Freedom to Music
Archive for June, 2008
Azahar – Elixir (1977) (@256)
30 Jun 2008
(Review from progarchives.com)
What a peculiar band were Azahar! They created a rough sound, an energetic combination of ethereal keyboard orchestrations and guitar riffs, the bassist made his instrument assume a prominent position, the guitar solos were quite rocky, and the occasional synth solos and harmonies served as an appropriate match, and last but not least, Zappala’s passionate singing added some more fire to the band’s musical flame during his interventions… and yet, they had no drummer.
Their first album, “Elixir”, is a concept album about sorcery and magic dominated by a distinctive flamenco guitar style over layers of keyboards (synth, mellotron, Fender Rhodes piano and grand piano). It features no drums, only bass rhythm, but still manages to be playful and varied, with a few interesting twists and turns and some intensive electric guitar passages.
Given the fact that the band’s material is heavily influenced by Flamenco and Arabic folklores, which are indeed very rhythmic musical sources, it is odd that Azahar could feel at ease without a drummer/percussionist. But they certainly did, and made it work alright. The lack of a drummer allows all four musicians to expand their performances without the constraints of well-marked rhythm patterns: the tempo itself is created and/or kept and/or modified by the interaction between them.
Line-up:
- Dick Zappala / vocals, keyboards, percussion
- Antonio Valls / mandolin, electric guitar, acoustic guitar, Spanish guitar
- Gusatovo Ros / synthesizer, mellotron, Fender Rhodes, piano
- Jorge Barral / bass, percussion, acoustic guitar, Spanish guitar
Track List:
01. Campos de azahar – 3:52
02. Que malo hay, senor juez – 4:37
03. Es que esto no tiene nombre – 5:48
04. Mercaderes – 4:37
05. Un hombre cansado – 3:45
06. Cantaros de Fuego – 3:32
07. Flipados – 3:44
08. Que no me vean – 3:31
09. Colgados de la rama gorda – 4:10
Link in comments.
King Crimson – Absent Lovers : Live in Montreal (1984) (@256)
29 Jun 2008
(Review from progarchives.com)
“Absent Lovers” showcases the ground-breaking potential of the much-maligned (and equally praised) 80s line-up of this legendary band, whose final performance was captured in this double album.
Even a superficial listen should quickly disabuse those who thought the ‘trilogy’ released at the beginning of the decade was little more than King Crimson-lite. While their studio recordings may have been partly characterised by a somewhat ‘poppy’, even danceable quality, “Absent Lovers” shows quite a different story. The first of the two CDs in particular features oodles of state-of-the-art improvisation by a quartet of musicians possessed of technical chops and creative energy in equal doses.
7 out of 8 tracks of “Discipline” are featured here. While “Discipline” sounds distinctly unlike the band’s 70s output, a good deal of what can be heard on this album bears a very clear resemblance to the sound of their ’73-’74 incarnation, even though Belew’s quirky, supercharged vocal style (an acquired taste to many) is light years away from John Wetton’s alternately warm and gruff tones. The presence of two classic from that era, “Red” and “Larks’ Tongues in Aspic pt. 2” bears witness to this continuing connection.
In comparison to “Discipline”, the band’s sound is definitely darker, more metallic and spacey. Nowhere is it more evident than in the instrumental tracks included on CD 1, such as the ominous intro “Entry of the Crims”, which flows effortlessly into “Lark’s Tongues in Aspic pt. 3”, and the aptly-titled “Industry”. This CD’s highlight is probably the stunning, slow-motion, 10-minute-plus version of “Indiscipline”, in which the contrast between Belew’s spoken-word, distorted vocals and the explosive guitar riffing is used to maximum effect. On the other hand, the presence of the laid-back, atmospheric “Matte Kudasai”, the upbeat “Three of a Perfect Pair”, and the manic, intense “Thela Hun Ginjeet” provides a nice balance to the brooding heaviness of the above-mentioned tracks.
CD2 is definitely more song-orientated, from the rarefied atmosphere of “The Waiting Man” to the more energetic “Frame by Frame”, through the jagged rythms of “Sleepless” (a cracking version of a sadly underrated song) and the supreme quirkiness of vocal tour-de-force “Elephant Talk”, which closes the album in style), King Crimson prove to their audience that they are not only about instrumental virtuosity and intricate time signatures.
As is always the case with King Crimson, there is a genuine live feel to this album. The four band members are in top form, Belew and Fripp’s guitar creating all sorts of weird, intriguing soundscapes over the background provided by the stellar rhythm section of Bruford and Levin.
This is progressive music in the true sense of the word, harsh at times, soothing at others, improvisational, technically brilliant, intellectually challenging, lyrically odd, overall extremely stimulating.
Line-up:
- Adrian Belew / lead vocals, guitar
- Bill Bruford / drums, percussion
- Robert Fripp / guitar, devices
- Tony Levin / Stick, basses, backing vocals
Track List:
CD1
01. Entry of the Crims – 6:27
02. Larks’ Tongues in Aspic (Part III) – 5:05
03. Thela Hun Gingeet – 7:07
04. Red – 5:49
05. Matte Kudasai – 3:45
06. Industry – 7:31
07. Dig Me – 3:59
08. Three of a Perfect Pair – 4:30
09. Indiscipline – 8:12
CD2
01. Sartori in Tangier – 4:39
02. Frame by Frame – 3:57
03. Man with an Open Heart – 3:44
04. Waiting Man – 6:26
05. Sleepless – 6:08
06. Larks’ Tongues in Aspic (Part II) – 7:54
07. Discipline – 5:04
08. Heartbeat – 5:15
09. Elephant Talk – 8:55
Links in comments.
King Crimson – Great Deceiver (Live 1973-74) (@256)
28 Jun 2008
(Review from progarchives.com)
This box set features live recordings of the band from 1973 and 1974. All recordings feature the lineup of Robert Fripp, John Wetton, David Cross and Bill Bruford. Jamie Muir, who left the band in early 1973, is not featured on the set.
Throughout the four discs, the listener goes through many different concerts and ultimately is presented with many different songs (although there are a few repeats) as well as a plethora of improvs that really show the experimental nature of the group.
The first disc of this album is taken from a concert from Providence, Rhode Island, and stretches onto the second disc (for the first two songs). The set list is varied and has a stellar version of Starless with David Cross giving a superb violin part. Of the two improvs, which are Providence (which would eventually find its way onto Red with the crowd track cut out) and A Voyage To The Center of the Cosmos, the latter one really shows how the band could play completely improvised music and make it sound like it was well rehearsed and planned out… utterly stunning to put it shortly. Fracture also has a particular kick this time around, with the raw sound quality really coming and making it just a bit better than the other versions. The two songs on the second disc from this show, being 21st Century Schizoid Man (which is good, but the Night Watch version is better) and Walk Off Providence No Pussyfooting (which would act as the introduction and the closer of the show).
The second disc has a couple of rarities in Cat Food and Peace- A Theme as well as some wicked improvs (although they aren’t as spectacular as the Cosmos one on the first disc). The version of Larks’ Tongue in Aspic Part I is especially biting here with more violin presence. There’s also an abridged version of Easy Money as well as another full version on the same disc. Anyway, there’s more crowd presence on this disc, which gets a bit bothersome in the quieter pieces like Book of Saturday and Peace- A Theme. Despite that, though, it just doesn’t live up to the overall energy and feel (as well as the set list) of the first disc. It’s good, just not to that extent.
The third disc has four improvs as well as the only official release of Doctor Diamond (a song that was almost featured on Red but was cut out at the last minute) as well as another stellar version of Starless. Of the four improvs, the final one really is the best of them because of the great interplay between Bruford and Wetton (with Fripp playing excellently as well). This is also the first disc to feature a Talking Drum/Larks Tongues in Aspic Part II segue (with LTiA II being abridged) and for the most part it also comes off rather nicely. This disc also sounds wonderful with a nice overall ambience and a great balance in the instruments.
The final disc is from Toronto’s Massey Hall and a show from Switzerland. The opening four pieces range from constructed pieces (Fracture and the Night Watch) to all out improvs. The two improvs here, titled Clueless & Slightly Slack and The Golden Walnut, are a bit longer than the standard improvs on this set, but they are very captivating and really show the overall cohesiveness and intensity that the group was able to convey through their seemlessly complicated and intricate improvisational pieces that sound more like a rehearsed piece than something done completely on the fly. The rest of the disc comprises of 3 more improvs (one actually based on the No Pussyfooting theme) and a two part one titled The Law of Maximum Distress, which is probably my least favorite improv in the collection. Another strong version of Larks Tongue in Aspic part I and a rousing and sudden finale in The Talking Drum are also here, and for the most part they are pretty good.
Line-up:
* Robert Fripp – guitar, mellotron, electric piano
* John Wetton – bass guitar, vocals
* David Cross – violin, mellotron, electric piano
* Bill Bruford – drums, percussion
Track List:
CD1
01. Walk On … No Pussyfooting – 0:48
02. Larks’ Tongues In Aspic, Part Two – 6:24
03. Lament – 4:38
04. Exiles – 8:57
05. Improv – A Voyage To The Centre of the Cosmos – 15:03
06. Easy Money – 7:12
07. Improv – Providence – 10:18
08. Fracture – 11:14
09. Starless – 12:03
CD2
01. 21st Century Schizoid Main – 8:26
02. Walk Off from Providence/No Pussyfooting – 2:11
03. Sharks’ Lungs in Lemsip – 2:31
04. Larks’ Tongues In Aspic – 7:49
05. Book Of Saturday – 3:02
06. Easy Money – 6:41
07. We’ll Let You Know – 4:54
08. The Night Watch – 5:17
09. Improv – Tight Scrummy – 8:58
10. Peace – A Theme – 1:01
11. Cat Food – 4:36
12. Easy Money (2) – 2:20
13. …It Is For You, But Not For Us – 9:10
CD3
01. Walk On … No Pussyfooting – 0:58
02. The Great Deceiver – 4:26
03. Improv – Bartley Butsford – 3:12
04. Exiles – 7:19
05. Improv – Daniel Dust – 4:09
06. The Night Watch – 4:39
07. Doctor Diamond – 5:11
08. Starless12:25
09. Improv – Wilton Carpet – 5:52
10. The Talking Drum – 5:29
11. Larks’ Tongues In Aspic: Part Two – 4:07
12. Applause & Announcement – 2:12
13. Improv – Is There Life Out There? – 14:49
CD4
01. Improv – The Golden Walnut – 11:46
02. The Night Watch – 4:37
03. Fracture11:51
04. Improv – Clueless and Slightly Slack – 8:12
05. Walk On … No Pussyfooting – 0:53
06. Improv – Some Pussyfooting – 2:26
07. Larks’ Tongues In Aspic: Part One – 8:16
08. Improv – The Law of Maximum Distress: Part One – 6:31
09. Improv – The Law of Maximum Distress: Part Two – 2:33
10. Easy Money – 7:32
11. Improv – Some More Pussyfooting – 5:53
12. The Talking Drum – 6:02
Links in comments.
Horslips – Happy to Meet, Sorry to Part (1972) (@256)
28 Jun 2008
Request of ldicker1.
(Review from progarchives.com, allmusic)
Founded in Dublin in 1970, this creative quintet is considered Ireland’s most critically acclaimed folk-prog band ever and possibly the genuine purveyors of the term ‘Celtic Rock’. Often likened stylistically to Steeleye Span and Fairport Convention, they drew on their distinctly Irish roots to combine traditional Celtic mysticism with driving hard rock. As opposed to similar bands who were a vehicle for one performer’s antics, no single member of Horslips really dominated the group.
Their debut album has a mixture of traditional Irish folk instruments and a hard art-rock sound recalling the sounds of Genesis from Nursery Cryme and Foxtrot.
The opening track, with its pipes, button accordion, and percussion, could pass for any Chieftains record, but then the electricity kicks in on “Hall of Mirrors” and the rest is melodic rock, not so much folk-rock as folkish rock, recalling early Genesis. John Fean sounds like he’s playing folk melodies even as he plays runs on his electric guitar on “The Clergy’s Lamentation”, and the group follows this with an anthem-like piece of Gaelic rock (“An Bratach Ban”) with a dance-like instrumental break.
“Hall of Mirrors” and “Furniture” remained in their stage act for years, the latter, with its superb middle section — favorably recalling Steve Howe’s playing with Yes on their early albums — transformed into a 15-minute epic. And just when you think you’ve got them pegged as a progressive folk-rock outfit, they deliver the exquisitely languid, almost impressionistic “The Shamrock Shore” and the playful “Dance for Yer Daddy”, which sounds like the Chieftains with vocals until the electric guitar kicks in. Fean’s playing on “The Musical Priest”, by itself, is worth the whole listening experience of the album.
