accents. The band used lots of instrumentation thanks to cyclical, dancing oboe patterns and “tabla” percussions. All of the music is acoustic, slow evolving and have a small hypnotic power but nothing transcendental either. The eastern influenced improvisations can bring a druggy feel to the music.
If medieval music makes you drool with excitement and anticipation , beware as this is nothing in the Gryphon-type of music , but really more in the RIO (Rock in Opposion) genre and has a definitive minimalism influence — a long drone with many instrumental solos.
This debut sets the tone for the band’s whole career with their highly experimental sound.
Line-up:
- Glen Sweeney / percussions
- Paul Minns / oboe
- Richard Coff / violin, viola
- Mel Davis / cello, slide pipes
- DJ John Peel / jaws harp
- Dave Tomlin / violin
Track List:
01. Mosaic – 6:28
02. Ghetto Raga – 10:29
03. Druid One – 3:46
04. Stone Circle – 3:28
05. Egyptian Book Of The Dead – 8:53
06. Area Three – 8:30
07. Dragon Lines – 5:30
08. Lark Rise – 2:49
Links in comments.
Whitesnake – Trouble (1978) (@256)
13 May 2008
(Review from rockages, wikipedia)
Keyboardist Jon Lord (of Deep Purple) joined the band and Whitesnake’s first full-length studio album, “Trouble” came out in fall 1978. It is a blues rock/R&B styled album with some Led Zeppelin and Free influences. Coverdale steered away from any Deep Purple connotations during this time period.
Swirling effects then that scratchy guitar intro mark the opener “Take Me With You”. Slightly softer edged but not dissimilar to “Burn” in many ways its a decent heavy rock song. “Love To Keep You Warm” has much more in common with the funk tinged Deep Purple of “Come Taste The Band” vintage and despite being a plodding mid-tempo love song has a warm feel and is quite listenable. “Lie Down” however is a blues rock monster following much the same design as “Come On” off the Snakebite EP. A regular early live favourite that bounds along underscored by some great piano and topped off by an understated Micky Moody solo. With the cover of “Day Tripper” they take the unusual step of considerably reworking a Beatles classic. Turning into a slow-burner of a blues number with Coverdale producing a moody vocal and Marsden a fine, voicebox solo. “Nighthawk (Vampire Blues)” is another solid rocker that hints at the direction of the early 80s despite some distinctly 70s guitar licks in it but notably it does feature Coverdale singing about a ‘Gypsy woman’ not for the first or the last time!
Opening side two is the quite mid tempo love song “Time Is Right For Love” featuring some quite brilliant guitar touches down low in the mix adorning the versus. The title track “Trouble” is quite superb; effectively Whitesnake’s own smoking heavy blues number that didn’t replace but actually accompanied its close relative “Mistreated” in the live set. “Belgian Tom’s Hat-Trick” is a Micky Moody written instrumental that features a solo spot each for Moody, Lord then Marsden within the structure of a decent little boogie rocker. “Free Flight” is notable for Coverdale relinquishes lead vocal duties to Marsden for the whole track. Closing track “Don’t Mess With Me” has a thumping intro, fast paced versus, chant-able chorus and singalong breakdown. It’s a more than solid rocker that closes the album.
“Trouble” is a solid if fairly unspectular album that built upon the strengths of their EP and went some way toward establishing the band although it would be their next album, “Love Hunter” that really seals their ascension.
Line-up:
* David Coverdale – vocals
* Micky Moody – guitar
* Bernie Marsden – guitar
* Neil Murray – bass guitar
* Jon Lord – keyboards
* Dave Dowle – drums
Track List:
01. Take Me With You – 4:47
02. Love To Keep You Warm – 3:45
03. Lie Down (A Modern Love Song) – 3:15
04. Day Tripper – 3:48
05. Night Hawk (Vampire Blues) – 3:38
06. The Time Is Right For Love – 3:29
07. Trouble – 4:48
08. Belgian Tom’s Hat Trick – 3:26
09. Free Flight – 4:05
10. Don’t Mess With Me – 3:18
Link in comments.
Emerson, Lake and Palmer – Live at Mar Y Sol Festival (1972) (@256)
13 May 2008
(Review from amazon)
Taken from the “From the Beginning” box set, this is a live recording of the whole concert that took place at the Mar Y Sol Festival in Puerto Rico on January 4th, 1972.
The whole concert is fantastic with an amazing Tarkus, an exciting, truncated Pictures and a frantic Rondo for an encore. Tarkus has a muscular bass by Lake that just propels the music along. Emerson and Palmer are their usual excellent selves.
Track List:
01. Hoedown – 4:40
02. Tarkus – 22:53
03. Take A Pebble – 4:36
04. Lucky Man – 3:00
05. Piano Improvisation – 9:56
06. Pictures At An Exhibition – 15:28
07. Rondo – 18:30
Links in comments.
Phoenix – Cantafabule (1975) (@256)
12 May 2008
(Review from progarchives.com)
The beginnings of Romanian band “Phoenix” date to the 60s. They released a few EPs during this period, featuring several original compositions and some covers of Beatles songs. The band later abandoned the beat influences and instead turned to archaic Romanian music as the source of inspiration.
Their third album, Cantofabule or Cant Of A Bule or Cantafabule, is a concept based on some traditional Romanian themes based on adaptation of poets Seban Foarta and Andrei Ujica and inspired on a Dimitri Bolintineanu book called Istoria Ieroglifa (speaking of a “bestiaire” of fantastic mythical creatures), this almost 70 min-long piece is indeed one of the best thing to come from the old Dacian province. If I speak of Dacia (relating it to the Roman Empire times instead of Valachia or Moldavia-Bessarabia), it is because the general feel relates a bit to Italian progressive (this is greatly due to the similarity of both languages), but the Timisoara (in Transylvania where the revolt started) group developed a very ambitious project that mixed some medieval folk with hard rock fronted by a fuzzed-out guitar.
The two-parts lengthy opening track Invocatie gives out right away the main dimension of their music, a fairly hard progressive dominated by a fuzz-guitar, where all musicians hold their own. Surprising how modern for the day they sounded apparently having a moog synth. During this track, the group moves to different moods and passages including a “folk” one and there is a harpsichord thrown in there too and the track is a very captivating intro. Moving from the Harpsichord/flute piece Unicorn (sung in Old French) to the mediocre beat-rock of the sacred beetle (Scarabeului), the albums moves quickly to another highlight about dolphins (Delfinul), where the group shows the extent of their considerable talent in this folky ballad. Going through the dragon (semi-hard rocking), the snake (with a violin), a special kind of bird (Calandrinon) that’s supposed to accompany you into the underworld (another highlight with superb bass work), the moose and the mongoose, the siren and a few other mythical creatures, the group continues tirelessly (even if you do, partly due to the length and the repetition of tracks that hammer on the same nail and the Romanian singing) until another pure psych-beat-RnR breaks the cycle of progressive/folk tracks alternating.
The album gets back on track with the splendid Cintic-Lu (hawk) track which definitely seals the fate of the concept as excellent (just short of brilliant), followed by another fabulous Zoomahia (starting with the same electronic sounds found on the start of the album, but much longer and sounding like Gong) and the album closing on their fetish Phoenix, rising from the ashes.
This album holds very few flaws, few fillers and a bunch of superb if inhabitual progressive folk tracks, which makes this album a masterpiece of its own.
Line-up:
- Nicolae Covaci / lead guitar, vocals, acoustic guitar, double six, blockflote
- Iosif Kappl / bass, vocals, violin, blockflote
- Mircea Baniciu / vocals, guitar
- Ovidiu Lipan / drums, bongos, tympani, gong, chimes, tambourine
- Gunter Reininger / piano, electric piano, synthesizer, celesta, electronic organ
Track List:
01. Invocatie – 10:14
02. Norocul Inorogului – 3:19
03. Scara Scarabeului – 2:21
04. Delfinul, Dulce Dulful Nostru – 5:49
05. Uciderea Balaurului – 4:36
06. Stima Casei – 2:23
07. Pasarea Calandrinon – 5:51
08. Filip Si Cerbul – 4:30
09. Vasiliscul Si Aspida – 3:57
10. Sirena – 3:45
11. Pasarea Roc…K and Roll – 5:34
12. Cintic-Lu a Cucuveaua-Lliei – 7:07
13. Zoomahia – 6:04
14. Phoenix – 3:47
Links in comments.
Whitesnake – Snakebite (EP 1978) (@256)
12 May 2008
(Review from rockofages)
Employing some of the names that had helped out on the commercially unsuccessful but worth exploring post-Purple solo albums “White Snake” and “Northwinds” Coverdale set out with guitarists Micky Moody and Bernie Marsden, bass player Neil Murray and drummer Dave Dowle to create a new hard blues-rock outfit.
The very first album under the Whitesnake moniker, the Snakebite EP features four tracks which pretty clearly marked the route Coverdale and his band intended to take, at least in the bands early years. The highlight of the release is undoubtedly the excellent cover of the blues standard “Ain’t No Love In The Heart Of The City”. A slow, grooving number that recreates somewhat the feeling of Coverdale’s Deep Purple highlight “Mistreated”. It later became a concert staple for the rest of band’s career.
Elsewhere, Micky Moody gets a showcase with the excellent, upbeat slide guitar rocker Steal Away, whilst the bands hard rock credentials were set out as the Coverdale/Marsden songwriting team produced it’s first fruits in the guise of Come On, a great blues rock number which itself nods to older Coverdale output with the line “I’m just a soldier of fortune”.
Another up-tempo rocker entitled “Bloody Mary” proves to be the weakest of the release and wouldn’t become a part of the early live set that the others would. It’s still worth hearing though if only for some classic Coverdale-isms.
The CD edition includes 4 bonus tracks taken from David Coverdale’s Northwinds solo album.