Line-up:
- Eamonn Carr / drums, vocals
- Barry Devlin / bass, vocals
- John Fean / banjo, fiddle, guitar, mandolin, vocals
- Jim Lockhart / organ, flute, piano, violin, celeste, harpsichord, keyboards, Uillean pipes, pipe organ, tin whistle
- Charles O’Connor / fiddle, mandolin, violin, concertina, Northumbrian smallpipes
Track List:
01. Happy to Meet – 0:48
02. Hall of Mirrors – 5:29
03. The Clergy’s Lamentation – 4:39
04. An Bratach Ban – 2:04
05. The Shamrock Shore – 4:34
06. Flower Amang Them All – 2:04
07. Bim Istigh Ag ol – 3:43
08. Furniture – 5:13
09. Ace And Deuce – 3:35
10. Dance To Yer Daddy – 4:37
11. Scalloway Ripoff – 1:54
12. The Musical Priest – 4:33
13. Sorry to Part – 1:32
Link in comments.
King Crimson – Night Watch (Live 1973) (@256)
27 Jun 2008
(Review from progarchives.com)
Never mind the studio stuff: Crimson was and always will be at their best on stage, and this 2-disc live set from the Amsterdam Concertgebouw vividly captures what many fans consider to be the band’s best line up at their creative peak, in late 1973.
Hearing the show in its (more or less) uninterrupted entirety, and with a reconstructed sound that shames most contemporary live recordings, is nothing less than a revelation. this one performance belatedly sums up all the awesome power and ingenuity of the Bruford-Wetton-Cross-Fripp configuration.
Every song is dramatically superior to its studio counterpart, from the first sudden downbeat of “Easy Money” to the final crescendo of “Larks Tongues in Aspic Part II”. Listen to the band working its way through the spiral groove of “The Talking Drum”, gradually shifting gears upward into overdrive with near telepathic precision. Or breaking into a funky mock-rock ‘n’ roll stomp during the acerbic “Lament”, with Fripp soloing all over the auditorium (unlike his tame sustained fuzz on the later album version). Or sidestepping an unexpected technical glitch with textbook grace under pressure, after David Cross’ mellotron audibly short circuits mid-way into the second verse of the title track. A quick thinking shift to electric piano alters the entire chemistry of the song, for the better in my opinion: adding a touch of delicacy sometimes lacking in the faux-string arrangements.
However, it’s the group improvisations that have always defined the various Crimson Kings, and on this night the band was certainly firing on all cylinders, despite the claims of chronic tour burnout. You can perhaps hear their fatigue in the way each of the three improvs begins from a point of zero energy and absolute silence. But the act of spontaneous music making must have had a galvanizing effect, judging by how each one develops.
“Trio” is an oasis of calm in the often discordant sea of classic Crimson noise and fury. “Starless and Bible Black” gradually builds into a mind-frying jam of epic proportions, propelled by the Wetton-Bruford rhythm section at full steam. And in “The Fright Watch”, meant as little more than a prelude to “The Talking Drum”, John Wetton coaxes sounds from his bass guitar that need to be heard to be believed, reminding me of a slumbering subterranean dinosaur slowly emerging from some ancient primordial swamp.
The first two improvisations were both featured on the “Starless and Bible Black” album, but hearing each of them in the context of a complete show puts the music in an entirely fresh perspective.
It is, pure and simple, beyond criticism, and the next best thing to having been there in Amsterdam on that late November night.
Line-up:
- Robert Fripp / guitar, mellotron
- Bill Bruford / drums
- David Cross / violin, mellotron
- John Wetton / bass, vocals
Track List:
CD1
01. Easy Money 6:15
02. Lament 4:14
03. Book Of Saturday 4:08
04. Fracture 11:28
05. The Night Watch 5:27
06. Improv- Starless And Bible Black 9:13
CD2
01. Improv- Trio 6:09
02. Exiles 6:37
03. Improv- The Fright Watch 6:03
04. The Talking Drum 6:34
05. Larks’ Tongues in Aspic (Part II) 7:51
06. 21st Century Schizoid Man 10:38
Links in comments.
Peter Green Splinter Group – Soho Session (Live 1999) (@256)
27 Jun 2008
(Review from amazon)
Of all of the outstanding recordings Peter Green has made with the Splinter Group this is perhaps their finest release.
The rust present on the first Splinter Group recording is absent here. Green plays in all of his fluid, soulful glory. The band is tight and remarkably attuned to his musical presence. Covers of some old Fleetwood Mac numbers are particularly enjoyable. Even though some of the same blues standards are covered on the first release, the versions on this recording improve upon them greatly.
It’s nice to have Peter Green back after all of these years. His is one voice that was sorely missed, as guitarists of his like are rare in that he never overplays but is remarkable for his passion and soulful soloing. Brilliant musician, brilliant recording.
“Soho Session” captures the blues of Fleetwood Mac and Robert Johnson the way they should be played.
Track List:
CD1
01. It Takes Time – 5:18
02. Homework – 3:45
03. Black Magic Woman – 7:07
04. Hey Mama Keep Your Big Mouth Shut – 6:18
05. The Supernatural – 3:36
06. Rattlesnake Shake – 4:59
07. Shake Your Hips – 5:15
08. Albatross – 3:30
CD2
01. Travelling Riverside Blues – 3:59
02. Steady Rollin’ Man – 3:13
03. Honeymoon Blues – 3:03
04. Last Fair Deal Gone Down – 3:19
05. If I Had Possession Over Judgement Day – 4:27
06. Green Manalishi – 5:37
07. Goin’ Down – 7:35
08. Help Me – 4:48
09. Look Over Yonder Wall – 6:46
Links in comments.
King Crimson – Ladies of the Road (Live 1971-72) (@256)
27 Jun 2008
(Review from progarchives.com)
While not perfect, this release offers a very correct-sounding of the “Island” album line-up of King Crimson.
Unsurprisingly, the track listing is mostly axed towards Island with touches into the first albums but rather sparsely. One of the biggest disappointments with this album is that the debut title track is only a 45 sec bluesy spoof, but a rare (and quite different than single or previous live version) of Groon makes this interesting.
The second disc is rather a curiosity of sorts but reserved for crimsonic monarchy absolutist since it has some 11 parts of Schizoid Man, mostly improvised parts. Interesting to a point, but rarely up for a regular spin in your deck unless you are a 21st Century Psychotic Man.
Line-up:
- Boz Burrell / bass & vocals
- Mel Collins / saxes, flute & mellotron
- Robert Fripp / guitar & mellotron
- Ian Wallace / drums
- Peter Sinfield / FOH sound & VCS3 on Volume One
Track List:
CD1
01. Pictures of a City – 8:46
02. The Letters – 4:42
03. Formentera Lady [Abridged] – 6:41
04. The Sailors Tale – 5:43
05. Cirkus – 7:58
06. Groon – 6:52
07. Get Thy Bearings – 8:33
08. 21st Century Schizoid Man – 8:57
09. In the Court of the Crimson King – 0:48
CD2
01. Schizoid Men I – 1:44
02. Schizoid Men II – 4:46
03. Schizoid Men III – 3:12
04. Schizoid Men IV – 5:15
05. Schizoid Men V – 6:22
06. Schizoid Men VI – 3:56
07. Schizoid Men VII – 5:13
08. Schizoid Men VIII – 3:18
09. Schizoid Men IX – 5:01
10. Schizoid Men X – 3:23
11. Schizoid Men XI – 11:42
Links in comments.
King Crimson – Epitaph (Live 1969) (@256)
26 Jun 2008
Thanks to Bragi Taliesin for the contribution.
(Review from rollingstone.com, wikipedia)
“Epitaph” features four hours of previously unissued live music. It covers a minute slice of King Crimson’s ongoing history: the seven months between the group’s BBC Radio debut, in May ’69, and the December Fillmore West weekend, when the founding lineup performed its last shows. The music explains much about how Fripp, McDonald, bassist Greg Lake, drummer Michael Giles and lyricist Peter Sinfield defined progression in rock.
For live performances of the first incarnation of King Crimson, look no further.
Line-up:
- Robert Fripp / guitar
- Michael Giles / drums, percussion, backing vocals
- Greg Lake / bass, lead vocals
- Ian McDonald / woodwinds, keyboards, mellotron, vocals
Track List:
CD1 (BBC Radio 1969, Fillmore East Nov 1969, Fillmore West Dec 1969)
01. 21st. Century Schizoid Man
02. In The Court Of The Crimson King
03. Get Thy Bearings
04. Epitaph
05. A Man, A City
06. Epitaph
07. 21st. Century Schizoid Man
08. Mantra
09. Travel Weary Capricorn
10. Improv. Travel Bleary Capricorn
11. Mars
CD2 (Fillmore West, December 14, 1969)
01. In The Court Of The Crimson King
02. Drop In
03. A Man, A City
04. Epitaph
05. 21st. Century Schizoid Man
06. Mars
CD3 (9th National Jazz and Blues Festival, August, 1969)
01. 21st Century Schizoid Man
02. Get Thy Bearings
03. In the Court of the Crimson King
04. Mantra
05. Travel Weary Capricorn
06. Improv (including By the Sleeping Lagoon)
07. Mars
CD4 (Victoria Ballroom, September 7, 1969)
01. 21st Century Schizoid Man
02. Drop In
03. Epitaph
04. Get Thy Bearings
05. Mantra
06. Travel Weary Capricorn
07. Improv
08. Mars
Links in comments.
Boston – Boston (1976) (@256)
25 Jun 2008
(Review from allmusic)
Boston is one of the best-selling albums of all time, and deservedly so. Because of the rise of disco and punk, FM rock radio seemed all but dead until the rise of acts like Boston, Tom Petty, and Bruce Springsteen.
Nearly every song on Boston’s debut album could still be heard on classic rock radio decades later due to the strong vocals of Brad Delp and unique guitar sound of Tom Scholz. Tom Scholz, who wrote most of the songs, was a studio wizard and used self-designed equipment such as 12-track recording devices to come up with an anthemic “arena rock” sound before the term was even coined.
The sound was hard rock, but the layered melodies and harmonics reveal the work of a master craftsman. While much has been written about the sound of the album, the lyrics are often overlooked. There are songs about their rise from a bar band (“Rock and Roll Band”) as well as fond remembrances of summers gone by (“More Than a Feeling”). Boston is essential for any fan of classic rock, and the album marks the re-emergence of the genre in the 70s.
Line-up:
* Bradley Delp – Lead vocals, guitar
* Tom Scholz – Guitar, keyboards, bass guitar
with
* Barry Goudreau – guitar
* Fran Sheehan – bass guitar
* Sib Hashian – drums, percussion
* Jim Masdea – drums, percussion (4)
Track List:
01. More Than A Feeling – 4:47
02. Peace Of Mind – 5:05
03. Foreplay / Long Time – 7:53
04. Rock & Roll Band – 3:02
05. Smokin’ – 4:23
06. Hitch A Ride – 4:13
07. Something About You – 3:50
08. Let Me Take You Home Tonight – 4:44
Link in comments.
Free – Live at the BBC (1968-71) (@256)
25 Jun 2008
(Review from amazon)
From their very first session in 1968 (astonishingly, recorded just days after bassist Andy Fraser’s 16th birthday), through to their last official recording for the Beeb, ‘In Concert’ for John Peel in July 1970, this set captures the rise of one of the most talented blues/rock bands.
While some of the material has surfaced as bonus material on reissues, the bulk of it has never before been available. The December 1969 Session for Top Gear never even made it to bootleg, it’s a gem of a find that turned up relatively recently in Paul Kossoff’s private archive.
Disc 1 contains some excellent material all of very good quality including the first two tracks which are from Free’s very early days as a band in 1968. Both tracks are blues numbers and give you an insight into Frees raw bluesy sound. Tracks 3-12 are all very good renditions of various tracks (although the beginning of “I’ll Be Creepin’ is missing because Paul Kossoff taped over it). Tracks 13-20 encompass two takes of “Be my Friend” and five takes of “Ride on a Pony”.
Disc 2 contains two afternoon concerts hosted by John Peel, although he is never heard between the tracks, as this was presumably missing or erased. Each track just fades up at the beginning and fades down at the end. Tracks 1-4 of Disc 2 are of very poor quality, only worth something in terms of their historical importance. Tracks 5-9 are much better and the quality is good enough to enjoy them, despite some radio interference (sounds like morse code!) in the quiet passages. These tracks we’re taken “off the air” by the way. Tracks 10-11 are of poor quality, possibly worse then the first four.
There was a heartbreaking amount of Free’s material lost from the BBC archives and this set really is a bitter-sweet sample of what could have been had the BBC been more careful with their tapes. The album is compromising of its own admission and this is truly for die-hard Free fans.