Line-up:
* David Coverdale – vocals
* Micky Moody – guitar
* Bernie Marsden – guitar
* Neil Murray – bass guitar
* Dave Dowle – drums
Track List:
01. Come On – 3:33
02. Bloody Mary – 3:20
03. Ain’t No Love In The Heart Of The City – 5:13
04. Steal Away – 4:20
05. Keep On Giving Me Love (Bonus) – 5:18
06. Queen Of Hearts (Bonus) – 5:17
07. Only My Soul (Bonus) – 4:36
08. Breakdown (Bonus) – 5:12
Link in comments.
Emerson, Lake and Palmer – Emerson, Lake and Palmer (1970) (@256)
12 May 2008
(Review from vintageprog.com)
Keith Emerson from The Nice, Greg Lake from King Crimson and Carl Palmer from Atomic Rooster. ELP was not just progressive rock’s first supergroup, the were also the best progressive rock trio ever and their sound would become the blueprint for almost any keyboard-based progressive rock group.
Their debut-album remains one of the best progressive rock debuts, and few other bands would find their signature-sound quicker than ELP. The album featured all the elements of classic ELP: Emerson’s extremely powerful organ and innovative use of the moog, Lake’s beautiful voice and sense for good melodies and not at least Palmer’s furious and technically perfect drumming.
The opening number is a version of Bartok’s “The Barbarian” that almost borders on heavy-progressive. Very aggressive and noisy, and the whole band plays like it should be the last thing they ever did in their life. The contrast to “Take a Pebble” is big, and stands as one of ELP’s best ballads and undoubtedly the most progressive one with its 12 minutes. The vocal-melody is pure beauty, and the instrumental sections are atmospheric and pleasant. But the band returns to the loud and powerful style again in “Knife-Edge” that is partly based in a piece by Janacek. “The Three Fates” is an instrumental number divided into three parts. The first part is played on church-organ while “Lachesis” is a beautiful piano-piece. The last part is an energetic and chaotic passage reminiscent of the riffs from “Tarkus” but played on piano instead of organ. “Tank” is an excellent showcase for Palmer’s drumming and it’s also the only ELP-track I’m aware of where Emerson is using the clavinet. The closing-number “Lucky Man” is Lake’s most famous acoustic song, and it features a revolutionary moog-solo from Emerson at the end.
This selftitled debut has also the advantage of being the only classic ELP-album without any of the idiotic “we’re-usually-very-serious-but-we-can-be-really-funny-too!”-ditties that were on most of their other albums.
Line-up:
- Keith Emerson / keyboards
- Greg Lake / vocals, bass, electric & acoustic guitar
- Carl Palmer / drums, percussion
Track List:
01. The Barbarian – 4:34
02. Take A Pebble – 12:38
03. Knife-Edge – 5:10
04. The Three Fates: Clotho, Lachesis, Atropos – 7:47
05. Tank – 6:53
06. Lucky Man – 4:40
Link in comments.
Colosseum – Daughter of Time (1970) (@256)
11 May 2008
(Review from progarchives.com)
Colosseum were one of the earliest progressive bands, but also in many ways were pioneers of the emerging ‘jazz rock/fusion’ style. Although hardly the first band to attempt such a fusion, Colosseum were one of the most popular acts at the time, and tended to make jazz accessible to the rock masses as their compositions were often tighter than many working within the jazz rock realm at this point.
This album saw Chris Farlowe, veteran blues singer, join the band. Whilst on the surface this doesn’t seem to be a natural fusion, in fact Farlowe was doubtless already familiar with the members as he’d played in the same R & B circuit of the 60s; indeed Dave Greenslade had been in Farlowe’s band for a time. Much respected guitarist Clem Clempson of Bakerloo also replaced the vocalist/guitarist James Litherland, and Mark Clarke replaced Tony Reeves. The resulting album, ‘Daughter Of Time’, saw a heavier accent on rock than previous efforts, but is still an utterly superb album; Farlowe’s vocals are remarkably good here, and he fitted in far better with Colosseum than he did in Atomic Rooster.
‘Three Score and Ten, Amen’ is one of the most dramatic openers to any prog album. It’s introduced by some staggeringly declarative vocal choirs, crunching guitars and powerful percussion, before Farlowe’s uptempo vocals and Clarke’s bass add a touch of funk to proceedings. Farlowe then gets more melodramatic, bellowing out the chorus, that introduces a funk rock section with powerful guitar work and a more pensive narrated section, leading to a gloriously overblown climax with squealing vocals from Farlowe.
‘Time Lament’ is a more typical piece, beginning with an intricate jazz section with saxophone and percussion to the fore, plus some neat orchestrations. ‘Take Me Back To Doomsday’ has a Chicago like vibe, thanks to a neat keyboard and bass heavy intro, with some wonderfully florid piano lines by Dave Greenslade, before the main melody kicks in. The riff is quite beefy and heavy, with powerful guitar riffing and bass playing to the fore, and some superb sax solos. ‘Daughter Of Time’ is a very dramatic piece, with superb keyboard work and saxophone to the fore, yet the drumming of Jon Hiseman and a furiously melodramatic vocal from Chris Farlowe steal the show on this superb track.
‘Theme From An Imaginary Western’ is a Jack Bruce/Pete Brown song that has been recorded many times, yet this is Colosseum’s take on it. ‘Bring Out Your Dead’ is a superb instrumental, with some flawless organ work from Dave Greenslade that melanges wonderfully well with the percussion and sax work from Dick Heckstall Smith, making for a thrilling listen. ‘Downhill and Shadows’ is a mournful, bluesy lament that sounds akin to something from Bakerloo’s one and only album, due to the powerhouse guitar work of Clem Clempson, yet a commanding vocal from Chris Farlowe means it scores higher.
This edition of the album includes a bonus live recording of ‘The Time Machine’ and as such sounds slightly out of place here. It’s a drum solo, a fact that may turn many off, but Jon Hiseman was always one of the greatest drummers within the whole of the rock world, and is as such never boring and always thrilling to listen to.
‘Daughter Of Time’ is an album often considered to be the weaker of Colosseum’s albums, but it’s every bit as good as those were, if a bit different — the band was brimming with great ideas and musical innovation.
Line-up:
- Jon Hiseman / drums
- Dick-Heckstall-Smith / saxes
- Dave Greenslade / organ, piano, vibes
- Clem Clempson / guitar, vocals
- Mark Clarke / bass
- Chris Farlowe / vocals
with
- Barbara Thompson / flute, saxes
- Louis Cennamo / bass
Track List:
01. Three Score And Ten, Amen – 5:38
02. Time Lament – 6:13
03. Take Me Back To Doomsday – 4:25
04. The Daughter Of Time – 3:33
05. Theme For An Imaginary Western – 4:07
06. Bring Out Your Dead – 4:20
07. Downhill And Shadows – 6:13
08. The Time Machine (Bonus Live At The Royal Albert Hall) – 8:11
Link in comments.
David Coverdale – Northwinds (1978) (@256)
11 May 2008
(Review from allmusic)
1978′s Northwinds, David Coverdale’s second solo album after the demise of Deep Purple, is a powerful dose of blues- and R&B-influenced hard rock. It is also a huge leap forward in quality from the previous year’s White Snake, a tentative and generally cautious record.
“Keeping on Giving Me Love” is loose and funky and a blowout jam wraps it up. The gorgeous ballad “Northwinds” builds to a gospel-like fervor; Coverdale’s voice is warm and smooth and Hinckley’s dominant keyboards are supported by Moody’s tasteful rhythm guitar. “Give Me Kindness” is a slab of R&B-based hard rock with horns present to add spice. Initially, Coverdale’s slow, soft vocals and Hinckley’s effective keyboards provide the soul of the splendid “Time & Again”, but Graham Preskett’s electric violin and, ultimately, Coverdale’s surging voice aid the overall swell of power at the finale. “Only My Soul” offers a rich musical stew of introductory organ and acoustic guitar, steady drums, biting little guitar fills, supple bass licks, Glover’s synthesizer fill and more electric violin lines from Preskett, but Coverdale’s ethereal singing holds it all together. The hard-charging rocker “Breakdown” is about the disintegration of Deep Purple.
This edition of the album also includes two solid bonus tracks: the spry groove rocker “Shame on the Devil” and the melodic pop/rock song “Sweet Mistreater”.
Line-up:
* David Coverdale – Vocals
with
* Micky Moody – Guitar
* Simon Phillips – Drums
* Alan Spenner – Bass
* Tim Hinckley – Keyboards
* Roger Glover – Keyboards
Track List:
01. Keep On Giving Me Love – 5:15
02. Northwinds – 6:13
03. Give Me Kindness – 4:32
04. Time & Again – 4:02
05. Queen Of Hearts – 5:15
06. Only My Soul – 4:35
07. Say You Love Me – 4:20
08. Breakdown – 5:15
09. Shame The Devil (Bonus) – 3:34
10. Sweet Mistreater (Bonus) – 3:45
Link in comments.
Nice – Elegy (1971) (@256)
10 May 2008
(Review from vintageprog.com, progarchives.com)
By 1970, Emerson and the other band members were frustrated with their lack of mainstream success and they soon broke up. They played their last concert on March 30, 1970 in Germany. Emerson formed a band with Greg Lake (of King Crimson) and Carl Palmer (of Atomic Rooster) — Emerson, Lake & Palmer.
Elegy is a posthumous, mainly live release that contains some of the band’s most fiery moments. Every track except “My Back Pages” had been released before, but especially “Hang On To A Dream” and “America” are reworked beyond recognition.
The new track, “My Back Pages” is a Dylan-cover. The band have kept the basic melody of the song, but given it a complex and very progressive arrangement (and length). “Elegy” also gives you a chance to hear them perform their legendary version of Leonard Bernstein’s “America”. Their original version from 1968 became more or less their signature track, but the version here is much longer and complete with lots of entertaining organ-torture from Emerson.
The version of the Third Movement of Tchaikovsky’s Pathetique is a studio recording of a piece first heard live on Five bridges. This rendition does not really add anything to (or indeed take anything away from) that version, indeed the impression is gained that this was recorded live in the studio. A nearly 13-minute version of “Hang on to a Dream” shows Emerson taking some really long excursions on piano, and the structure and length of this performance may gave him some ideas to “Take a Pebble” from Emerson, Lake and Palmer’s debut.
Line-up:
- Brian Davidson / drums, percussion
- Keith Emerson / keyboards
- Lee Jackson / vocals, guitar, bass
Track List:
01. Hang On To A Dream – 12:43
02. My Back Pages – 9:11
03. 3rd Movement – 7:05
04. America – 10:18
05. Diamond-Hard Blue Apples Of The Moon (Bonus) – 2:46
06. Dawn (Bonus) – 5:06
07. Tantalising Maggie (Bonus) – 4:21
08. Cry Of Eugene (Bonus) – 4:31
09. Daddy, Where Did I Come From? (Bonus) – 2:46
10. Azirial (Bonus) – 3:46
Links in comments.
David Coverdale – White Snake (1977) (@256)
10 May 2008
(Review from allmusic, wikipedia)
After Deep Purple crumbled in the mid-’70s, vocalist David Coverdale began a solo career with 1977′s White Snake. Before too long, Coverdale would use the album title (as well as guitarist Micky Moody) for his future band, first known as “David Coverdale’s Whitesnake” and soon afterwards as just Whitesnake.
The album is a very inward looking, reflective and low-key affair in many ways, written and recorded as it was in the aftermath of the collapse of Deep Purple. Coverdale is clearly flummoxed regarding the direction the music should take. There are some blues-rock numbers that benefit from Coverdale’s rich, throaty vocals and Moody’s reliable guitar parts. They would later settle on this style for Whitesnake. However, much of the album shows Coverdale’s love of R&B and soul. Remember that it was this route that Deep Purple took, particularly on 1974′s Stormbringer.
“Lady” manages to blend R&B and hard rock elements effectively thanks to Moody’s slithering guitar and the punchy horns. The smoldering “Blindman” is probably the best song because of its blues-rock purity; it actually sounds like a blend of Free, Bad Company, and, ultimately, future Whitesnake. “Goldies Place” is a blue-eyed stab at R&B and funk. “Whitesnake” is a guilty pleasure rocker; the sexual symbolism surpasses mere double entendre, but it’s not quite hardcore porn. “Peace Lovin’ Man” goes so far as to approach gospel-influenced soul. “Hole in the Sky” is a smooth, dreamy ballad.
Line-up:
* David Coverdale / vocals
with
* Micky Moody / guitar
* De Lisle Harper / bass
* Tim Hinckley / keyboards
* Simon Phillips / drums
* Roger Glover / synths
* Liza Strike / back vocals
* Helen Chapelle / back vocals
* Barry St John / back vocals
Track List:
01. Lady – 3:47
02. Blindman – 6:00
03. Goldies Place – 5:02
04. Whitesnake – 4:20
05. Time On My Side – 4:25
06. Peace Lovin’ Man – 4:52
07. Sunny Days – 3:29
08. Hole In The Sky – 3:21
09. Celebration – 4:09
10. Peace Lovin’ Man (Bonus Take 1) – 5:03
11. Sunny Days (Bonus Take 1) – 3:19
Link in comments.
Gravy Train – Staircase to the Day (1974) (@256)
10 May 2008
(Review from davalmusic.co.uk, progarchives.com)
The band was never content with their producer for their first three albums, feeling they were unable to realize their potential. Finally for their fourth album, they were able to switch producers. Vic Smith who seemed to reflect their own ideas as to the sound they wanted, much fuller and bassier, which was closer to their live sound.
Their fourth album opens with the dynamic track ‘Starbright Starlight’, a blistering piece of melodious hard-rock. ‘Never Wanted You’ is an excellent tune featuring some odd meters and mellotron and finishing the first side is the beautiful title song – 7 and a half minutes of prog bliss, with Mary Zinovieff on synthesizer.
‘Going For A Quick One’ starts off with a decent riff leading into one hard-rockin’ tune with more of Solley’s synth work – the backing vocals by the ‘Gospel Ayres’ gives it a commercial touch though. ‘The Last Day’ is a light tune with some nice flute playing, ‘Evening of my Life’ is a pretty, piano driven ballad and closing track ‘Busted In Schenectady’ is quite an epic, full of heavy riffing, exceptional guitar playing, and even some shimmering electric violin.
Though ‘Staircase to the Day’ is one of Gravy Train’s best records, it was the work of a fragmented band. The band’s all equipment was stolen from their van and this became the chief cause of the disillusionment that swept through their ranks. The members only occasionally met the others for Gravy Train gigs. By the time the band did “Staircase To The Day”, they were all playing in other bands. The band soon broke up due to lack of commercial success, internal frustration, and financial losses.
Line-up:
- Norman Barrett / guitar, vocals
- George Lynon / guitar
- Barry Davenport / drums
- Lester Williams / bass, vocals
- Peter Solley / keyboards, vocals, wind
- Mary Zinovieff / keyboards, violin
Track List:
01. Starbright Starlight – 4:28
02. Bring My Life On Back To Me – 5:47
03. Never Wanted You – 4:01
04. Staircase To The Day – 7:36
05. Going For A Quick One – 5:17
06. The Last Day – 5:37
07. Evening Of My Life – 3:00
08. Busted In Schenectady – 8:15
09. Never See Your Face (Bonus) – 3:52
10. Nowhere To Run (Bonus) – 2:22
11. Playing In The City (Bonus) – 2:58
12. Playing In The City (Bonus Alternate) – 4:09
13. Not The Way (Bonus) – 4:31
14. The Stealer (Bonus) – 5:10
Links in comments.
Nice – Five Bridges (Live 1970) (@256)
09 May 2008
(Review from vintageprog.com, progarchives.com)
The Nice switched label from Immediate to Charisma in 1970, and finally released the record they were formed to make: “Five Bridges”. This grandiose album was recorded live with the Sinfonia of London.
The title-track is a suite in five parts that took up all of the first side. It’s an impressive and complex composition that creates lots of dynamics and contrasts between the orchestra and the band. The version of Sibelius’ “Intermezzo from Karelia Suite” is better than the one on “Ars Longa Vita Brevis” as the orchestra adds more symphonic might to it here. Their adaptation of the third movement from Tchaikovsky’s “Patetique Symphony” also works surprisingly fine. They also attempted to fuse Dylan’s “Country Pie” with the sixth concerto from Bach’s Brandenburg concertos, and the result is a funny piece of early progressive rock.
The bonus tracks are all from the debut album and do not fit well with the original tracks of this album. If you have any interest into those bonus, better get their outstanding debut!
Line-up:
- Brian Davidson / drums, percussion
- Keith Emerson / keyboards
- Lee Jackson / vocals, guitar, bass
Track List:
01. Fantasia 1st Bridge/2nd Bridge – 2:41
02. Chorale 3rd Bridge – 3:27
03. High Level Fugue 4th Bridge – 4:01
04. Finale 5th Bridge – 7:58
05. Intermezzo Karelia Suite – 9:01
06. Pathetique (Symphony No. 6 3rd Movement) – 9:22
07. County Pie/Brandenburg Concerto No. 6 – 5:40
08. One Of Those People – 3:08
09. The Thoughts Of Emerlist Davjack (Bonus) – 4:12
10. Flower King Of Flies (Bonus) – 3:35
11. Bonnie K (Bonus) – 3:19
12. Diary Of An Empty Day (Bonus) – 3:58
13. America (Bonus) – 6:06
Links in comments.
Brendan Perry – Eye of the Hunter (1999) (@256)
09 May 2008
(Review from amazon)
After two decades at the helm of London’s premiere chamber-goth ensemble, Dead Can Dance, Brendan Perry and Lisa Gerrard celebrated the century’s end by parting ways and pursuing solo projects.
Though less celebrated than his ethereal-voiced cohort, Perry’s ability to create catchy musical pastiches from classical, world, and electronic elements is evident here on seductive tracks such as “Voyage of Bran” and “Archangel”. A cover of Tim Buckley’s “I Must Have Been Blind” suggests the influence behind Perry originals such as “Saturdayąs Child” and “Medusa”, while cheerful tracks such as “Death Will Be My Bride” summon up the spirit of Jim Morrison.
Although Perry and Gerrard’s solo projects have yet to transcend their shared legacy, Eye of the Hunter is welcome reassurance that the dead still dance.
Line-up:
* Brendan Perry – vocals, 12-string & electric guitar, mandolin, keyboards
with
* Glen Garrett – acoustic & electric bass
* Martin Quinn – pedal steel guitar
* Michael Brunnock – background vocals
Track List:
01. Saturday’s Child – 4:31
02. Voyage of Bran – 5:32
03. Medusa – 6:09
04. Sloth – 3:33
05. I Must Have Been Blind – 5:07
06. The Captive Heart – 4:01
07. Death Will Be My Bride – 5:46
08. Archangel – 7:35
Link in comments.
Gravy Train – Second Birth (1973) (@256)
09 May 2008
(Review from progarchives.com)
Second birth means, mainly, a second label and a second orientation more precisely directed than adapted for the band. The combination of soft and steamy brings more pieces than enough to a point of blackened out melody: gentleness in sentiments and in instrumentality upon dynamics of hard rhythm and ambivalent mood.
As with all the previous Gravy Train albums guitars are in the forefront with some excellent flute, bass, key and drum interplay. The general boost is melodic, rhythmical, style-ironical and vocal rough. September Morning News, for example, is sleepy and simple, but has charm. Motorway, instead, breaks the balls of acoustic and rock-palliative movement. Morning Coming has the similar vocal prime glory. Second Birth involves a bit from everything.
“Second Birth”, though a good album, is often overshadowed by the brilliance of band’s other albums.
Line-up:
- Norman Barrett / guitar, vocals
- Barry Davenport / drums
- J.D. Hughes / keyboards, vocals, wind
- Lester Williams / bass, vocals
Track List:
01. Morning Coming – 6:37
02. Peter – 4:05
03. September Morning News – 5:37
04. Motorway – 5:46
05. Fields & Factories – 8:31
06. Strength Of A Dream – 3:57
07. Tolpuddle Episode – 5:06
08. Second Birth – 6:55
09. Goodtime Girl (Bonus) – 4:14
10. Climb Aboard The Gravy Train (Bonus) – 3:10
11. Sanctuary (Bonus) – 4:00
Links in comments.