Line-up:
* Paul Rodgers – Vocals
* Paul Kossoff – Guitar
* Andy Fraser – Bass
* Simon Kirke – Drums
Track List:
CD1
01. Waiting On You – 2:16
02. Sugar For Mr. Morrision – 3:43
03. I’m A Mover – 3:05
04. Over The Green Hills – 3:52
05. Songs Of Yesterday – 3:08
06. Broad Daylight – 3:19
07. Woman – 4:22
08. I’ll Be Creepin’ – 2:43
09. Trouble On Double Time – 3:51
10. Mouthful Of Grass – 4:41
11. All Right Now – 5:28
12. Fire And Water – 3:04
13. Be My Friend (Take 1) – 6:05
14. Be My Friend (Take 2) – 5:36
15. Ride On A Pony (Take 1) – 0:10
16. Ride On A Pony (Take 2) – 4:31
17. Ride On A Pony (Take 3) – 1:24
18. Ride On A Pony (Take 4) – 0:25
19. Ride On A Pony (Take 5) – 4:29
20. Get Where I Belong – 3:25
CD2
01. The Hunter – 5:23
02. Woman – 4:26
03. Free Me – 7:23
04. Remember – 4:48
05. Fire And Water – 3:58
06. Be My Friend – 5:00
07. Ride On A Pony – 4:35
08. Mr. Big – 6:35
09. Don’t Say You Love Me – 5:26
10. Woman – 4:17
11. All Right Now – 5:09
Links in comments.
King Crimson – EleKtrik : Live in Japan (2003) (@256)
24 Jun 2008
(Review from progarchives.com)
If your a fan of “Power To Believe” record, you have to get this live album. It was recorded when they toured Japan in 2003 and most of the songs are from that record with three songs from “ConstruKction Of Light” and one from “Thrak”. Almost 75 minutes of fantastic music and most of it is incredibly heavy.
The album doesn’t start off that way though with the “Introductory Soundscape” that has over 5 minutes of spacey music. “Power To Believe 1: (A Cappella)” is Belew singing alone in this short intro tune. “Level Five” is a heavy duty song with some amazing guitar and percussion. The guitar is screaming after 5 minutes. “Prozakc Blues” from “ConstruKction Of Light” is a humerous song with Belew singing in a deep voice. More heaviness on this one as well. “EleKtriK” features some intricate and complex guitar and percussion that gets heavy 6 minutes in. “Happy With What You Have To Be Happy With” opens heavily with some incredible guitar 2 minutes in. “One Time” is almost a refreshing break, as this laid back song from the “Thrak” album is so smooth, warm and wonderful.
“Facts Of Life” just smokes, it’s so heavy! “The Power To Believe II (Power Circle)” is kind of cool as the band brings in some eastern sounds (hey,it’s in Japan). There is a lot of atmosphere and spacey sounds that again are so moving. “Dangerous Curves” slowly builds to a hypnotic rhythm. This is a powerful song! “Larks’ Tongues In Aspic IV” and the final song “The World’s My Oyster Soup Kitchen Floor Wax Museum” are both from “ConstruKction Of Light” album.The first one is all about the band just flat out playing one instrumental from them, while the second concentrates more on the lyrics and Belew.
EleKtrifying and eleKtrified. The combination of King Crimson high moments of the “new millenium” work and thrilling scenes pulse in the situation of a mature performance. No compromises. The live expression of beautiful.
Line-up:
- Adrian Belew / guitar, vocal
- Robert Fripp / guitar
- Trey Gunn / Warr guitar, fretless Warr guitar
- Pat Mastelotto / traps and buttons
Track List:
01. Introductory Soundscape – 5:05
02. The Power To Believe I- (A Cappella) – 0:42
03. Level 5 – 7:22
04. ProzaKc Blues – 6:01
05. EleKtriK – 8:01
06. Happy With What You Have To Be Happy With – 4:15
07. One Time – 6:01
08. Facts Of Life – 5:29
09. The Power To Believe II – 8:44
10. Dangerous Curves – 6:02
11. Larks’ Tongues In Aspic-Part IV – 10:33
12. The World’s My Oyster Soup Kitchen Floor Wax Museum – 6:31
Links in comments.
Procol Harum – Home (1970) (@256)
24 Jun 2008
(Review from progarchives.com)
By the time this fourth album came out, Procol was concentrating mainly their efforts on the US and Continental Europe, (as the UK were mostly ignoring the group) and Matthew Fisher (not a great fan of touring) had simply left the group, although he was still being their producer (until half the sessions).
With Fisher gone, one would expect the organ maybe disappearing completely from Procol Harum’s music, but such was not the case: Chris Copping, another ex-Paramounts will come in on bass and will also double on the organ, actually making this instrument much more present than on the previous “A Salty Dog”. One of the most striking features, outside a relatively harder sound (Trower being ever more confident) are the very depressing lyrics that Keith Reid provided for this album. Most are about death and doom, although it turns out that this was mostly incidental. Another feature is that the album has much more of a focus than its predecessor.
“Home” is a very much more even album than its predecessor, and the highlights are also brighter than on “A Salty Dog”. A very hard Trower-penned Whiskey Train starts off the album a bit surprisingly, but clearly coming just after are “Dead Man’s Dream” is one of the many highlights of the album, with the equally doomed “About To Die”, making the backbone of the first side of the album. Both tracks are among the very best of Procol Harum’s career.
The second side also holds two major tracks: “The Barnyard Story” (where Copping plays a Harmonium) and the grandiose “Whaling Story” with its almost 8-min length and full dramatic suspense. Along with the side-long suit in the “Shine On Brightly” album, “Whaling Story” is the most ambitious track that Procol Harum wrote and the tracks works wonders live, in studio or in its magnificent orchestral arrangements. Other good tracks are “Nothing That I Didn’t Know” and “Piggy Pig Pig” (another Trower track), while “Still There’ll be More” is a wink to the previous album’s great track, but it is not living up to its promise.
“Home” manages to maintain Procol Harum’s archetypical distinction, despite the line-up changes and the irruption of new refreshing airs.
Line-up:
- Gary Brooker / lead vocals, piano
- Chris Copping / bass, organ
- Keith Reid / words
- Robin Trower / guitars
- Barrie James Wilson / drums
Track List:
01. Whiskey Train – 4:32
02. Dead Man’s Dream – 4:43
03. Still There’ll Be More – 4:57
04. Nothing That I Don’t Know – 3:37
05. About To Die – 3:35
06. Barnyard Story – 2:45
07. Piggy Pig Pig – 4:46
08. Whaling Stories – 7:07
09. Your Own Choice – 3:09
Link in comments.
King Crimson – Power to Believe (2003) (@256)
23 Jun 2008
(Review from progreviews.com, progressiveworld.net)
King Crimson exists in different bands, with different approaches, but always with a similar spirit (in composition as well as improvisation). This studio album is the second from the “Double Duo” incarnation of the band. The Double Duo unit crafts their sound with electronic percussion, MIDI guitars, touch basses, and heavily processed vocals. This is a very electronic type of music, countered with the snaky warmth so characteristic of the touch basses.
The Power to Believe has individual pieces that are similar enough to music from their history, enough to raise strong comparisons, but unique enough to stand on their own, and to be a good contribution to an ever-growing canon. Unique because this band is different, and their sound is different (more “futuristic”), and with new musical elements integrated into their sound; particularly, Pat’s techno/drum and bass techniques, a stronger metal sound, and the greater guitar vocabulary allowed by all the technology.
For example, “Level 5″ will raise comparisons to “VROOOM” and “Red”; “Dangerous Curves” will raise comparisons to “Mars” and “Talking Drum”; “Power to Believe II” to “Sheltering Sky” and “Satori in Tangiers”; “Elektrik” to “Discipline” and “Frame by Frame”; “The Facts of Life” to “Schizoid Man” and “Sailor’s Tale”; and “Power to Believe III” strongly reminds me of “Starless and Bible Black”.
However, the music here has different personalities. For example, where “VROOOM” and “Red” possess a heavy but jaunty forward motion, like a musical motorcycle, “Level 5″ has a personality that is a dark black, foreboding musical omen, a dead-serious Bartók/metal fusion. “Dangerous Curves” possesses the aggressive and atmospheric minimalism of similar earlier works but replaces the earthier textures (tablas, violin, buzzing guitars) with mechanical rhythms and electronic clouds.
Bartok-metal is perhaps a good description for a lot of music here; at least for “Level 5″ and “Facts of Life” but even parts of “Power to Believe III” reminds me of elements of Music for Strings, Percussion, and Celesta. Gamelan music is perhaps the other. Electrified gamelan music appears in the guitar writing of “Elektrik”, and shockingly, “Power to Believe II” contains a section that simulates a real gamelan orchestra. “Elektrik” has a fiery and ethereal beauty, with some intense dynamic changes.
“Power to Believe III” is simultaneously dark, alien, and beautiful. Beautiful in how there are moments of almost complete silence, just a ray of sound like light, and then sudden shocking stabs of the drums, and the rustling and rattling sounds, and the strange theremin-like guitar sounds with eerie harmonics. On a side note, this is a development of the “Deception of the Thrush”, which has appeared in many forms over the years in live recordings.
A lot of people knock “Happy With…”, but in my opinion the main riff is clearly satirical, the most obvious and trite riff occurring in nu-metal, and it is as mocking as the lyrics. But the “Happy with what you have” odd-metered vocal riff and drunken bumblebee guitar solo save this song from just being a throwaway satire or joke.
If you have ”The Power To Believe”, the music can take you anywhere.
Line-up:
- Adrian Belew / guitar, vocals & electronic percussion
- Robert Fripp / guitar
- Trey Gunn / Warr guitar, rubber bass
- Pat Mastelotto / drums
Track List:
01. The Power To Believe I-A Cappella – 0:44
02. Level Five – 7:17
03. Eyes Wide Open – 4:08
04. Elektrik – 7:59
05. Facts Of Life-Intro – 1:38
06. Facts Of Life – 5:05
07. The Power To Believe II – 7:43
08. Dangerous Curves – 6:42
09. Happy With What You Have To Be Happy With – 3:17
10. The Power To Believe III – 4:09
11. The Power To Believe IV-Coda – 2:29
Links in comments.
Maggie Bell – Suicide Sal (1975) (@256)
23 Jun 2008
(Review from allmusic)
Although critically feted in the U.K., Maggie Bell never quite achieved the commercial breakthrough everyone had so expected — always a bridesmaid, never a bride.
Her second album, 1975′s Suicide Sal is tougher, more energized set than its predecessor. Sal’s electrifying live feel reflects the incendiary stage shows Bell and her new backing band had been playing in the intervening time between recordings.
The two bonus tracks, recorded at a gig later that year, capture their live ferocity. Intriguingly, the funky, fiery title track, an homage to Bell’s Aunt, a music hall star, is one of only two originals on this set. The second, the lavishly bluesy “If You Don’t Know” was penned by band keyboardist Pete Wingfield, and boasts a guesting Jimmy Page on guitar. The storming “Coming on Strong” also has a Bell connection, being co-penned by ex-Crow Colin Allen and Zoot Money.
The rest of the album comprises astutely chosen covers drawn from an eclectic selection of artists. One of the standouts is “It’s Been So Long”, a powerful gospel number written by the Pretty Things’ Brian May, who not only rewrote some of the lyrics for Bell, but added his backing vocals to the song. Free’s classic “Wishing Well” gets a sensational workout, while that band’s offshoot Kossoff, Kirke, Tetsu & Rabbit’s “Hold On” is taken to new emotive heights. From barrelling Beatles pop to the Sutherland Brothers poignant Gaelic ode, from ballads to hefty rock & roll, Bell struts across this set with style and such assurance, that even Aunt Sal must have been impressed.
One of Britain’s greatest soul rock singers is showcased at her best with this magnificent album.
Track List:
01. Wishing Well – 3:35
02. Suicide Sal – 3:45
03. I Was In Chains – 3:04
04. If You Don’t Know – 3:54
05. What You Got – 2:55
06. In My Life – 3:10
07. Coming On Strong – 4:07
08. Hold On – 4:49
09. I Saw Him Standing Here – 4:18
10. It’s Been So Long – 4:30
Link in comments.
King Crimson – Heavy Construkction (Live 2000) (@256)
22 Jun 2008
(Review from progreviews.com)
The Heavy ConstrucKtion improvs are quite different from the THRaKaTTaK improvs of 1995. The improvs here are closer to normal “rock” music than the freeform sounds of THRaKaTTaK. In general, the individual improvs are shorter, more focused, with stronger and more consistent themes. Stylistically, all tracks are rhythmic some beastly, some almost in ambient house style, all layered on top with guitars.
Speaking of the guitars: the team of Adrian Belew and Robert Fripp offer up their most experimental playing, featuring wild textures, wild guitar effects, wild samples, and lots of dissonance mixed with almost-melodies. Pat Mastelotto is a real monster here, with an array of whacking styles that range from a highly industrialized take on drum ‘n bass, to a more ambient house drumming style, whichever feels appropriate for the improv. He is a real master of sound here, with drum sounds that come out of a monster movie: pows, whacks, bangs, thunder crashes, gun shots, deep dark rumbles, heartbeats, all manner of crazy sounds, sometimes even carefully placed silent stretches for drama. On “Thrush” he even breaks out the crazed rattle of the tambourine. And Trey Gunn provides some funky, almost Primus-like basslines, when he can be heard. He gets the chance to shine with a lovely solo during the “Deception of the Thrush”.
The first few tracks are beastly rhythmic rockers with a funk-like sense in the bass work. Around tracks five and six, the Crim veer into a more exclusively techno/drum ‘n bass territory, where Pat is the highlight. In the middle part of the album, they delve into ambient-house like rhythms overlaid with immense guitar fantasias, delving into a surreal, psychedelic territory. There is the surreal beauty of “Beautiful Rainbow”, with its synthesized bamboo flute like sounds, deep chant like effects, and prismatic guitar playing so elusive and textured it is difficult to pinpoint the actual notes. “7 Teas” is the poison underbelly of this experience.
Then, there is the voyage into complete darkness, with tracks like “Tomorrow Never Knew Thela”, “Uboo”, “Deception of the Thrush”, and “The Arena of Terror”. “Tomorrow Never Knew Thela” consists of what seems like two sinister radio stations fighting it out over a beat ripped from the Beatles’ “Tomorrow Never Knows”. My favorite is “Uboo”, which starts with subsonic heartbeats and builds into a juggernaut with weapon-like rhythms and skronking guitars. Next up is yet another unique version of “Deception of the Thrush”. Finally, we have “Arena of Terror”, with the mad tambourine and the theremin-like guitar solo, with delirious crowd echoes mixed in.
Line-up:
- Adrian Belew / guitar, vocals
- Robert Fripp / guitar
- Trey Gunn / Touch guitar, bass, talk
- Pat Mastelotto / electronic drums
Track List:
CD1
01. Into The Frying Pan – 6:20
02. The ConstruKction Of Light – 8:29
03. ProzaKc Blues – 5:25
04. Improv Munchen – 8:35
05. One Time – 5:44
06. Dinosaur – 5:24
07. VROOOM – 4:44
08. FraKctured – 8:46
09. The World’s My Oyster Soup Kitchen Floor Wax Museum – 7:38
10. Improv Bonn – 9:20
CD2
01. Sex, Sleep, Eat, Drink, Dream – 4:30
02. Improv: Offenbach – 6:30
03. Cage – 3:54
04. Larks’ Tongues in Aspic: Part Four – 12:51
05. Three of a Perfect Pair – 3:42
06. The Deception of the Thrush – 8:26
07. Heroes – 6:09
CD3
01. Sirap – 5:40
02. Blastic Rhino – 4:13
03. Light Please, Pt. 10:56
04. cccseizurecc – 6:02
05. Off and Bank – 4:11
06. More (And Least) – 3:13
07. Beautiful Rainbow – 6:59
08. 7 Teas – 4:07
09. Tomorrow Never Knew Thela [Including Tomorrow Never Knows] – 4:49
10. Uböö – 7:59
11. The Deception of the Thrush – 10:42
12. Arena of Terror – 3:22
13. Lights Please, Pt. 2 – 4:51
Links in comments.
Asgaerd – In the Realm of Asgaerd (1972) (@256)
22 Jun 2008
(Review from progarchives.com)
The English band took their name ‘Asgaerd’, taken from ancient North European mythology, means ‘castle of the gods’. Perhaps because of its Tolkien-esque resonance, ‘Asgard’ seems to be a popular one among progsters as it is shared by two other bands, one a 70′s French folk outfit and the other a ’90′s Italian neo-prog group.
The artwork hides some pretty good hard progressive that is strongly guitar-driven heavy progressive rock often oogling in the direction of Uriah Heep with Hensley’s organ replaced with Orgil’s violin. Another particularity of the group is that it had two full-time singers in Smith and Bartlett. Their sole album is made of short songs (only two just barely over 5 minutes).
Right from the first seconds of the opening title track, you just know this album will be aimed at those that like dramatic organ-driven progressive, even if in this case the group is organ-less. But this doesn’t stop them from sounding like the best Uriah Heep moments between Salisbury and Look at Yourself and in particular July Morning. Also coming to mind at times is Vanilla Fudge’s Renaissance album without the psych influences: mid- tempo with strong throat-grabbing multi vocals that appeal to most young males in their late-teens or just after.
“Town Crier” is a bit more of a Beatles-inspired track, partly because of Orgil’s double-tracked violin, sounding Rigby-ish (all things considered of course) but this is due to the descending violin line. All of the tracks are fairly even in quality and are contagious in terms of enthusiasm. In some tracks, Kansas is not too far away either, but this mostly due to the violin again. Among the better tracks is the “Children Of A New Born Age” and its follow-up “Time”.
Line-up:
- Ted Bartlett / vocals
- Dave Cook / bass
- Rodney Harrison / guitar, vocals
- Peter Orgil / violin
- James Smith / vocals
- Ian Snow / drums
Track List:
01. In the Realm of Asgaerd – 4:26
02. Friends – 4:40
03. Town Crier – 3:59
04. Austin Osman Spare – 4:16
05. Children of a New Born Age – 3:14
06. Time – 5:12
07. Lorraine – 4:42
08. Starquest – 5:17
Link in comments.
Crawler – Live at the Paradise Club Boston Gig #2 (1978) (@256)
22 Jun 2008
Thanks to ldicker1 for the contribution.
Recorded in 1978, this is the second gig from the Paradise Club, Boston.
Line-up:
- Terry Slesser / vocals
- Geoff Whitehorn / guitar
- John Rabbit Bundrick / keyboards
- Terry Wilson / bass
- Tony Braunagel / drums
Track List:
01. Radio Introduction – 0:29
02. Without You Babe – 3:43
03. Sail On – 4:52
04. Disc Heroes – 3:29
05. How Will You Break My Heart – 4:50
06. Where Is The Money – 4:22
07. You And Me – 8:39
08. One Way Street – 4:47
09. Blue Soul – 9:08
10. Selfish Lover – 3:49
11. Radio Announcer – 0:23
Link in comments.
King Crimson – Construkction of Light (2000) (@256)
22 Jun 2008
(Review from progreviews.com, wikipedia, amazon)
The grandiose project of having King Crimson with six band members did not last for long. King Crimson produced side projects. ProjeKcts One, Two, Three, and Four, were each a splinter group (a “fraKctalisation”, according to Fripp) of King Crimson. They released various recordings, demonstrating the improvisational musical high wire act that the constituent musicians are able to produce.
By the time the ProjeKcts were complete, Bruford and Levin had ceased to be involved with King Crimson. Belew, Fripp, Gunn, and Mastelotto remained, releasing the studio album The ConstruKction of Light in 2000. The band this time brings together the heaviness and power of the 70s group with the intricate multiple-guitar interplay of the 80s band and the electronic textures of the ProjeKcts.
Before its release, Fripp had hinted to fans that this album would be something completely new, integrating the lessons learned from the various ProjeKcts. Instead, what we got was an album that sounds only superficially like the ProjeKcts while leaning heavily on Crimson’s past glories. There are even two “remakes” of earlier songs, and Adrian Belew namechecks other Crimson works in the lyrics.
Bruford’s departure was greeted with horror by the faithful but, to my mind, Mastelotto finally comes into his own on Construkction. Out of Bruford’s shadow he becomes a monster, adding new dimensions to the sound and giving the percussion an electronic backup of effects that augment the traditional drums rather than detracting from it. He understands how to use rhythms more commonly found in dance environments in this fields and the effect can be mesmerising.
The band offers up a curiously lugubrious mockery of rootsy Delta despair (“Prozac Blues”) before venturing into the familiar, hypnotically polyrhythmic soundscape of the title track, the challenging harmonics of “Into the Frying Pan,” and the delicate, spacious constructions of “FraKctured.” “The World Is My Oyster” is almost Floydian in feel and scope, though the Pink brigade haven’t made music this oddly compelling since the ’70s. There are monster chops throughout, as well as some heavy riffing that underscores Crimson’s continued influence on bands like Tool, Marilyn Manson, and Nine Inch Nails.
ConstruKction is as restless as it is modern–and progressive in all the right ways.
Line-up:
- Adrian Belew / guitar, vocals
- Robert Fripp / guitar
- Trey Gunn / bass touch guitar, baritone guitar
- Pat Mastelotto / drums
Track List:
01. ProzaKc Blues – 5:28
02. The ConstruKction of Light 1/2 – 5:49
03. The ConstruKction of Light 2/2 – 2:50
04. Into the Frying Pan – 6:54
05. FraKctured – 9:06
06. The World’s My Oyster Soup Kitchen Floor Wax Museum – 6:24
07. Larks’ Tongues in Aspic-Part IV 1/3 – 3:41
08. Larks’ Tongues in Aspic-Part IV 2/3 – 2:50
09. Larks’ Tongues in Aspic-Part IV 3/3 – 2:36
10. Coda: I Have a Dream – 3:55
11. Heaven And Earth (Bonus) – 7:46
Links in comments.
Crawler – Live at the Nottingham Boat Club (1978) (@256)
21 Jun 2008
Thanks to ldicker1 for the contribution.
Recorded in 1978, this is the Crawler gig at the Nottingham Boat Club.
Line-up:
- Terry Slesser / vocals
- Geoff Whitehorn / guitar
- John Rabbit Bundrick / keyboards
- Terry Wilson / bass
- Tony Braunagel / drums
Track List:
CD1
01. Sail On – 5:11
02. Disc Heroes – 3:22
03. Where Is The Money – 5:14
04. You And Me – 7:09
05. Muddy Water – 4:32
06. How Will You Break My Heart – 4:45
07. Keep On Running – 5:35
08. Blues My Guitar – 8:06
CD2
01. Liar – 4:50
02. The Shape I’m In – 3:48
03. First Class Operator – 4:15
04. One Way Street – 4:51
05. Stone Cold Sober – 7:20
06. Selfish Lover – 5:35
07. Blue Soul – 13:10
Links in comments.
King Crimson – Thrakattak (Live 1995) (@256)
20 Jun 2008
(Review from progreviews.com)
In King Crimson’s long history they never put an album out quite like this one. Consisting of eight improvisations tacked together in a seemingly random manner, THRaKaTTaK is not for the faint of heart. There are moments of great violence followed by lengthy soundscapes and sparse percussion. There are a couple of moments that might sound somewhat avant, but on the whole this doesn’t quite make it up there with the mindset of RIO. It’s still rooted in Fripp and Crim’s ethos, which precludes the kind of alien quality most really good avant-prog seems to have.
Nevertheless, this is a release that is worth exploring for Crimson fans who would like to hear something different. On the one hand, you have to admire the bravery of the band to release something like this at this point in their career. At times they approach the searing success of their 70s improv efforts, except from a less accessible end.
Line-up:
- Adrian Belew / guitar, vocals
- Bill Bruford / acoustic & electronic drums, percussion, marimba
- Robert Fripp / guitar, soundscapes
- Trey Gunn / Warr guitar
- Tony Levin / NS Upright bass
- Pat Mastelotto / acoustic & electronic drums, percussion
Track List:
01. THRAK – 2:20
02. Fearless and Highly THRaKked – 6:35
03. Mother Hold The Candle Steady While I Shave The Chicken’s Lip – 11:18
04. THRaKaTTaK Part I – 3:42
05. The Slaughter of the Innocents – 8:03
06. This Night Wounds Time – 11:16
07. THRaKaTTaK Part II – 11:08
08. THRAK reprise – 2:52
Links in comments.
Apoteosi – Apoteosi (1975) (@256)
20 Jun 2008
(Review from progreviews.com, vintageprog.com, progarchives.com)
Built on the nucleus of the three siblings Silvana, Massimo and Federico Ida; Apoteosi plays symphonic progressive rock with many of the usual characteristics: piano, flute, beautiful melodies, and a tendency to sound like an Italian “Camel” with a female vocalist and more sophisticated compositions.
Aside from the rhythm section, none of the band are much more than good ordinary musicians in a technical sense. Nor is this album full of complex thirty-part arrangements. Where this band really excels is in its ability to take a melody and explore it from a variety of angles, making it a very interesting listening experience. Apoteosi seem to have a very good idea of where a song should go and what they have to do to get it there. Thus most of the tracks are quite structured and based in strong themes and melodies.
The highlight is the 15-minute “Prima Realta / Il Grande Disumano”, which in fact is two tracks floating into each other. The title-track seems to be more jam-based, and is different from the rest of the album.
Line-up:
- Marcello Surace / drums
- Federico Ida / bass, flute
- Franco Vinci / guitar, vocals
- Silvana Ida / vocals
- Massimo Ida / keyboards, synthesizer
Track List:
01. Embrion – 2:37
02. Prima Realta’ : Frammentaria Rivolta – 14:43
03. Il Grande Disumano : Oratorio (Chorale) : Attesa – 8:37
04. Dimensione Da Sogno – 3:46
05. Apoteosi – 5:56
Link in comments.
Crawler – Live at Agora Club (1978) (@256)
20 Jun 2008
Thanks to ldicker1 for the contribution.
This live recording at the “Agora Club” from 1978, was the first-ever band authorised live album.
Line-up:
- Terry Slesser / vocals
- Geoff Whitehorn / guitar
- John Rabbit Bundrick / keyboards
- Terry Wilson / bass
- Tony Braunagel / drums
Track List:
01. Without You Babe – 3:23
02. You Got Money – 3:20
03. Keep On Running – 5:02
04. You And Me – 6:30
05. You Are My Saviour – 4:48
06. Pastime Dreamer – 4:34
07. Never Loved A Woman – 4:28
08. Blues My Guitar – 6:26
09. Worn Out Dream – 4:29
10. Stone Cold Sober – 3:33
11. Blue Soul – 10:23
12. Selfish Lover – 3:23
Links in comments.