Nice – Ars Longa Vita Brevis (1968) (@160)
08 May 2008
(Review from progarchives.com)
Guitarist David O’List left the band during the recording of their second album, leaving the remaining three members to complete it. After flirting briefly with replacement guitarists (including Steve Howe, later to join Yes), The Nice decided to carry on as a keyboard-led trio.
This decision drastically changed the sound, the power and the structure of the band and it was never the same after that. As Emerson had nobody else to dialogue with musically speaking to give answers to his lines, he became the true and unchallenged leader and soon let all of his excessive moods wander onto the music. A big improvement is the recording quality — gone is the muddy sound of their debut and every instrument is clearly heard.
Arabella, Daddy and Happy Friends are still the same kind of psychic tunes found on their debut and reminding of Floyd’s debut. However, the Karelia Suite reworks as well as the whole of side 2 are the typical example of classical reworks — influential at their time. The title track is a symphonic suite in six parts and while it’s rather uneven, it deserves attention if only for the ambition Emerson shows. Like the other classical/rock fusion experiment of the time … Deep Purple’s Concerto For Group And Orchestra … it can be pretty messy yet is intriguing.
While there is plenty of innovation and a genuine effort to break down barriers here, the results aren’t without flaw.
Line-up:
- Brian Davidson / drums, percussion
- Keith Emerson / keyboards
- Lee Jackson / vocals, guitar, bass
Track List:
01. Daddy Where Did I Come From – 3:42
02. Little Arabella – 4:16
03. Happy Freuds – 3:27
04. Intermezzo From The Karelia Suite – 8:53
05. Don Edito El Gruva – 0:14
06. Ars Vita Longa Brevis Prelude – 1:49
07. 1st Movement – Awakening – 3:59
08. 2nd Movement – Realisation – 4:29
09. 3rd Movement – Acceptance-Brandenburger – 4:43
10. 4th Movement – Denial – 3:21
11. Coda-Extension To The Big Note – 0:47
Link in comments.
Lisa Gerrard – Mirror Pool (1996) (@192)
08 May 2008
(Review from allmusic)
Lisa Gerrard was so indelibly and obviously a part of what made Dead Can Dance what it is that it’s little wonder that The Mirror Pool feels essentially like a continuation of that band’s haunting, vast atmospheres. Without Brendan Perry’s deep, rolling voice as a contrast, Gerrard’s sky-sweeping abilities transform the entire recording into a truly mystical experience.
The use of Australia’s Victorian Philharmonic Orchestra on many tracks continues the tradition of strong arrangements in Gerrard’s work, thanks to the abilities of John Bonnar, who conducts as well as performs at other points. Pieter Bourke contributes everything from vocals to tabla and claps, while other guests add similar touches. Gerrard handles everything else, as always demonstrating her excellent abilities on the yang t’chin, while when it comes to singing she again is practically peerless, her multi-octave range demonstrating both power and astonishing control.
If there is a slight criticism of The Mirror Pool, it’s that as a collection it’s almost too overwhelming — the contrast between more direct and loftier performances on Dead Can Dance releases add immeasurably to their impact. It’s hard to argue with the end results, though — Gerrard’s singing is just so rich and dramatic that even the smallest complaint seems puny. Her overdubbed choir effects are particularly striking, especially when she’s exploring different styles within the same song.
Several cuts make their studio debut after having been part of the Dead Can Dance live repertoire, as partially captured on “Toward the Within”; two standouts in particular are “Sanvean” and “Persian Love Song”. Others, such as “Ahjon” and the immediately following “Glorafin” seem to derive from Gerrard’s Dead Can Dance piece “Bird”. There’s even an attractive adaptation of Handel’s composition “Largo”, which suits the mood perfectly, and on which Gerrard’s vocals are absolutely perfect.
Line-up:
* Lisa Gerrard – vocals, yang ch’in/yangqin (7, 11, 14), arranger (3, 11)
with
* John Bonnar – orchestra conductor/arranger (1-4, 7, 10, 12-13), arranger (11), keyboards (9, 11), vocals (5, 12)
* Pieter Bourke – vocals (5 intro), bass tabla (7), camel drum (7), large/small derabukka/darabukka/darabeka (14), handclapping (14)
* Dimitry Kyryakou – bouzouki (7, 11, 14), vocals (5 intro), arranger (11)
* Jacek Tuschewski – vocals (5, 12)
* Victorian Philharmonic Orchestra – full orchestra (1-4, 7), woodwind section (10, 12-13)
Track List:
01. Violina (The Last Embrace)
02. La Bas (Song Of The Drowned)
03. Persian Love Song (The Silver Gun)
04. Sanvean (I Am Your Shadow)
05. The Rite
06. Ajhon
07. Glorafin
08. Majhnavea’s Music Box
09. Largo
10. Werd
11. Laurelei
12. Celon
13. Venteles
14. Swans
15. Nilleshna
16. Gloradin
17. Hidden Bonus
Link in comments.
Gravy Train – Gravy Train (1970) (@256)
08 May 2008
(Review from davalmusic.co.uk, progarchives.com)
Gravy Train was formed in St. Helens in Lancashire, England in 1969. The original line up consisted of vocalist/guitarist Norman Barratt, John (J.D.) Hughes on keyboards and woodwinds, Barry Davenport on drums and bassist/vocalist Les Williams.
The band’s influences mined a richly varied canvas that was expressed through their music. J.D. Hughes’ influences included Beatles, Jethro Tull, Roland Kirk, and John Coltrane. Norman Barratt was a fan of Eric Clapton, Jimi Hendrix, Beatles, and Lester Williams – Beatles. Jazz drummers especially Art Blakey, Buddy Rich, and Joe Morello were Barry Davenport’s inspirations.
Barry Davenport’s influence was immense in the early days. It was mainly his idea to write in unusual time signatures and arrange unison/harmony atonal instrumental passages. The band all enjoyed long “freak-outs” where they freely improvised, feeding off each other’s ideas. The outcome is a melodic progressive rock with the accent on hard rock riffing alternating with quieter moments with the flute high in the mix topped with solid personable vocals.
Gravy Train’s self-titled debut is a compelling slab of late 60s progressive blues-rock. Defined mainly by the fabulous flute of J.D. Hughes and the theatrical vocals of Norman Barrett, this record will remind you of early Jethro Tull but without a dominating personality like Ian Anderson. While the blues bears an obvious presence, the band shows that they can create very good progressive music in pieces such as ‘The New One’, ‘Dedication to Sid’, ‘Enterprise’ and the robust 16 minute long closer.
Line-up:
- Norman Barrett / guitar, vocals
- Barry Davenport / drums
- J.D. Hughes / keyboards, vocals, wind
- Lester Williams / bass, vocals
Track List:
01. The New One
02. Dedication To Syd
03. Coast Road
04. Enterprise
05. Think Of Life
06. Earl Of Pocket Nook
Link in comments.
Nice – Swedish Radio Sessions (1967) (@256)
07 May 2008
(Review from amazon)
Being that it was recorded before the release of their first album, the only evidence of their subsequent classical leanings show up in the form of Keith Emerson’s playing, not in their song structures. Even Emerson’s flamboyance is usually witnessed in short bursts at this stage rather than in extended solos. This is not a negative observation, for the group sounds more like, well, a group.
In this performance, the Nice sound a good deal like the Soft Machine did at the same point in their career when Kevin Ayers and Daevid Allen were in the band, especially during ‘Sombrero Sam’. They wear jazz on their sleeve more than anything else here. ‘The Thoughts of Emerlist Davjack’ and ‘Flower King of Flies’ are heard here without their studio over-production, and they give a better account of themselves – especially ‘Flower King of Flies’.
If for nothing else, this release is worth having for it contains four songs that have never been heard in a live setting before, and two of those were never even recorded in the studio. ‘She Belongs to Me’ is better here than anywhere else because of O’List’s guitar, and this ‘Rondo’ is great because it’s more hypnotic.
Line-up:
- Brian Davidson / drums, tympanis, tubular bells
- Keith Emerson / organ, harpsichord, piano, backing vocals
- Lee Jackson / lead vocals, bass, guitar, tympani
- David O’List / guitar, flute, trumpet, backing vocals
Track List:
01. She Belongs To Me – 6:06
02. Flower King Of Flies – 4:25
03. Sombrero Sam – 7:27
04. You Keep Me Hanging On – 6:44
05. The Thoughts Of Emerlist Davjack – 3:07
06. Rondo – 12:14
Link in comments.
Fanny – First Time in a Long Time (1969-1973) (@256)
06 May 2008
(Review from rhino.com)
An all-girl rock band? Sure, what’s the big deal? Well, prior to Fanny, it was a big deal. With few exceptions, “girl groups” didn’t write their own material and play their own instruments. Signing to Reprise Records in 1969, Fanny became the first all-female group to record a full-length album for a major label.
Sisters June and Jean Millington began rocking in Sacramento, California in the early ’60s. In 1968, after years of touring the West Coast in the all-female The Svelts, the Millingtons assembled a new band, Wild Honey, and took to the stage with original songs and folk and Motown covers. A 1969 gig at The Troubadour club in Los Angeles brought Wild Honey to the attention of producer Richard Perry, who persuaded Warner’s Mo Ostin to sign the band sight unseen.
With Perry at the console and soon-to-be-permanent member Nickey Barclay on keyboards, the band now named Fanny recorded its eponymous debut in Los Angeles. Released in December of 1970, the album combined textured, Beatle-esque pop with sweaty soul, beefy riffs, and proto-Riot Grrrl swagger. If women weren’t supposed to rock with this level of chops and intensity, apparently nobody told Fanny.
Their name might not be a household word, but if you want to know something of Fanny’s influence, just ask The Runaways, The Go-Go’s, or Hole. But don’t listen to Fanny because they’re a great female band. Listen to them because they’re a great band.
“First In A Long Time” is a four-CD boxed set containing Fanny’s entire 1970-73 Reprise output, plus much more. The studio albums Fanny (1970), Charity Ball (1971), Fanny Hill (1972), and the Todd Rundgren-produced Mother’s Pride (1973) have been remastered from original master tapes and are included in their entirety. Also included are exclusive songs from the highly sought-after Canadian version of Fanny, which was pressed from the wrong masters and issued in an initial run of a few thousand copies.
Additional bonus tracks include Wild Honey demos from 1969, Reprise promo spots, informal “Kitchen Tapes” recordings, live tracks from 1972-73, and many outtakes and alternate versions.
Track List:
CD1
01. Come And Hold Me – 2:46
02. I Just Realized – 4:00
03. Candlelighter Man – 3:35
04. Conversation With A Cop – 3:09
05. Badge – 3:01
06. Changing Horses – 3:48
07. Bitter Wine – 3:17
08. Take A Message To The Captain – 3:31
09. It Takes A Lot Of Good Lovin’ – 4:25
10. Shade Me – 4:39
11. Seven Roads – 4:19
12. Charity Ball (First Version) – 2:52
13. Place In The Country (First Version) – 3:34
14. Changes – 2:16
15. One Step At A Time – 3:03
16. Nowhere To Run – 3:20
17. Seven Roads (Second Version) – 3:47
18. Lady’s Choice – 2:47
19. New Day – 3:43
20. I Find Myself – 4:04
21. Queen Aretha – 4:20
22. Flame Tree – 3:11
23. Fanny Reprise Records Promo 1 – 0:23
24. Fanny Reprise Records Promo 2 – 0:23
25. Fanny Reprise Records Promo 3 – 0:32
CD2
01. Charity Ball – 2:29
02. What Kind Of Lover – 2:58
03. Cat Fever – 3:23
04. A Person Like You – 2:58
05. Special Care – 4:23
06. What’s Wrong With Me? – 1:43
07. Soul Child – 3:51
08. You’re The One – 4:10
09. Thinking Of You – 3:25
10. Place In The Country – 3:08
11. A Little While Later – 5:40
12. Charity Ball (Single Version) – 2:29
13. True Blue – 1:03
14. Candlelighter Man – 2:54
15. Summer Song – 4:07
16. Tomorrow – 2:15
17. Rock Bottom Blues (Backing Track) – 3:08
18. Ain’t That Peculiar – 4:05
19. Knock On My Door – 3:19
20. Blind Alley – 4:35
21. You’ve Got A Home – 3:47
22. Wonderful Feeling – 3:18
23. Borrowed Time – 3:26
CD3
01. Hey Bulldog – 3:55
02. Think About The Children – 4:10
03. Rock Bottom Blues – 3:08
04. Sound And The Fury – 3:04
05. The First Time – 4:57
06. Rock Bottom Blues (Original Vocal) – 3:14
07. Wonderful Feeling (Single Version) – 3:16
08. Young And Dumb – 3:33
09. Hey Bulldog (Live) – 4:41
10. Summer Song (Live) – 4:44
11. It Takes A Lot Of Good Lovin’ (Live) – 3:52
12. Badge (Live) – 3:31
13. Young And Dumb (Live) – 4:53
14. Last Night I Had A Dream (Live) – 4:57
15. Ain’t That Peculiar (Live) – 4:35
16. Borrowed Time (Live) – 3:30
17. Place In The Country (Live) – 3:38
18. Knock On My Door (Live) – 5:05
19. Charity Ball (Live) – 5:46
CD4
01. Lonesome Pine (Demo) – 4:43
02. Beside Myself (Demo) – 4:05
03. I’ll Never Be The Same (Demo) – 4:08
04. All Mine (Demo) – 4:25
05. Old Milwaukee (Demo) – 3:12
06. Long Road Home (Demo) – 3:29
07. Back In My Arms Again – 3:43
08. No Deposit, No Return – 2:27
09. Last Night I Had A Dream – 3:55
10. Long Road Home – 2:55
11. Old Hat – 4:14
12. Solid Gold – 2:54
13. Is It Really You? – 5:23
14. All Mine – 3:24
15. Summer Song – 3:11
16. Polecat Blues – 3:14
17. Beside Myself – 3:54
18. Regular Guy – 2:25
19. I Need You Need Me – 4:55
20. Feelings – 1:58
21. I’m Satisfied – 3:08
22. Fanny Reprise Records Promo 4 – 1:03
23. ’till Then – 0:18
Links in comments.
Idle Race – Back to the Story (1966-71) (@256)
06 May 2008
(Review from amazon)
Before Jeff Lynne joined The Move and formed ELO with Roy Wood, he was a member of this Biringham quartet that produced music inspired by the mix of jangly music hall sounds and psychedelic rock. While the band never broke through to top the music charts, their music continues to be appreciated by fans of 60′s music. Evolving out of Mike Sheridan and the Nightriders (which featured a young Roy Wood as a member), The Idle Race only made three albums and a handful of memorable singles before disbanding. The splintering of the group would result in Lynne’s tenure in The Move, Electric Light Orchestra and The Steve Gibbons Band.
Their first two albums are terrific as are some of the singles. The third album had its moments as well although the band clearly was going in a very different direction with their change in line up. I wasn’t aware that the Idle Race had covered Hotlegs’ “Neanderthal Man” and it isn’t signficantly different from the original version.
Lynne was the band’s main singer/songwriter/guitarist with Dave Prichard playing George Harrison to Lynne’s Lennon & McCartney for the band’s first two albums. Lynne raced out to join The Move before The Idle Race began recording their third album and Prichard does a terrific job stepping into the gap providing the songs for the band’s third and final album “Time Is”.
“Back To The Story” features all three Idle Race albums (1968′s Birthday Party, The Idle Race” from 1969 and the Lynne-less Time Is from 1971) , singles and b-sides, plus three un-issued alternate versions and two tracks from Jeff Lynne’s 1966 recording stint with the Nightriders.
Track List:
CD1
01. Skeleton And The Roundabout – 2:26
02. Happy Birthday – 0:23
03. The Birthday – 3:00
04. I Like My Toys – 2:12
05. Morning Sunshine – 1:48
06. Follow Me Follow – 2:48
07. Sitting In My Tree – 1:59
08. On With The Show – 2:22
09. Lucky Man – 2:38
10. Mrs Ward – 2:14
11. Pie In The Sky – 2:27
12. The Lady Who Said She Could Fly – 2:22
13. End Of The Road – 2:09
14. Come With Me – 2:45
15. Sea Of Dreams – 3:13
16. Going Home – 3:44
17. Reminds Me Of You – 2:54
18. Mr Crow And Sir Norman – 3:17
19. Please No More Sad Songs – 3:20
20. Girl At The Window – 3:44
21. Big Chief Woolly Bosher – 5:15
22. Someone Knocking – 2:56
23. A Better Life (The Weatherman Knows) – 2:45
24. Hurry Up John – 3:33
25. Lucky Man – 2:35
26. Follow Me Follow – 1:56
27. Days Of The Broken Arrows – 3:39
CD2
01. Here We Go Round the Lemon Tree – 2:44
02. My Father’s Son – 2:15
03. Impostors of Life’s Magazine – 2:21
04. Knocking Nails Into My House – 2:27
05. Days of The Broken Arrows – 3:51
06. Worn Red Carpet – 3:03
07. In the Summertime – 2:58
08. Told You Twice – 3:38
09. Neanderthal Man – 3:56
10. Victim of Circumstance – 3:36
11. Dancing Flower – 2:14
12. Sad O’ Sad – 3:28
13. The Clock – 3:22
14. I Will See You – 3:11
15. By the Sun – 6:42
16. Alcatraz – 4:02
17. And the Rain – 2:52
18. She Sang Hymns Out of Tune – 3:07
19. Bitter Green – 3:45
20. We Want It All – 4:10
21. It’s Only The Dog (Bonus) – 2:15
22. Your Friend (Bonus) – 3:22
Links in comments.
Dead Can Dance – Selections From North America (Live 2005) (@256)
05 May 2008
(Review from opuszine.com)
“Dead Can Dance” reunited temporarily for a world tour in 2005. Culled from the North American leg of that tour, these selected the tracks that represent the very best performances of the highest sound quality. These are no mere bootlegs, but rather band-sanctioned recordings made directly through the soundboard and then cleaned up and remastered.
From Brendan Perry’s rich baritone and Lisa Gerrard’s angelic voice, to the wide array of esoteric instrumentation, the live atmosphere is all captured in stunning detail. The song choices are quite interesting, spanning the band’s career as well as Perry and Gerrard’s solo work (and there’s even a gorgeous rendition of This Mortal Coil’s “Dreams Made Flesh” thrown in for good measure).
The highlights are many. “Nierika” kicks off the set, enveloping the listener in its lush, intoxicating rhythms. “Saltarello”, one of the group’s sprightliest tracks ever, sounds like the opening day parade of a Renaissance Fair set in the middle of Tuscany. A haunting rendition of “The Wind That Shakes The Barley” is still one of the most perfect showcases for Gerrard’s unearthly voice. Likewise, “The Ubiquitous Mr. Lovegrove”, “Black Sun”, “Severance” show off Brendan Perry’s considerable pipes.
“Sanvean”, which can be found on Gerrard’s Mirror Pool, should be a must-hear for any female-fronted darkwave act so they can see how it should be done. The exotic drones and percussion that flow throughout “Yulunga” give a chill at every listen.
Track List:
CD1
01. Nierika – 4:01
02. Saffron – 6:04
03. Compassion – 5:53
04. The Ubiquitous Mr. Lovegrove – 5:22
05. The Love That Cannot Be – 8:05
06. The Lotus Eaters – 5:30
07. Crescent – 9:16
08. Minus Sanctus – 3:10
09. Saltarello – 2:52
10. The Wind That Shakes The Barley – 3:38
11. How Fortunate The Man With None – 9:08
CD2
01. Dreams Made Flesh – 4:13
02. I Can See Now – 2:38
03. American Dreaming – 4:16
04. Sanvean – 4:54
05. Rakim – 6:44
06. Black Sun – 4:25
07. Salem’s Lot – 5:47
08. Yunlunga – 7:21
09. Severance – 3:58
10. Hymn For The Fallen – 7:21
Links in comments.