King Crimson – Thrak (1994) (@256)
19 Jun 2008
(Review from progarchives.com, progreviews.com)
In 1994, Fripp woke King Crimson from the netherworld once more, with another evolution in the line up, this time the formulation of six members which breaks down rhythmically as two trios to blend a very interesting construction of soundscapes. The previous band would return along with Trey Gunn, as well as Pat Mastellotto on drums. Both had played with Fripp in a collaboration with avant-garde artist David Sylvian.
The sound harkens back to the Red-period band, with aggressive instrumentals and some fiery improvisations. The new marque of this heavy instrumental music displayed more musical maturity and finer execution over mainstream heavy metal to “117 guitars almost hitting the same chord simultaneously”. Expansive arrhythmic soundscapes which drew from “Frippertronics” concepts give imposing auras which were generated by the mellotron in the King Crimson of the early 70s.
The title track is possibly as overtly dissonant and aggressive as the band has ever sounded, while “VROOOM” and its pseudo-reprise are uptempo workouts that fit nicely in the band’s canon. Adrian Belew returns as frontman, and doesn’t miss a beat incorporating his modern-rock take on the Beatles and Talking Heads into the Crimson sound.
The lively opener “VROOOM” prooves that the band can still rev it up. The classic King Crimson formula of juxtaposing raging, rockish sections with softer, understated sections is put to use here, as is the new double trio lineup. The two drummers shine especially, with Mastelotto laying down the basic groove and Bruford dancing around him. For further evidence, check out their drum feature/intro “B’Boom”.
“Dinosaur”, a Belew-penned tune is about, of all things, getting older. Imagine the mid-life crisis of the world’s alltime greatest fan of Magical Mystery Tour, beef up the metallic guitars, and you’ve got this slab of prog-pop. Heavy yet nerdy.
Welcome to the King Crimson of 90s.
Line-up:
- Adrian Belew / guitar, voice, vocal
- Bill Bruford / acoustic & electronic percussion
- Robert Fripp / guitar, mellotron, soundscapes
- Trey Gunn / stick, back vocals
- Tony Levin / basses, back vocals
- Pat Mastelotto / acoustic & electronic percussion
Track List:
01. Vrooom – 4:38
02. Coda- Marine 475 – 2:41
03. Dinosaur – 6:37
04. Walking On Air – 4:38
05. B’boom – 4:11
06. Thrak – 3:59
07. Inner Garden I – 1:47
08. People – 5:53
09. Radio I – 0:43
10. One Time – 5:22
11. Radio II – 1:03
12. Inner Garden II – 1:15
13. Sex Sleep Eat Drink Dream – 4:50
14. Vrooom Vrooom – 5:50
15. Vrooom Vrooom- Coda – 3:03
Links in comments.
James Gang – Rides Again (1970) (@256)
19 Jun 2008
Request of Hugh. Thanks to ldicker1 for the contribution.
(Review from allmusic)
With the emergence of Cream and the Jimi Hendrix Experience during the late ’60s, the path was cleared for other hard-rockin’ “trios”. One of the finest to emerge from the subsequent American crop was the James Gang.
With their second album “Rides Again”, the James Gang came into their own. Under the direction of guitarist Joe Walsh, the group — now featuring bassist Dale Peters — began incorporating keyboards into their hard rock, which helped open up their musical horizons.
For much of the first side of Rides Again, the group tear through a bunch of boogie numbers, most notably the heavy groove of “Funk #49.” On the second side, the James Gang departs from their trademark sound, adding keyboard flourishes and elements of country-rock to their hard rock. Walsh’s songwriting had improved, giving the band solid support for their stylistic experiments.
What ties the two sides of the record together is the strength of the band’s musicianship, which burns brightly and powerfully on the hardest rockers, as well as on the sensitive ballads.
Line-up:
* Joe Walsh / All guitars, keyboards, piano, percussion, vocals
* Dale Peters / Bass guitars, guitars, keyboards, percussion, vocals
* Jim Fox / Drums, percussion, keyboards, organ, piano, vocals
Track List:
01. Funk # 49
02. Asshtonpark
03. Woman
04. The Bomber- Closet Queen-Bolero-Cast Your Fate To The Wind
05. Tend My Garden
06. Garden Gate
07. There I Go Again
08. Thanks
09. Ashes The Rain And I
Link in comments.
Crawler – Snakebite Live (1978) (@256)
19 Jun 2008
Thanks to ldicker1 for the contribution.
(Review from dmme.net)
By 1978, when this recording was made, Crawler stood extremely tight to shoot for funky “How Will You Do It?” or Otis Blackwell’s classic “The Shape I’m In”. But there wasn’t that much of blues anymore, exemplifying Crawler’s jazzy approach. Terry Slesser’s voice excels bouncing easily off Rabbit’s bar piano in “Keep On Running”.
Always behind big names, John Bundrick proves himself an artful composer and keyboards virtuoso in one short organ solo, like one of “One Way Street”, pushing feelings to the edge. Complementing him, Whitehorn runs for edgy riffs too to make “You Got Money” angular enough, Terry Wilson’s bass smoothing off the spikes.
With all this, Sex Pistols’ “Liar” doesn’t come as the major surprise demonstrating mainstream group’s broad view on music, not only punk heroes’ gift for a tunesmithery, vocal harmonies and Tony Braunagel’s imaginative drumming underscoring the song’s pop catchiness.
There’s always something special, like “Sail On”, which equals its Free namesake and blistering boogie “First Class Operator”. Then, creeping “Stone Cold Sober” bites no less than “Stone Cold Fever” – even now, shaking, rattling and rolling down the years.
Recorded live in Denver in 1978, the “Snakebite” album shows what discipline makes to a band.
Line-up:
- Terry Slesser / vocals
- Geoff Whitehorn / guitar
- John Rabbit Bundrick / keyboards
- Terry Wilson / bass
- Tony Braunagel / drums
Track List:
01. Keep On Runnin’ – 5:42
02. Sail On – 5:31
03. One Way Street – 5:02
04. Where Is The Money – 4:53
05. Muddy Walters – 4:49
06. Liar – 4:48
07. How Will You Do It – 4:30
08. The Shape I’m In – 3:26
09. First Class Operator – 3:51
10. Stone Cold Sober – 7:49
Link in comments.
King Crimson – Beat (1982) (@256)
18 Jun 2008
(Review from progarchives.com)
The album which followed in June 1982, Beat, which was largely influenced by the writings of Beatnick visionary Jack Kerouac, featured more technology and artistically went even further beyond musical comprehension. Another dose of “Discipline”, this time favoring the languid, dreamy side of the quartet’s combined powers.
“Beat” isn’t much different from their last album, so the shock value associated with “Discipline” is lost. “Neal And Jack And Me” won’t surprise anyone who’s heard “Frame By Frame”, “Heartbeat” doesn’t hold any magical treats that “North Star” didn’t already unlock years ago, “Neurotica” is a familiar indulgence of indiscipline, etc.
There are some new ideas at work here, treading into Steve Hackett’s dark forest on “Sartori In Tangier”, showcasing Frippertronics on the closing “Requiem”, exploring “Beat” imagery on “The Howler” and “Neal And Jack And Me” (hence the title).
The superlative, mathematical approach of this King Crimson attracted a whole new audience of younger listeners who viewed the band as champions of instrumental envelope pushing.
Line-up:
- Adrian Belew / guitar, vocals
- Bill Bruford / drums
- Robert Fripp / guitar, organ, Frippertronics
- Tony Levin / Stick, bass, back vocals
Track List:
01. Neal and Jack and Me – 4:22
02. Heartbeat – 3:54
03. Sartori in Tangier – 3:34
04. Waiting Man – 4:27
05. Neurotica – 4:48
06. Two Hands – 3:23
07. The Howler – 4:13
08. Requiem – 6:38
Link in comments.
Flower Kings – Back In the World of Adventures (1995) (@256)
18 Jun 2008
(Review from progarchives.com)
After shaking the progressive rock world with his prime opera “Flower King”, Roine Stolt remarked a point of departure on the musical scene by putting together a band named after his first solo recording and pulling off the incredible release of “Back in the World of Adventures”.
In the purest symphonic tradition, the sound of Flower Kings has evidentially the Yes, Genesis and Camel influences, even the psychedelic ones and the old progressive school of King Crimson. All of this musical tendencies where the Swedish band is founded on, are brightly blended with a jazzy touch that gives a very personal taste of Flower Kings.
The musical execution is superb and all the musicians handle their instruments just perfectly. Nowadays, Roine Stolt’s guitar could easily be catalogued as one of the best surrounding the progressive scene. The legendary guitarist from seventies band Kaipa, twangs the strings of his instrument arbitrarily in a very peculiar and exquisite way, being occasionally reminded of Steve Howe. His voice full of passion, suits perfectly the kind of music the band plays, obtaining the most enjoyable atmospheres. Tomas Bodin is yet another monster on keyboards. High voltages of Hammond organs and mellotrons take us through extremely delicious passages and conquering music. The rhythmic section is masterfully taken over by Roine’s brother, Michael Stolt, on bass and by the Chilean native, Jaime Salazar. For the perfect ending, comes along the talented multi-instrumentalist Hasse Bruniusson, who collaborated in the 70′s with the mythical band Samla Mammas Manna.
This great band’s music jumps elegantly from extremely violent moments with Stolt’s effective riffs, to beautiful fragments of peace and quietness. My favorite pieces are “World Of Adventure”, “Atomic Prince / Kaleidoscope”, “Theme for a Hero” and “Big Puzzle”. From beautiful and lyrical vocals to exuberant instrumental passages, the shape and composition of “Back In The World Of Adventures” is insuperable. Enjoyable from beginning to end.
With this album, the legend of one of the best 90s progressive rock exponents had begun, and was meant to be one of the most considerable conversation subjects of that decade and of this millennium.
Line-up:
- Roine Stolt / guitars, lead vocals & keyboards
- Tomas Bodin / keyboards
- Hasse Fröberg / lead & backing vocals
- Michael Stolt / bass
- Jaime Salazar / drums
- Hasse Bruniusson / percussion
Track List:
01. World Of Adventures – 13:37
02. Atomic Prince ~ Kaleidoscope – 7:49
03. Go West Judas – 7:47
04. Train To Nowhere – 3:49
05. Oblivion Road – 3:47
06. Theme For A Hero – 8:32
07. Temple Of The Snakes – 1:23
08. My Cosmic Lover – 6:46
09. The Wonder Wheel – 4:17
10. Big Puzzle – 13:34
Links in comments.
Crawler – Pastime Dreamer (Live 1977) (@256)
18 Jun 2008
Thanks to ldicker1 for the contribution.
(Review from travellersintime.com)
Recorded live in 1977, the “Pastime Dreamer” album showcases yet another solid performance by the underrated classic rock band Crawler.
Bundrick’s keyboard adventures shines with plenty of cool intros, solos, moog, hammond, etc… The band seems to be enjoying playing together, as on the extended “Blue Soul”. Crawler could go from funky tunes to blues to rock, with a number of great tunes like “Where Is The Money”, “Devil Run”, “Never Loved A Woman” and the lead off track “How Will You Break My Heart”.
13 tunes, as well as a bonus radio interview segment makes you craving more for Crawler shows.
Line-up:
- Terry Slesser / vocals
- Geoff Whitehorn / guitar
- John Rabbit Bundrick / keyboards
- Terry Wilson / bass
- Tony Braunagel / drums
Track List:
01. How Will You Break My Heart – 5:14
02. Where Is The Money – 4:40
03. You And Me – 9:13
04. Devil Run – 4:52
05. The Shape I’m In – 3:30
06. First Class Operator – 3:41
07. Sold On Down The Line – 3:22
08. Pastime Dreamer – 4:26
09. Never Loved A Woman – 3:56
10. Blues My Guitar – 6:50
11. Blue Soul – 11:42
12. Worn Out Dream – 4:44
13. Stone Cold Sober – 7:38
14. Radio Interviews (Bonus) – 3:07
Links in comments.
King Crimson – Discipline (1981) (@256)
17 Jun 2008
(Review from progarchives.com)
In 1981, Fripp formed a band called Discipline which followed the art/rock framework in the sense that it drew ideas from foreign sources which included rhythmical elements of Javanese music combined with rock and pop stylings. In order to achieve a contrast with his own unique guitar technique he asked Adrian Belew (fresh out of Zappa band, touring with The Talking Heads at the time) to join him and former King Crimson drummer Bill Bruford along with master bassist Tony Levin (from innumerable jazz/rock band) in his latest musical endeavour.
Not only were fresh musical ideas sought out but innovations in technology were also exploited with the use of guitar synthesisers, electric drums and Levin’s use of the Chapman Stick, a multi stringed instrument on which bass lines and chords could be played simultaneously by means of a tapping technique. The resulting sound was “decidedly dangerous” and occupied a grey area somewhere between the Talking Heads and the new metal derived grunge and industrial music which was also beginning to surface in the early 80s. It embodied many aspects of the previous 1974 King Crimson entity as well, including improvisation with heavy emphasis on intricate instrumental ability in addition to, perhaps most importantly, artistic freedom within the concept of a collective group effort. Prior to the release of the group’s first album it was decided to change the name to King Crimson thus ushering in a new era of music that would continue to devastate.
The new album was appropriately entitled Discipline which accurately reflected the mindset which was required in order to execute the demanding nature of the various compositions. Their impossible time signatures, polyrhythms and hypnotic guitar phrasings would also set the norm for the two succeeding works, “Beat” and “Three Of A Perfect Pair” along with Belew’s charismatic vocals and stage presence which would also recall Jamie Muir’s antics from the early 70s.
A more pop oriented attitude along with world beat ingredients was evident on the new album and at first they didn’t sit too well with some older fans who were expecting a re-emergence of the darker more foreboding Crimson creature of 72-74. But times had changed considerably and the Crims quickly found an audience both young and old. Some ghosts of the past did indeed linger within the new music as exemplified in the title track’s evil twin , “Indiscipline”. With its overdriven power guitar chords, it was by far the heaviest track recorded by the band to date. Their fiery live performances continued to outshine the studio albums with improvisations as well as updated interpretations of earlier material.
Line-up:
- Adrian Belew / guitar, vocals
- Bill Bruford / drums
- Robert Fripp / guitar, devices
- Tony Levin / Stick, basses, back vocals
Track List:
01. Elephant Talk – 4:42
02. Frame by Frame – 5:10
03. Matte Kudasai – 3:48
04. Indiscipline – 4:33
05. Thela Hun Ginjeet – 6:26
06. The Sheltering Sky – 8:23
07. Discipline – 5:06
Link in comments.
Aquila – Aquila (1970) (@256)
17 Jun 2008
(Review from progarchives.com, dprp.net)
Welsh band Aquila arose from the ashes of late 1960′s band “Blonde On Blonde”. Founding guitarist Ralph Denyer left that band in 1970 to work on a new project. He brought in four other musicians including George Lee, a dedicated wind instrumentalist and the five piece Aquila was formed.
Aquila’s music, while substantially based in art rock, draws in influences from a diverse range of influences, including jazz and heavy rock. They play a most pleasant form of progressive rock music that follows in many ways where groups such as King Crimson left off following the release of In “The Court Of The Crimson King”. The group manages to combine straightforward rock music with rather more complex arrangements together with the introduction of various “unconventional” rock instruments such as saxophones to great effect.
Deyner was the clear leader of the band, writing all the songs on their sole release, a self titled album — split into two distinct halves. Side one has four self contained tracks which range from jazz rock to psychedelic proto-progressive, all the while remaining firmly in art rock territory. Side two is taken up entirely by the “Aquila suite”, a 26 minute venture in three parts, delving into much progressive territories.
Aquila is an unjustly lost album from 1970. It is perhaps George Lee’s contribution which distinguishes “Aquila” from other releases of the time, his multi-instrumental talents giving each track a unique flavour. Ralph Denyer’s own contribution though should not be under-played. As sole songwriter and vocalist, as well as lead guitarist, he takes great credit for the way he exploits the talents of his fellow band members.
Line-up:
- Ralph Denyer / vocals, electric & acoustic guitars
- Phil Childs / Fender bass & piano
- George Lee / flute & Alto, Soprano, Tenor and Baritone saxes
- Martin Woodward / Hammond organ
- James Smith / drums, timpani, various percussion
Track List:
01. Change Your Ways – 5:18
02. How Many More Times – 6:22
03. While You Were Sleeping – 5:25
04. We Can Make It If We Try – 4:35
05. The Aquila Suite (First Movement: Aquila (Introduction), Flight If The Gilden Bird) – 8:29
06. The Aquila Suite (Second Movement: Cloud Circle, The Hunter, The Hill) – 8:52
07. The Aquila Suite (Third Movement: Were Do I Belong, Aquila (Conclusion)) – 8:57
Link in comments.
Crawler – Demo Anthology (1975-78) (@256)
17 Jun 2008
Thanks to ldicker1 for the contribution.
(Review from musictap.net)
This is an album of demos recorded between 1975 and 1978. This collection of songs, largely unfinished yet containing an essence of blues rock, highlights the greatness of the band that was unable to fully realize their potential during their time. Taken from unfinished songs ‘in the can’, “Demo Anthology” gives us more, not only of what we missed but also a glimpse into the song crafting process that Crawler employed.
18 songs are on this album, filed in the year that the demo (song) was recorded. With this, we are afforded a rare view into the extraordinary output of Crawler as the band prepared to rehearse for their first and then their second release shortly thereafter.
Selections include the demos for “Sail On” and “First Class Operator”, which were eventually finished and made it onto their second album. There are other songs that were demoed for the Snake sessions but didn’t make it onto the final product. You can call these gems extended jams because that is what they turned out to be. The importance of this album is that it gives up songs that would never be chosen (for the most part). It’s like getting another Crawler album. The stuff is unrefined but if you’re a fan, who cares.
Listening to the early 75 -76 songs is pure Crawler output. These songs were good enough to be released and they rock. With the world much poorer for only 2 official Crawler releases at their time, albums like these help to fill the void.
Line-up:
- Tony Braunagel / vocals
- Terry Slesser / bass
- Geoff Whitehorn / guitar
- Terry Wilson / drums
Track List:
01. Sweet, Sweet Judy (1975 – TW Studios) – 3:40
02. Cold, Cold, World (1976 – Welsh) – 4:44
03. Evening Time (1976 – Welsh) – 5:28
04. Sit Down Easy (1976 – Welsh) – 4:03
05. Crazy Women (1976 – LA) – 4:17
06. The Music’s Mine (Instrumental Version)(1977 – Notting Hill) – 6:35
07. Poor Man (1977 – Notting Hill) – 3:45
08. Sweet Sister (1977 – Notting Hill) – 4:04
09. Red Beans And Rice (1977 – Notting Hill) – 4:18
10. Tony’s Blues (1977 – Decca) – 5:08
11. Red Beans (Instrumental) (1977 – Decca)1:57
12. Direct South (1977 – Decca) – 4:58
13. Sail On (1977 – Decca) – 5:15
14. Alone Baby (1978 – St John’s Wood) – 3:12
15. How Do You Live Your Life? (1978 – St John’s Wood) – 3:24
16. Jesus (1978 – St John’s Wood) – 4:33
17. 1st Class Operator (1978 – St John’s Wood) – 3:44
18. Burning In The Fire (1978 – St John’s Wood) – 5:12
Links in comments.
King Crimson – USA (Live 1974) (@256)
16 Jun 2008
(Review from progreviews.com, progarchives.com)
The posthumous live effort of the Larks’-era King Crimson is quite simply one of those great live album documents to emerge from the 70s. This remastered edition of the album brings the great sound quality lacking in ‘Earthbound’ with the addition of three more tracks.
With some notable exceptions, in this album melody and delicacy of touch are largely replaced by sheer strength, aggression and stunning technical proficiency. The sound is at times harsh and metallic, with John Wetton’s powerful yet intricate bass lines providing a solid background for Fripp’s angular guitar excursions. Bruford’s drumming, stellar as always, is unfortunately somewhat swamped by the bass in a mix which, while miles better than its predecessor “Earthbound”, does not enhance all the instruments in the same way. Even David Cross’s violin sounds harsher and less lyrical than on the studio albums.
To further the level of necessity for this particular live recording, “Asbury Park” is one of the best -nowhere else available- improvisational cuts ever released. Its signature and key might seem trite at first, but the energy reaches several peaks, giving it distinction above a great many of their improvised operations.
Line-up:
- Bill Bruford / drums, percussion
- David Cross / violin, keyboards
- Robert Fripp / guitar, mellotron
- John Wetton / bass, vocals
with
- Eddie Jobson / violin (2), piano (3)
Track List:
01. Walk On … No Pussyfooting – 0:34
02. Larks’ Tongues In Aspic Part II 6:24
03. Lament 4:21
04. Exiles 7:23
05. Asbury Park 6:53
06. Easy Money 7:11
07. 21st Century Schizoid Man 8:10
08. Fracture 11:19
09. Starless 14:53
Links in comments.
Paul Simon – Still Crazy After All These Years (1975) (@256)
16 Jun 2008
(Review from allmusic)
The third studio album of Paul Simon’s post-Simon & Garfunkel career is a musical and lyrical change of pace from his first two. Where Simon had taken an eclectic approach before, delving into a variety of musical styles and recording all over the world, this one found him working for the most part with a group of jazz-pop New York session players.
He did do a couple of tracks (“My Little Town” and “Still Crazy After All These Years”) with the Muscle Shoals rhythm section that had appeared in his previous album and another (“Gone at Last”) returned to the gospel style of earlier songs like “Loves Me Like a Rock.” Of course, “My Little Town” also marked a return to working with Art Garfunkel, and another hit for Simon & Garfunkel. But the overall feel of this album is of a jazzy style subtly augmented with strings and horns.
Perhaps more striking, however, is Simon’s lyrical approach. Where his previous album was the work of a confident family man, “Still Crazy” comes off as a post-divorce album, its songs reeking of smug self-satisfaction and romantic disillusionment. At their best, such sentiments are undercut by humor and made palatable by musical hooks, as on “50 Ways to Leave Your Lover”, which became the biggest solo hit of Simon’s career.
Still, as out of sorts as Paul Simon may have been, he was never more in tune with his audience: Still Crazy topped the charts, spawned four hits and won two Grammys.
Track List:
01. Still Crazy After All These Years – 3:26
02. My Little Town – 3:51
03. I Do It For Your Love – 3:35
04. 50 Ways To Leave Your Lover – 3:37
05. Night Game – 2:58
06. Gone At Last – 3:40
07. Some Folks’ Lives Roll Easy – 3:14
08. Have A Good Time – 3:26
09. You’re Kind – 3:20
10. Silent Eyes – 4:12
11. Slip Slidin’ Away (Bonus Demo) – 5:30
12. Gone At Last (Bonus Original Demo with Jessy Dixon Singers) – 4:38
Link in comments.
Crawler – Roots Chapter 1 : A Pre-History of (@256)
16 Jun 2008
Thanks to ldicker1 for the contribution.
(Review from angelair.force9.co.uk)
The story of Paul Kossoff often tells us that he put together Back Street Crawler and after his death the band evolved into a tighter, funkier Crawler once guitarist Geoff Whitehorn was added. While this is in many ways true, the factual history of the band is more involved, and goes back much further.
This album represents a pre-history of the band, prior to the formation of the Paul Kossoff version. The recordings here come from an unfinished project leading up almost to the forming of Back Street Crawler but featuring the rhythm section of that band: Rabbit Bundrick, Terry Wilson and Tony Brunagel.
Recorded between 1972 & 1977, most of band’s pre-histories often only include a few aborted attempts at demos but here there is an opportunity to hear a more involved and evolved growth. Years before Crawler, the three main musicians produced a fine selection of recorded music. Even now they remain in touch and friends.
Line-up:
- John Rabbit Bundrick / vocals, keyboards
- Glen Gibson / vocals
- Bob Welch / guitar
- Terry Wilson / bass
- Tony Braunagle / drums
Track List:
01. Better Be Ready – 4:27
02. Crazy – 3:06
03. Every Little Bit Hurts – 4:16
04. First Time Last Time – 2:47
05. Get The Feeling – 5:28
06. Half Alive – 4:17
07. I’ll Be Doggone – 3:30
08. Young Cassidy – 2:47
09. Gonna Change Directions – 3:17
10. Every Little Bit Hurts – 4:41
11. Stuck In The Middle – 2:12
12. Sing A Song – 3:39
13. We Won – 4:42
14. We All Need Love – 3:00
15. The 3 Of Us – 3:27
16. Terry’s Acoustic – 3:18
17. Unseen Love – 7:06
18. Better Be Ready (Alternate 1984 Version) – 3:24
Links in comments.
King Crimson – Red (1974) (@256)
15 Jun 2008
(Review from progreviews.com, vintageprog.com, wikipedia)
With David Cross’ exit from the band, King Crimson forged ahead as a trio, and produced this, the last album Crimson would make in the 70s. Red is often cited as the strongest of the three Larks’-era albums, and sometimes of King Crimson’s entire discography. Generally, here the band is consistently heavier in force and tighter in focus than ever before, with the departure of any remaining possibility for the violin line of abandon from Cross.
The first side is a juggernaut of solid musicianship and probably represents the most accessible and distilled album side for this era of the band. The title-track opens the album, and is as typical for this version of Crimson as it can get, consisting of a simple but yet powerful and heavy riff that carries the track all the way through. “Fallen Angel” is a strong vocal-track with the mellotron mixed very far back in the sound on the verse, while the chorus is a far heavier and more electric thing. “One More Red Nightmare” is another prime example of how Fripp could use a very simple riff to create a really powerful and enjoyable progressive rock track.