Be Bop Deluxe – Sunburst Finish (1976) (@256)
05 May 2008
(Review from wikipedia, progarchives.com)
Be Bop Deluxe was founded by Bill Nelson in 1972. They never played bebop music, but instead came out of the blues-based British rock scene of the late 1960s. Influences on the band’s music included David Bowie, King Crimson, Pink Floyd, Van Der Graaf Generator and Frank Zappa. The band’s sound emerged as a mixture of glam rock, synth rock, prog rock and straightforward rock and roll. Science fiction imagery (e.g. robots) was common in Nelson’s lyrics, along with the more traditional themes of love and the human condition (albeit often hidden beneath Nelson’s quirky lyrical and musical metaphors).
In their third album, Bill Nelson managed to stabilise the ship, essentially retaining the same members who had made the previous album. Keyboard player Andrew Clark is brought in to fill out the sound, but it is Nelson’s guitar which remains the lead instrument. The result is what is generally regarded as the finest album made in the Be Bop Deluxe name. While the songs here are essentially pop based with new wave overtones, to simply dismiss them as such is to overlook some fine compositions and musicianship.
The opening “Fair exchange” certainly plays up to the new wave sounds of the time, with a distinctly Talking Heads like feel. “Heavenly homes” is the first track here to feature one of Nelson’s fine guitar solos, with Clark’s synthesiser adding new colours to the band’s sound.
“Ships in the night” was the song which single handedly propelled Be Bop Deluxe into the next level of success. The song was released as a single at the same time as the album, and sailed up the UK pop charts. The jaunty pop song, which is not really that representative of the band, featured Bill’s brother Ian guesting on saxophone. This leads into what is for me the finest track recorded by Be Bop Deluxe in their entire career. “Crying to the sky” is an irresistible rock ballad to which Bill Nelson adds some of the most striking and inspired guitar work I have heard. The song just oozes emotion, with Nelson’s guitar literally crying. My only grumble, the song should have been at least twice as long. Nelson is quoted as saying the guitar work here is that which gives him the most pride in any of his work.
“Sleep that burns” changes the pace completely again, the pounding rhythm alternating with slower sections in what is an unusually progressive arrangement (if not sound) by the band. “Beauty secrets” is one of several tracks which appears to reflect Nelson’s growing disillusionment with his career, “I’ll be your hero only as long as I’m paid”, but the song itself is ordinary. “Life in the air age” continues Nelson’s growing cynicism, his focus this time being modern life, “It’s grim enough to make a robot cry”.
“Like an old blues” is an undistinguished barroom like piano based shuffle. “Crystal gazing” is an orchestrated ballad which sees Nelson returning to his Bowie style, something he avoids for much of the album. The orchestral arrangement will not be to everyone’s taste, but it does give the song a uniqueness in terms of the album. We finish with the heavy driving rock of “Blazing apostles”, where Nelson directs his cynicism towards the cash for forgiveness messages of T.V. evangelists.
This edition of the album features 3 bonus tracks. “Shine”, which runs to just under 8 minutes, is a rambling guitar based jam, a live version of which appears on the “Live in the air age” album. “Speed of the wind” is a primarily acoustic song with an interesting arrangement, which would have been worthy of inclusion on the album. “Blue as a jewel” continues the softer sound in a synth backed reflective pop song.
Line-up:
- Bill Nelson / guitar, percussion, tubular bells, vocals, harmonica
- Charlie Tumahai / bass, vocals, percussion
- Andrew Clark / keyboards
- Simon Fox / Drums and percussion
with
- Ian Nelson / Alto Saxophone (3)
Track List:
01. Fair Exchange (4:49)
02. Heavenly Homes (3:36)
03. Ships in the Night (4:03)
04. Crying to the Sky (3:57)
05. Sleep That Burns (5:16)
06. Beauty Secrets (2:47)
07. Life in the Air Age (3:59)
08. Like an Old Blues (3:27)
09. Crystal Gazing (3:24)
10. Blazing Apostles (4:29)
11. Shine (Bonus) (7:48)
12. Speed of the Wind (Bonus) (4:20)
13. Blue as a Jewel (Bonus) (5:11)
Links in comments.
Doobie Brothers – Minute by Minute (1978) (@256)
05 May 2008
(Review from allmusic)
With Tom Johnston gone from the lineup because of health problems, this is where the “new” Doobie Brothers really make their debut
“Minute by Minute” features a richly soulful sound throughout and emphasis on horns and Michael McDonald’s piano more than on Patrick Simmons’ or Jeff Baxter’s guitars came. Not that they were absent entirely, or weren’t sometimes right up front in the mix, as the rocking, slashing “Don’t Stop to Watch the Wheels” and the bluegrass-influenced “Steamer Lane Breakdown” demonstrate. But given the keyboards, the funky rhythms, and McDonald’s soaring tenor (showcased best on “What a Fool Believes”), it’s almost difficult to believe that this is the hippie bar band that came out of California in 1970. There’s less virtuosity here than on the group’s first half-dozen albums, but overall a more commercial sound steeped in white funk.
It’s still all pretty compelling even if its appeal couldn’t be more different from the group’s earlier work. The public loved it, propelling the band to its biggest success ever.
Line-up:
* Patrick Simmons – guitar, vocals
* Jeff “Skunk” Baxter – guitar, steel guitar
* Michael McDonald – keyboards, synthesizers, vocals
* Tiran Porter – bass, vocals
* John Hartman – drums
* Keith Knudsen – drums, vocals
with
* Bobby LaKind – congas, vocals
* Tom Johnston – vocals (5)
* Nicolette Larson – vocals (4, 7)
* Rosemary Butler – vocals (1, 4)
* Norton Buffalo – harmonica
* Herb Pedersen – banjo
* Byron Berline – fiddle, violin
* Lester Abrams – electric piano (10)
* Bill Payne – synthesizer (2, 3)
* Andrew Love – saxophone
* Ben Cauley – trumpet
* Ted Templeman – percussion
Track List:
01. Here To Love You – 4:03
02. What A Fool Believes – 3:47
03. Minute By Minute – 3:31
04. Dependin’ On You – 3:49
05. Don’t Stop To Watch The Wheels – 3:30
06. Open Your Eyes – 3:22
07. Sweet Feelin’ – 2:45
08. Steamer Lane Breakdown – 3:28
09. You Never Change – 3:33
10. How Do The Fools Survive? – 5:15
Link in comments.
Dead Can Dance – Spiritchaster (1996) (@256)
04 May 2008
(Review from progarchives.com, allmusic)
Dead Can Dance’s last studio album is yet another step into their new ethnic directions started with “Into the Labyrinth”. Gone are most forms of pre-classical music and the album is now fully into ethnic folk music, somewhere between Spanish folk and mid-Eastern/Arabian music, still underlined by Indian percussion, but not just tabla drums anymore. As first seen in the previous Labyrinth album, the music is much less acoustic and definitely more synthesized, but here this trend is even more obvious.
One can hear the duo wanting to stretch a bit more, however subtly. Perry and Gerrard’s personal and creative tensions didn’t stop them from creating another fine album, though there’s a strong sense the group had finally reached a logical end. Essentially, Spiritchaser is a summing up rather than a push forward; it features all the usual elements of a Dead Can Dance album instead of further explorations to see what else could be done.
Both Perry and Gerrard are in fine voice throughout, their strong singing still the centerpiece of their work, but there’s almost an air of predictability to their approaches at this point. Interestingly, overtly rock elements like Morricone-styled electric guitar appear at points amid the usual melange of various percussion instruments and arrangements. It works surprisingly well, indicating where the duo might have gone had they continued on. Spiritchaser ends on a strong note, the gentle, mysterious “Devorzhum”, a Gerrard-sung number that makes for a grand conclusion.
Line-up:
- Lisa Gerrard / vocal, assorted instruments
- Brendan Perry / vocal, assorted instruments
with
- Renaud Pion / Turkish clarinet
- Peter Ulrich / percussions
- Lance Hogan / percussions
- Ronan O’Snodaigh / percussions
- Robert Perry / percussions
Track List:
01. Nierika – 5:45
02. Song Of The Stars10:12
03. Indus – 9:23
04. Song Of The Dispossessed – 4:55
05. Dedicace Outo – 1:14
06. The Snake And The Moon – 6:11
07. Song Of The Nile – 8:00
08. Devorzhum – 6:13
Link in comments.
McAuley-Schenker Group – Unplugged (Live 1993) (@256)
04 May 2008
(Review from melodicrock.com)
When Irish vocalist Robin McAuley joined forces with Michael Schenker in 1987, the Michael Schenker Group changed its name to McAuley Schenker Group but also abbreviated its name to simply MSG, matching both band’s initials.
The band’s unplugged tour in 1993 lasted on and off, for 9 months — covering Europe, Japan, Korea and United States. There are no percussion, bass or drums. It is entirely live as it was. The set includes unplugged re-makes of not only MSG songs but also snipplets from Schenker’s Ufo-days, like “Natural Thing”, “Doctor Doctor” and “Lights Out”.
Line-up:
- Robin McAuley / vocals
- Michael Schenker / guitar
- Spencer Sercombe / guitar
Track List:
01. Anytime – 5:47
02. We Believe in Love – 6:06
03. What Happens to Me – 5:00
04. Bad Boys – 4:00
05. Gimme Your Love – 4:03
06. Natural Thing – 4:55
07. Perrier – 1:55
08. When I’m Gone – 4:56
09. Nightmare – 4:44
10. Doctor Doctor – 4:30
11. Lights Out – 5:18
Link in comments.
Brainstorm – Last Smile (Live 1974) (@256)
04 May 2008
(Review from allmusic.com)
Last Smile catches Brainstorm live in mid-1974, shortly before the group broke up. Since this was recorded for West German radio, the sound quality is excellent.