The masterpiece of Red, however, is doubtlessly the album’s closer “Starless”. It’s hard to find a more emotional, down-to-earth moment in Crimson’s repertoire than Wetton’s weary voice clutching for a ray of hope as it enters past the melancholic, mellotron-drenched opening: “Sundown, dazzling day…” The thunderous climax (in 13/8) and sweepingly powerful ending of the song closes the chapter on 70s Crimson like an unstoppable (and unforgettable) deluge.
Robert Fripp, increasingly disillusioned with the music business, was turning his attention to the writings of the mystic George Gurdjieff, and did not want to tour as he felt that the “world was coming to an end”. The Red line-up never toured, and two months before the album’s release Fripp announced that King Crimson had “ceased to exist” and was “completely over for ever and ever” and the group officially disbanded on late September 1974.
Line-up:
- Robert Fripp / guitars
- Bill Bruford / drums
- John Wetton / bass, vocals
with
- Mark Charig / cornet
- Mel Collins / soprano saxophone
- David Cross / violin
- Ian McDonald / alto saxophone
- Robin Miller / oboe
Track List:
01. Red – 6:17
02. Fallen Angel – 6:04
03. One More Red Nightmare – 7:07
04. Providence – 8:11
05. Starless – 12:18
Link in comments.
Albatros – Garden of Eden (1978) (@256)
15 Jun 2008
(Review from progressiveworld.net)
Albatros were a sextet from Hagen that formed in 1974, but didn’t record an album until 1978. Internal conflicts and the pressures of the “real world” lead the band to disintegrate, thus leaving only “Garden Of Eden” as their only recorded document.
The album is a pleasure to have around, and at 41-plus minutes, is far too short. There are only three tracks on this album. Each clocking over 10 minutes they were even shortened to fit the format of an LP. Their theatric and complex arrangements are similar to early Genesis and ELP, are great to hear, they have a very distinct sound.
All the aspects that make classic songs those memorable beasties they are can be found here. Catchy refrains, great licks – whether it’s the keys, guitar, or drums – a voice you can sing along with. Plus all those elements we like in our progressive — extended arrangements, great interplay, intriguing patterns and rhythms.
Line-up:
- Peter Breitbarth / guitar
- Thomas Buscher / drums
- Achim Hubricht / bass
- Harald Hubricht / keyboards
- Christian Koppen / piano
- Hansi Koppen / vocals
- Jurgen Polzin / congas, PA
Track List:
01. A Man Like Me (19:51)
02. Sundriver (11:35)
03. Garden Of Eden (10:14)
Link in comments.
Allman Brothers Band – Live at American University (1970) (@320)
15 Jun 2008
(Review from cduniverse.com)
While there’s no certainly no shortage of live Allman Brothers Band albums, each with something to recommend it, this one finds the group at its jaw-dropping peak. Recorded in Washington, D.C. just a few months before the performance captured on the band’s seminal “Live At Fillmore East” album, this live album concentrates on the bluesiest aspects of the Allmans’ sound.
While the country and jazz elements of the band’s style are hinted at here, and there’s no shortage of extended jams on such epics as “You Don’t Love Me” and “Whippin’ Post”, (which were new to the Allmans repertoire at the time), the Chicago blues influence predominates. The fury and forward motion the band lends to Muddy Waters’s “Trouble No More” and their pumped-up, house-rocking take on Bilind Willie McTell’s “Statesboro Blues” (just imagine a time when the latter was not tainted by classic-rock ubiquity) mark the Allmans as true blues ambassadors.
The burning, youthful energy that courses throughout “Live At American University” makes it a must for fans of the Allmans’ vintage era.
Line-up:
* Gregg Allman / vocals, Hammond b-3 organ
* Duane Allman / guitar, slide guitar
* Dickey Betts / guitar
* Berry Oakley / bass guitar
* Butch Trucks / drums, timpani
* Jai Johanny “Jaimoe” Johanson / drums, percussion
Track List:
01. Statesboro Blues
02. Trouble No More
03. Don’t Keep Me Wonderin’
04. Leave My Blues At Home
05. Stormy Monday
06. You Don’t Love Me
07. Whippin’ Post
Links in comments.
King Crimson – Starless and Bible Black (1974) (@256)
14 Jun 2008
(Review from progreviews.com)
With a bang, this album starts and doesn’t let up for air until about mid-way through. Of all the King Crimson mid-period, this one perhaps is there most consistently breathless — let’s see: we’ve got hyped-up blues-prog in “Great Deceiver”, the schizophrenic narrative “Lament”, marvelously cohesive improv in “We’ll Let You Know”, “Trio” and the title track, the symphonic ballad “The Night Watch”, the spooky, atmospheric “The Mincer”, and arguably Fripp’s finest masterpiece, “Fracture.” If ever a progressive band was lean, mean, and ready to fight, it was this one.
Fripp has stated that he always thought his drummer and bassist of this period were great players, but never sure if they were a great rhythm section. In any case, Bruford and Wetton set the tone for many of the pieces on this album. Tightly wound, precise punches and jabs; bladed, metallic bass figures rip through thin layers of mellotron and violin, while high-tuned toms and snare keep ahead of the beat and make no room for error, or even diversion. This is not to say the two men weren’t sympathetic performers, but driven.
While the whole-tone adventures of “Fracture” and later pieces such as “Red” and “One More Red Nightmare” have captured the attention of many progressive fans, the most distictive aspect of this band may have been its willingness to step out of its structured pieces into improvisation. The mid-period King Crimson were doubtlessly the *most* popular proponents of free-improv in the history of prog. “Trio” is simply that: Fripp, Cross, and Wetton delicately composing in the moment; “We’ll Let You Know” is avant-funk without the burden of a dancefloor; “Starless And Bible Black” is exotic, dark, and well-timed – leading into the explosive “Fracture” in much the same way as “The Talking Drum” led into “Larks Toungue part II” on the previous album.
This album saw the band at the height of its powers, and should be a reference to all those defending progressive as something other than bombastic flower-music.
Line-up:
- Robert Fripp / guitars
- Bill Bruford / drums
- David Cross / violin, viola, kbds
- John Wetton / bass, vocals
Track List:
01. The Great Deceiver – 4:02
02. Lament – 4:06
03. We’ll Let You Know – 3:41
04. The Night Watch – 4:41
05. Trio – 5:40
06. The Mincer – 4:11
07. Starless And Bible Black – 9:12
08. Fracture – 11:14
Link in comments.
Bruce Cockburn – Bruce Cockburn (1970) (@256)
14 Jun 2008
(Review from allmusic)
Immensely popular in his native Canada, singer/songwriter Bruce Cockburn has found only cult success outside the border, in spite of a rich, varied body of work and considerable critical nods.
Bruce Cockburn’s self-titled debut’s blend of diversity, enthusiasm and innocence never quite resurfaced again in his work.
The opening number, “Going to the Country”, still evokes that hippie-esque, back-to-the-earth movement as well as any song ever recorded, complete with a sly wink that keeps it fresh to this day. And since this was 1970, the album also comes equipped with some of those quaint excesses of the period; try the nasal tone poem gracing “The Bicycle Trip”. “Musical Friends” remains a lively, happy-go-lucky classic with piano signature lifted from Paul McCartney’s playbook; it’s difficult to picture the dour Cockburn later in his career ever having this much fun. In contrast, “Thoughts on a Rainy Afternoon” offers a trance-like, introspective atmosphere reminiscent of British folkie legend Nick Drake.
Nothing complicated is here, just Bruce Cockburn and his guitar having a good time. Containing 10 tracks, the tunes are simple and folksy like a gentle breeze on a hot summer day. At times carefree, at times contemplative, but all enjoyable.
Track List:
01. Going to the Country – 3:16
02. Thoughts on a Rainy Afternoon – 3:49
03. Together Alone – 2:50
04. The Bicycle Trip – 4:14
05. The Thirteenth Mountain – 4:50
06. Musical Friends – 2:58
07. Change Your Mind – 2:27
08. Man Of A Thousand Faces – 5:43
09. Spring Song – 5:05
10. Keep It Open – 1:53
Link in comments.
Almendra – Almendra II (1970) (@256)
14 Jun 2008
(Review from tinpan.fortunecity.com)
In early 1970 Spinetta was working on a highly ambitious -though not original at that time- project: a rock opera about mankind’s inner search. But while they were working on this new album the group split.
On December 19th, 1970, Almendra II (a.k.a. “Almendra double album”) was released. The double-LP set included only traces of the unfinished opera but was full of songs that previewed what the members of the group (noteworthy Emilio and Edelmiro) would do next. Although Luis Alberto Spinetta was the main composer of the first album and most of the singles, it was clear that his fellow musicians had their own ideas as well.
The brilliant double album is, thus, pretty heterogeneous. The music is more complex and has much organ and guitar playing.
Side A begins with “Toma el tren hacia el sur” featuring a great Edelmiro guitar solo. Next to the short and simple “Jingle”, a Molinari powerful guitar composition (“No tengo idea”) follows. “Camino difícil”, written by Emilio, would fit in any Aquelarre album. The steady rock of “Rutas Argentinas” (a very popular song on live shows), the dark “Vete de mí, cuervo negro”, and another two Molinari compositions: “Aire de amor” (advancing the Color Humano style) and the excellent “Mestizo” completes this side.
Side B features the chirping hard-psycho 14-minutes-long “Agnus Dei” and the cute “Para ir”.
Side C includes the powerful “Parvas”, “Cometa azul”, my favourite “Florecen los nardos”, -all with great guitar work- and Del Güercio’s rhythm ballad “Carmen”.
Side D begins with “Obertura” (obviously the ill-fated opera’s overture), followed by the country-folk “Amor de aire” and “Verde llano” (both written by Edelmiro). This last side continues with “Leves instrucciones”, a nice tune sung by Emilio & Luis Alberto and the outstanding “Los elefantes”. “Un pájaro te sostiene” -a rock number written by Del Guercio- and the great Spinetta’s guitar oriented “En las cupulas” close this highly recommended album.
Line-up:
- Luis Alberto Spinetta / guitar, vocals
- Edelmiro Molinari / guitar, vocals
- Emilio Del Guercio / bass, vocals
- Rodolfo Garcia / drums, vocals
Track List:
CD1
01. Toma El Tren Hacia El Sur – 3:46
02. Jingle – 1:29
03. No Tengo Idea – 2:49
04. Camino Dificil – 2:31
05. Rutas Argentinas – 2:40
06. Vete De Mi, Cuervo Negro – 1:13
07. Aire De Amor – 3:00
08. Mestizo – 2:29
09. Agnus Dei – 14:28
10. Para Ir – 3:59
CD2
01. Parvas – 5:15
02. Cometa Azul – 4:27
03. Florecen Los Nardos – 6:50
04. Carmen – 3:07
05. Obertura – 3:05
06. Amor De Aire – 2:39
07. Verde Llanto – 1:37
08. Leves Instrucciones – 1:34
09. Los Elefantes – 6:23
10. Un Pajaro Te Sostiene – 2:27
11. En Las Cupulas – 4:42
Links in comments.
King Crimson – Larks Tongues In Aspic (1973) (@256)
13 Jun 2008
(Review from wikipedia, vintageprog.com, progarchives.com)
Shortly after the Earthbound tour, that Crimson line-up completely disintegrated. Once again, Fripp began the task of looking for new members. These included improvising percussionist Jamie Muir; vocalist and bassist John Wetton, formerly of the band Family and a college acquaintance of Fripp; violin, viola and keyboard player David Cross; and drummer Bill Bruford, who had chosen to leave the commercially successful Yes for the comparatively unstable and unpredictable King Crimson. With Sinfield gone, the band recruited a new lyricist, Wetton’s friend Richard Palmer-James.
Ushering in a new era for the band, “Larks’ Tongues in Aspic” showcases the new King Crimson playing progressive rock of a kind and in a way no other band had done before them. Their new style was often based in very heavy and loud riffs built around raw and freaked-out improvisations.
The title-track bookends the album, with the first part being subtle and understated and the second almost heavy-metal in its intensity. The above-mentioned “Book of Saturdays” and “Exiles” are both wistful, moving ballads, the second punctuated by Cross’s romantic violin strains; while “Easy Money” has an interesting structure, with an almost funky feel and rather weird lyrics. The quirky “The Talking Drum” leads then the way for the monstrous riffing and complex rythmic patterns of “Larks’ Tongues in Aspic pt. 2″.
Line-up:
- Bill Bruford / drums
- David Cross / violin, viola, mellotron
- Robert Fripp / guitar, mellotron, devices
- Jamie Muir / percussion
- John Wetton / bass, vocals
Track List:
01. Larks’ Tongues in Aspic, Part One – 13:37
02. Book of Saturday – 2:56
03. Exiles – 7:41
04. Easy Money – 7:53
05. The Talking Drum – 7:27
06. Larks’ Tongues in Aspic, Part Two – 7:08
Link in comments.