Though the version of Das Scwein Trugt, a track from their first album, is not quite as explosive as the studio version, the tracks from the Second Smile album, Marilyn Monroe and There Was a Time, are drastically reworked. Marilyn Monroe has been trimmed of some of its more radical sections, while the Leon Thomas piece There Was a Time has been stretched out into a wild 12-and-a-half-minute opus of throbbing jazz-funk with bits of dissonant free jazz thrown in, and as good as the version on Second Smile was, this one has more power. The pair of new songs that round out the disc, Signed and Stars on the Stage, are quite good too, maybe not as weird or as varied as the eccentric material on the first record, with abrupt changes like the songs on the second. Both tracks contain long instrumental passages with plenty of blistering solos for flute, sax, clarinet, and guitar over the loose but lively rhythms, as well as quirky vocals.
Line-up:
- Roland Schaeffer / Saxophone, Guitar, Clarinet
- Eddy von Overheidt / Tasten
- Rainer Bodensohn / Flute
- Enno Dernov / Bass
- Horst Mittmann / Drums
Track List:
01. Marilyn Monroe
02. Das Schwein Truegt
03. Signed
04. There Was A Time
05. Stars On The Stage
Link in comments.
Dead Can Dance – Toward the Within (Live 1993) (@256)
03 May 2008
(Review from wikipedia, allmusic)
A large reason that Dead Can Dance tours and performances were so praised by hardcore fans lay in the band’s welcome preference for unknown and otherwise unheard material, rather than simply rehashing expected numbers.
After more than a decade of existance, Dead Can Dance finally recorded a live album. It contains 15 songs, of which only four appeared on their previous albums. The others previously existed only in live performances and unofficial bootlegs, but were not officially released until this album.
“Toward the Within” was recorded in one take in November 1993 in the Mayfair Theatre in Santa Monica, California. It was the last major event to take place in the Mayfair Theatre before it was severely damaged in the earthquake in January 1994 and had to be closed indefinitely.
This astounding album shows that the band’s magic was clearly not simply something created in studio. Both lead performers are simply in excelsis, their vocal abilities hardly diminished by the rigors of the road — if anything, they sound even more inspired as a result. The range of instruments tackled is testimony to the group’s breadth, from the yang ch’in, a Chinese equivalent to hammered dulcimer, to a wide range of drums.
As for the numerous new delights, Perry has a number of solo or near-solo tracks he performs with acoustic guitar. These include the lovely “American Dreaming” and the mystical set-closing “Don’t Fade Away”, calling to mind Tim Buckley’s sense of scope and vision. Gerrard’s unquestioned highlight is the combination of “Tristan” and “Sanvean”. Perhaps the most astonishing numbers are “Rakim”, featuring a striking intertwining of Perry and Gerrard’s singing, and a version of Sinead O’Connor’s “I Am Stretched on Your Grave” that redefines passionate drama.
Line-up:
- Lisa Gerrard / vocal, yang ch’in, percussions
- Brendan Perry / vocal, guitar 12-strings, Irish bouzouki, d whistle, percussion
with
- Robert Perry / Uillean pipes, Irish bouzouki, low d whistle, percussions
- John Bonnar / keyboards, vocal, percussions
- Ronan O’Snoriagh / percussions, vocal
- Andrew Claxton / keyboards
- Lance Hogan / bass, guitar, percussions, vocal
Track List:
01. Rakim – 6:25
02. Persian Love Song – 2:56
03. Desert Song – 4:20
04. Yulunga (Spirit Dance) – 7:12
05. Piece for Solo Flute – 3:34
06. The Wind That Shakes the Barley – 3:12
07. I Am Stretched on Your Grave – 4:38
08. I Can See Now – 2:56
09. American Dreaming – 4:55
10. Cantara – 5:15
11. Oman – 5:49
12. Song of the Sibyl – 4:31
13. Tristan – 1:48
14. Sanv – 4:05
15. Don’t Fade Away – 6:12
Links in comments.
Country Joe and the Fish – Electric Music for the Body and Mind (1967) (@256)
03 May 2008
(Review from allmusic, well.com)
In the fall of 1965, the folk revival starting to turn into the San Francisco Rock Scene and “bands” were starting to appear all over the place. After a brief period of performing as a folk duo under the name Country Joe and the Fish, Joe McDonald and Barry Melton earnestly put together a rock band under the same name. The origin of the name is the joining of the phrase drawing from Mao’s saying about “the fish who swim in the sea of the people”; the Country Joe part refers to Joseph Stalin, whose nickname during World War II was “Country Joe”.
The band’s full-length debut is their most joyous and cohesive statement and one of the most important and enduring documents of the psychedelic era, the band’s swirl of distorted guitar and organ at its most inventive.
In contrast to Jefferson Airplane, who were at their best working within conventional song structures, and the Grateful Dead, who hadn’t quite yet figured out how to transpose their music to the recording studio, Country Joe & the Fish delivered a fully formed, uncompromising, and yet utterly accessible — in fact, often delightfully witty — body of psychedelic music the first time out.
Ranging in mood from good-timey to downright apocalyptic, the album embraces all of the facets of the band’s music, which were startling in their diversity: soaring guitar and keyboard excursions (“Flying High,” “Section 43″, “Bass Strings”, “The Masked Marauder”), the group’s folk roots (“Sad and Lonely Times”), McDonald’s personal ode to Grace Slick (“Grace”) and their in-your-face politics (“Superbird”).
Hardly any band since the Beatles had ever come up with such a perfect and perfectly bold introduction to who and what they were, and the results — given the prodigious talents and wide-ranging orientation of this group — might’ve scared off most major record labels. This is one of the best-performed records of its period, most of it so bracing and exciting that one gets some of the intensity of a live performance.
Line-up:
- Joe McDonald / vocals, harmony vocals, rhythm guitar, harmonica, tambourine, bells
- Barry Melton / vocals, lead guitar
- David Cohen / rhythm guitar, organ, lead guitar
- Bruce Barthol / bass, harmonica
- Gary “Chicken” Hirsh / drums, background sounds
Track List:
01. Flying High – 2:41
02. Not So Sweet Martha Lorraine – 4:24
03. Death Sound – 4:26
04. Porpoise Mouth – 2:51
05. Section 43 – 7:26
06. Super Bird – 2:07
07. Sad And Lonely Times – 2:26
08. Love – 2:24
09. Bass Strings – 5:03
10. The Masked Marauder – 3:12
11. Grace – 7:03
Link in comments.
Brainstorm – Second Smile (1973) (@256)
03 May 2008
Thanks to Vadim.
(Review from progarchives.com, gnosis2000.net, progressiveworld.net)
This second album holds many different styles mostly reminding you of Lizard-era Crimson for the opening track. The second track they even play in a folky style with acoustic guitar and flute, but the percussion gives the whole track a latin feel. In the third track you could swear Wyatt is on vocals and Ratledge on keyboards but halfway thru you jumped into a different planet. “There Was A Time” is probably were Brainstorm develops their personality best.
The album’s last track “Marilyn Monroe”, with all of its shift gears, becoming a funky, gospel like piece that shifts gears again to become a spoken word, bluesy, psychedelic piece. On one hand, here is where they tell listener why they’re called Brainstorm and how they see themselves in relation to the listener. On the other, it is a short fantasy of getting their “kicks on Route 66″ and meeting “Marilyn Monroe” (all in the space of a few lines).
For once, the bonus track is not bothering the unity of the album.
Line-up:
- Rainer Bodensohn / flutes, bass
- Eddy Von Overheidt / organ, e-piano, clavinette, lead vocals
- Enno Dernov / Fenderbass, guitar
- Roland Schaeffer / soprano and tenor sax, clarinet, acoustic and electric guitars, vocals, double-bass
- Jo Koinzer / drums, Transylvanian fold-up-conga
Track List:
01. Hirnwind (5:43)
02. Herbst (3:40)
03. My Way (8:12)
04. Affenzahn (4:47)
05. There Was A Time (7:09)
06. Marilyn Monroe (8:32)
07. You’re The One (Bonus) (2:50)
Link in comments.
Dead Can Dance – Aion (1990) (@256)
02 May 2008
(Review from progarchives.com)
By the time of Aion, their fifth album, Dead Can Dance had completed their metamorphosed although they would never stop morphing further. By now, the duo’s music was completely entrenched in pre-classical music, far into European medieval folklore, with touches of ambient music. Graced with a Jerome Bosch-like artwork, Aion is simply Dead Can Dance’s most spectacular work.
Right from the almost A Capella (just a few drum beats) and polyphonic intro of Arrival, you just know that Dead Can Dance has progressed another notch from Serpent’s Egg. The following Satarello plunges deeply into medieval and baroque music, much like Emma Myldenberger or Gryphon would, remaining as close to the original spirit. This trait of character will remain for the duration of the album, as there are no obvious synthesizers, nor other rock instruments throughout the 12 tracks. At the most is there a synth in the back of the vocals of Black Sun, with interesting drumming and Lisa Gerrard’s voice perfectly fitting the medieval spectrum.
There is a sense of repetition of themes already heard over the length of the album, but nothing tiresome, but ultimately the spirit of perfection and correct rendition of medieval ambiances pervades and the album is a pure joy for those enjoying older and acoustic instruments. All the more comforting is that the gothic epithet takes its historical meaning, closing on the real gothic music (as in pre- classical) instead of the romantic gothic literature or its embarrassing black lipstick rock equivalent.
Line-up:
- Lisa Gerrard / vocals, multi-instruments
- Brendan Perry / vocals, multi-instruments
with
- John Bonnar / keyboards
- Robert Perry / bagpipes
- Andrew Robinson / violin
- Anne Robinson / violin
- David Navarro Sust / vocals
Track List:
01. The Arrival and the Reunion (1:38)
02. Saltarello (2:33)
03. Mephisto (0:54)
04. The Song of the Sybil (3:45)
05. Fortune Presents Gifts Not According to the Book (6:03)
06. As the Bell Rings the Maypole Spins (5:16)
07. The End of Words (2:05)
08. Black Sun (4:56)
09. Wilderness (1:24)
10. The Promised Womb (3:22)
11. The Garden of Zephirus (1:20)
12. Radharc (2:48)
Link in comments.
Heart – Little Queen (1977) (@256)
02 May 2008
(Review from rollingstone.com, amazon, wikipedia)
Heart is a Canadian band, established in the early 60s. Though not the original founders, sisters Ann and Nancy Wilson are the creative spark behind Heart. It was only after their involvement, Heart was able to secure a recording deal. The group rose to fame in the 70s with their music being influenced by hard rock as well as folk music.
Heart’s followup to their phenomenally successful debut album continues their curious marriage of bursting-at-the seams hard rock and reflective, soft acoustic music. Understanding their meteoric rise is not that difficult — lead singer Ann Wilson, with her urgent, often explosive vocals, is the closest rock has to a female counterpart of Zeppelin’s Robert Plant. Led Zeppelin influences abound, from Wilson’s “Summer-of-My-Smiles” phrasing on “Dream of the Archer” down to guitarist Roger Fisher’s Page-ish intro on “Go On Cry” and his ferocious riffing on “Barracuda” and the title track.
The album contains some acoustic gems as well such as “Love Alive”, “Treat Me Well” and “Cry To Me”. There are several bonus tracks in this edition, “Too Long A Time” which is an early demo version of “Love Alive” and a “live” cover version of Led Zeppelin’s “Stairway To Heaven”.
Line-up:
* Ann Wilson – vocals, flute, violin, guitar, keyboards
* Nancy Wilson – vocals, guitar, mandolin, piano
* Roger Fisher – guitar, mandolin, electric guitar, steel guitar
* Steve Fossen – bass guitar, percussion
* Howard Leese – guitar, vocals, synthesizer, piano, Moog bass, mellotron, mandolin, keyboards
* Michael DeRosier – drums, chimes, tabla, percussion, timpani
* Lynn Wilson Keagle – vocals
* Seal (Celia) Dunnington – vocals
Track List:
01. Barracuda – 4:22
02. Love Alive – 4:18
03. Sylvan Song – 2:14
04. Dream Of The Archer – 4:31
05. Kick It Out – 2:44
06. Little Queen – 5:12
07. Treat Me Well – 3:24
08. Say Hello – 3:36
09. Cry To Me – 2:51
10. Go On Cry – 5:56
11. Too Long A Time – 3:33
12. Stairway To Heaven (Live) – 9:20
Links in comments.
Brainstorm – Smile A While (1972) (@192)
02 May 2008
(Review from allmusic.com)
Brainstorm’s debut offers an odd twist on jazz-rock, throwing in bits of Canterbury and Frank Zappa, as well as the Dutch band Supersister.
The album starts off with the explosive energy of the instrumental Das Schwein Trugt, a fast piece of complex prog-jazz. Zwick Zwick follows, beginning at an only slightly slower pace, with some wild flutes and clarinets over a choppy rhythm, and then halfway through the guitar, bass, and organ rip into the mix to add a furious energy to the piece.
Though the album is mostly instrumental, a couple tracks offer quirky song structures, the very short Watch Time Flow By and a couple short sections in the long title track, while Snakeskin Tango has someone moaning in anguish and the middle section of Bosco Biati Weiss Alles contains strange wordless vocal drones. Through it all, Brainstorm has crafted top-notch music that combines the manic energy and flippancy of rock with the loose fluidity and chops of jazz, with dynamic arrangements, a sense of humor, and excellent musicianship.
This edition also includes five bonus tracks that are in a similar vein to the album cuts, though these can be found on the “From Fashion Pink to Brainstorm” archival release as well.
Line-up:
- Eddy V. Overheidt / keyboards, vocals
- Rainer Bodensohn / flute, bass
- Roland Schaffer / saxes, clarinet, bass, guitars
- Joe Koinzer / drums
- Harold Wagner / bass (7-9)
Track List:
01. Das Schwein Truegt (4:40)
02. Zwick Zwick (4:40)
03. Watch Time Flow By (1:29)
04. Bosco Biati WeiB Alles (8:59)
05. Snakeskin Tango (2:20)
06. Smile A While (15:34)
07. You Are What’s Gonna Make It Last (Bonus Live) (3:31)
08. Don’t Forget (Bonus Live) (0:25)
09. Thesen & Antithesen (Bonus Live) (14:01)
10. Einzug Der Elefanten (Bonus) (4:09)
11. You Knock Me Out (Bonus) (3:03)
Link in comments.
Dead Can Dance – Serpent's Egg (1988) (@256)
01 May 2008
(Review from progarchives.com)
“Serpent’s Egg” is almost a carbon copy of their previous album, if you’ll forget about the track lengths, much shorter on the average here. Some might say that this album is almost a stop in Dead Can Dance’s progression, wanting to stop a little further with “Dying Sun”, but not wanting to make something much different-sounding.
Lisa Gerrard’s Eastern European origins appear to take a definitive presence in the group’s music, as there are now hints of mid-eastern classical music, giving an odd ethnic feel to the album. Musically, what’s to say more than “Dying Sun”? Slow gothic church-like vocals, tons of synth layers, a full string quartet featured and Perry’s use of a hurdy-gurdy are the few differences from the previous album.
If you couldn’t get enough of “Within the Realm of a Dying Sun”, you shouldn’t miss this one.
Line-up:
- Lisa Gerrard / vocals, multi-instruments
- Brendan Perry / vocals, multi-instruments
with
- Andrew Bessley / viola
- Sarah Buckley / viola
- Tony Gamage / cello
- Alison Harling / violin
- Rebecca Jackson / violin
- David Navarro Sust / vocals
Track List:
01. The Host of Seraphim – 6:18
02. Orbis de Ignis – 1:35
03. Severance – 3:22
04. The Writing on my Father’s Hand – 3:50
05. In the Kingdom of the Blind The One-eyed are Kings – 4:11
06. Chant of the Paladin – 3:48
07. Song of Sophia – 1:24
08. Echolalia – 1:17
09. Mother Tongue – 5:16
10. Ullyses – 5:09
Link in comments.
Chris Rea – Road to Hell (1989) (@256)
01 May 2008
(Review from allmusic, amazon)
British singer and guitarist Chris Rea has enjoyed a run of popularity in Europe during the late ’80s and early ’90s after almost a decade of previous recording. In 1989, he released the critically acclaimed “Road to Hell”, which many regarded as his best album.
This album, with which the singer reached his commercial peak, reflects Chris Rea’s love/hate relationship with the car. The title track is famously inspired by Rea’s experiences of the M25, but this is not a simple tract on the evils of the automobile — in 1988, he bought himself a racing car. His vision of hell is the traffic jam that stops you from using all that expensive acceleration. In this sense Chris Rea–the epitome of maturity compared to most in his business–shows himself still very much a rock star.
“Road To Hell”, despite the melancholy piano riff of the song itself and its Leonard Cohen-ish lyrics, is an optimistic album with a warm, embracing sound. It is graced with some of Rea’s finest creations: the spacey “Daytona”, the topicality of “You Must Be Evil” and the catchy “That’s What They Always Say”. “Texas” is another witty commentary on the need for speed, and like many of the tracks on this album, it has the mellow groove that Rea has made his own.
On “Road To Hell”, Rea successfully marries the philosophy of the family man with the ethos of a rock star, in a way that many other forty-something crooners can only envy. He also marries a measure of self-expression with real commercial success: his first number one album, “Road To Hell” went triple-platinum.
Track List:
01. The Road To Hell (Part I) – 4:53
02. The Road To Hell (Part II) – 4:33
03. You Must Be Evil – 4:22
04. Texas – 5:11
05. Looking For A Rainbow – 8:04
06. Your Warm And Tender Love – 4:33
07. Daytona – 5:07
08. That’s What They Always Say – 4:28
09. I Just Wanna Be With You – 3:41
10. Tell Me There’s A Heaven – 6:01
Links in comments.
Brainstorm – From Fashion Pink to Brainstorm (1970-71) (@224)
01 May 2008
(Review from allmusic)
This documents early recordings from the group that eventually became Brainstorm, in its earlier incarnation as Fashion Pink. These tracks were recorded live in the studio during three different sessions in 1970 and 1971 for SWF Radio, and even include a few tracks that made it in different form onto Brainstorm’s two albums released before the group broke up.
The first four tracks, from 1970, are song-oriented psychedelic rock with a few progressive touches, though the instrumental Einzug der Eleganten borders on the jazzier realms that the group would soon develop; the flute and keyboards give the piece that classic krautrock feel, especially when it picks up steam near the end.
The 1971 pieces find the group closing in on the Brainstorm sound, dropping the song orientation for much more progressive music influenced by Canterbury groups like Soft Machine, as well as early Zappa. A track like Number Six replaces psychedelic rock for a far more psychedelic-sounding improvised jazz, and is the standout from the second session, though Shit Is Nothing Changing, with lots of flute and guitar soloing and a more complex song structure, is a really good track, too.
By the final session, the group was stretching out into much longer tracks like Brainstorming and Thesen — Antithesen.
This album offers a fascinating glimpse of Brainstorm’s maturation from psychedelic and prog rock to its unique take on progressive jazzy Krautrock.
Line-up:
- Rainer Bodensohn / Bass, Flute
- Roland Schaeffer / Guitar, Saxophone, Bass, Vocals, Vibraphone
- Joe Koinzer / Percussion, Drums
- Eddy V. Overheidt / Organ, Electric Piano, Clavinet, Vocals
- Harald Wagner / Bass (05-08)
Track List:
01. You Make Me Crying
02. Cry In The Morning
03. Einzug Der Elefanten
04. You See
05. Number Six
06. Why Am I So Blind
07. Shit Is Nothing Changing
08. Watch Time Flows By
09. You Knock Me Out
10. Herbst (Autumn)
11. Brainstorming
12. Thesen. Antithesen
Link in comments.