Almendra – Almendra (1969) (@256)
13 Jun 2008
(Review from tinpan.fortunecity.com)
Almendra was formed in 1968 after the break up of three teenage school groups: Los Sbirros, Los Mods, and Los Larkins. The initial rehearsals were held at the Spinetta’s house in Belgrano. The band recorded its first album in 1969.
Spinetta had drawn an original enigmatic face character for the first album’s cover. Days afterward, the record company told the boys that the drawing had been lost, so they were planning to use a photo of the group instead. Obviously upset, the musicians looked for the lost drawing and eventually found it discarded in the garbage! Spinetta stayed up all night reproducing his original artwork and took it to the record company the following day. They offered no excuses the second time!
The opening track is an argentine rock hymn: “Muchacha (ojos de papel)”, an acoustic Spinetta song devoted to an old girlfriend that still thrills the listener. Next comes the superb 9 -minute long “Color humano”, written by Edelmiro, featuring his now famous long fuzz guitar solo. Molinari would name his next group after this song.
“Figuracion” is a soft tune brilliantly sung by Spinetta with Pappo on backing vocals and Emilio del Güercio on flute. The energy and fuzz guitar returns with the superb “Ana no duerme”, one of the best tracks of the album. Santiago Giacobbe guests on organ.
Side two begins with the sweet “Fermín”, another beautiful song where everything is well done: the guitar, the organ (played by Edelmiro), the vocals… followed by a lullaby tune “Plegaria para un nińo dormido” with yet another inspired Spinetta lyric.
“A estos hombres tristes” is a song with changing rhythmic and melodies. Emilio wrote and sung lead in the next one, the pleasant “Que el viento borró tus manos”.
The album ends with the slow and beautiful “Laura va”, yet another great Spinetta song full of urban moods. Rodolfo Alchourrón was called on again for his fruitful orchestral arrangements and Rodolfo Mederos played the bandoneón to complete the sound of Buenos Aires.
Line-up:
- Luis Alberto Spinetta / guitar, vocals
- Edelmiro Molinari / guitar, vocals
- Emilio Del Guercio / bass, vocals
- Rodolfo Garcia / drums, vocals
Track List:
01. Muchacha (Ojos De Papel) – 3:07
02. Color Humano – 9:11
03. Figuracion – 3:31
04. Ana No Duerme – 2:44
05. Fermin – 3:18
06. Plegaria Para Un Nińo Dormido – 4:03
07. A Estos Hombres Tristes – 5:58
08. Que El Viento Borro Tus Manos – 2:36
09. Laura Va – 2:47
Link in comments.
Alphataurus – Dietro l'Uragano (1973) (@256)
13 Jun 2008
(Review from progreviews.com)
Although Alphataurus only released one album before they disbanded, they had started recording a second album, which was to remain incomplete due to the departure of their lead singer. These recordings were released later as “Dietro l’Uragano” — which means “behind the hurricane”, is a reference to a track on the first album called “Dopo l’Uragano”.
The only vocals on the album appear for a short time on the last track. The vocals sound a little muddy and too far back in the mix for the short time that they are on. The negative effect of having not having recorded the vocal tracks show up on sections of music that were written with the intention of having strong vocals up front.
Though an incomplete work, there are bright spots on “Dietro l’Uragano”. “Valigie di Terra” has a very nice build-up section from about three minutes in. The keyboard work later in the track is also very good. Some baroque-inspired keyboard work on “Claudette” is also effective.
People who enjoyed the band’s debut a lot, can still get a kick out of this album. For most people, however, “Dietro l’Uragano” has value mostly as an intellectual curiosity, like a marble statue half-completed: pleasing details here and there, but elsewhere limbs only hint at what the artist had in mind.
Line-up:
- Alphonso Oliva / bass
- Pietro Pellegrini / keyboards
- Giorgio Santandrea / drums and vocals
- Guido Wasserman / guitars
Track List:
01. Ripensando e.. – 6:32
02. Valěgie di Terra – 10:32
03. Idea Incompiuta – 1:54
04. Claudette – 14:06
Link in comments.
King Crimson – Earthbound (Live 1972) (@256)
12 Jun 2008
(Review from progarchives.com, progreviews.com)
The recording quality of King Crimson’s first live album is little better than that of a bootleg with distortion aplenty, indeed, the sleeve notes actually state that the recordings were captured on a stereo cassette! To be fair, the cassette recorder was plugged into the mixer (sound board), this is not a microphone recording.
Looking through the mist, we find five tracks in total. An 11 minute rendition of “21st century schizoid man” kicks things off, the substantial lengthening of the song being due to improvisations on guitar by Robert Fripp, and sax by Mel Collins. It comes off in many ways more gloriously snaggle-toothed and mind-melting than ever.
As is clearly evident in listening to “21st Century Schizoid Man” and “Sailors Tale”; Fripp, Collins, and Wallace as a unit were none the want for instrumental earthshaking. The title track really doesn’t sound that far off from Miles Davis from the Black Beauty or Live-Evil era, the bass line at one point virtually duplicating that of his “It’s About That Time.”
The album shines an interesting flashlight on this short-lived line-up, with some of the material on here standing entirely at odds from anything any other line-up in King Crimson ever tackled. The general folklore about this line-up pursued a path devoted to more down-to-earth jamming of the blues-funk variety.
Though it has some locatable charms for the interested, the album stands very much alone in the Crimson canon.
Line-up:
- Robert Fripp / guitar
- Boz Burrell / bass, vocals
- Mel Collins / alto, baritone & tenor, saxophones, mellotron
- Ian Wallace / drums
Track List:
01. 21st Century Schizoid Man – 11:38
02. Peoria – 7:22
03. The Sailor’s Tale – 4:49
04. Earthbound – 6:14
05. Groon – 15:32
Link in comments.
Alphataurus – Alphataurus (1973) (@256)
12 Jun 2008
(Review from vintageprog.com, progreviews.com)
Alphataurus, just like their comtemporary ‘sister’ 70s Italian bands, successfully mix the heavy parts with the soft melodic passages, with a exquisite contrasting strong voice. The keyboards are superb and their long thematic developments alone would merit an interest in their albums.
Their debut contains three nine-minute-plus tracks, all featuring long instrumental sections that typically are based around a repeating riff, with lead instruments concentrating more on atmosphere than melody. Tracks like “Peccato D’Orgoglio” and “Ombra Muta” are both quite complex pieces with atmospheric vocal-parts and energetic instrumental parts. There’s a lot of excellent organ and tasteful synths here. “La Menta Vola” and the instrumental “Croma” are more symphonic sounding with great atmosphere.
The odd song out is “Dopo l’Uragano”, which for the most part is a straight blues song, reminiscent of early Led Zeppelin. This song is broken up with a strange break in the middle consisting of one riff played four times with a guitar lead, and a second riff played five times with a piano lead.
Line-up:
- Michele Bavaro / vocals
- Alfonso Olive / bass
- Pietro Pellegrini / keyboards
- Giorgio Santanderea / drums
- Guido Wasserman / guitar
Track List:
01. Peccato D’Orgoglio – 12:25
02. Dopo L’Uragano – 5:05
03. Croma – 3:16
04. La Mente Vola – 9:20
05. Ombra Muta – 9:44
Link in comments.
Attention Deficit – Idiot King (2001) (@256)
12 Jun 2008
(Review from manthing.com)
On their second album the band decided to be a little more organized going in than they were for the first record. That’s not saying much though, because the concept for the first one was to make totally un-prepared, on-the-spot compositions and improvisations, so the band went in the studio with almost nothing! This time though, they each composed bits and sections and they got together beforehand to go over their ideas. In the studio they put all the ideas together, leaving room for plenty of improvisation and spontaneity.
Since the band was recording during the US presidential election mess the previous winter, that became kind of a theme for the music and it really seemed to fit in nicely with their general concept of reacting to the attention deficiencies in culture — especially their own! The band members come from pretty different musical backgrounds and it seems it’s definitely fun for them to weave in elements of jazz, metal, avant-garde, world music, fusion and funk into one piece of music.
Line-up:
- Michael Manring / bass
- Tim Alexander / drums
- Alex Skolnick / guitars
Track List:
01. American Jingo – 4:04
02. Any Unforeseen Event – 3:11
03. The Risk Of Failure – 7:41
04. Low Voter Turnout – 4:48
05. Unclear, Inarticulate Things – 4:04
06. Rsvp – 7:55
07. My Fellow Astronauts – 4:03
08. Dubya – 7:14
09. The Killers Are To Blame – 4:23
10. Nightmare On 48th St – 3:41
11. Public Speaking Is Very Easy – 2:03
Link in comments.
King Crimson – Lizard (1970) (@256)
11 Jun 2008
(Review from vintageprog.com, progarchives.com)
While still struggling (unsuccessfully) to keep a permanent line-up on the road, Fripp and Sinfield managed to keep KC busy on studio recording. Their constant (and at times conflictive) flow of creativity allowed them to bring out material for a third album, “Lizard”.
“Lizard” turned out to be their most ambitious early era work. The scores and arrangements are labyrinthine, which is to a large degree due to the heavy use of wind instruments and keyboards.
The album opens with the grandiose, mellotron-drenched “Circus” that leaves no doubt what band you are listening to, and a great way to open the record. “Indoor Games” is a lighter, almost pop-jazzy track with lots of good sax-work from Collins. Though the most original and interesting track on the first side is undoubtedly the quirky “Happy Family”. The arrangement on this track is extremely complex and chaotic, but the catchy melody of the song still makes it very structured all the way through. “Lady of the Dancing Water” is a short ballad that is a pleasant and nice song.
The 23-minute title-track remains King Crimson’s only sidelong suite. Jon Anderson makes a short guest-appearance here as he sings the melodic and harmonic opening theme of the piece. The rest of the suite is largely instrumental, and includes the beautiful and very jazzy “Bolero” that gets relieved by “The Battle of Glass Tears”. This part is early Crimson at their best and most typical, featuring heavy sax-riffs and lots of dramatic mellotron.
“Lizard” is an exciting album of strongly jazz-influenced symphonic progressive rock that never gets into fusion-territory, but instead creates its own sound and style.
Line-up:
- Robert Fripp / guitar, mellotron, electric keyboards & devices
- Mel Collins / flute & saxes
- Gordon Haskell / bass guitar & vocals
- Andy McCulloch / drums
- Peter Sinfield / words & pictures
with
- Robin Miller / oboe & cor anglais
- Mark Charig / cornet
- Nick Evans / trombone
- Keith Tippet / piano & electric piano
- Jon Anderson / vocals (5a)
Track List:
01. Cirkus (including Entry of the chameleons) (6:29)
02. Indoor games (5:39)
03. Happy family (4:25)
04. Lady of the dancing water (2:45)
05. Lizard (23:23)
a) Prince Rupert awakes
b) Bolero – The peacock’s tale
c) The battle of the glass tears
i) dawn song
ii) last skirmish
iii) Prince Rupert’s lament
d) Big top
Link in comments.
Attention Deficit – Attention Deficit (1998) (@256)
11 Jun 2008
(Review from progarchives.com)
Not unlike some other guitar-centered power trios, Attention Deficit delivers a very energetic jazz rock, including flashes of fiery psychedelia and getting pretty wicked at times.
This supergroup’s particular value relies on the special touch delivered by each individual member. Tim Alexander’s jazz leanings have always been clearly stated from his Primus days (in fact, his drumming proved essential for that band’s overall sound during the time he was a member); Michael Manring articulates his Stanley Clarke and Les Claypool influences with a sense of energetic exquisiteness; and, last, Alex Skolnick absorbs the combined heritages of Holdsworth, Fripp and Beck with a renewing energy and a fearless urge to explore the expressive potentials that can be created by multi- varied guitar effects.
The fact that the album’s material is ordained as a continuum helps to build a sense of sonic power all along: all compositions are largely based on jamming, so the musicians’ main aim is to invite the listener to let themselves go according to the various moods successively conveyed by the repertoire. The use of brief interludes helps to create a solid inner connection for the overall repertoire’s structure: some of these interludes are really short, like the 22-second ‘Snip’ and the 10-second ‘Festivus’.
It’s interesting how all three musicians manage to intertwine their respective inputs while exposing their particular skills – this group works magically well as both an ensemble and an assembly of individuals.
Line-up:
- Alex Skolnick / guitars
- Tim Alexander / drums
- Michael Manring / bass, loops
Track List:
01. ATM – 3:39
02. An Exchange of Niceties – 2:34
03. Scapula – 5:13
04. Snip – 0:16
05. It’s Over, Johnny – 3:30
06. TMA – 1:50
07. Fly Pelican, Fly11:58
08. Febrile – 2:51
09. MAT – 3:14
10. Wrong – 0:48
11. The Girl from Enchilada – 2:38
12. Merton Hanks – 3:31
13. Ill Fated Conspiracy – 2:51
14. The Blood Room – 3:20
15. Festivus – 0:11
16. Khamsin – 1:39
17. Lydia – 3:47
18. Say Hello To My Little Friend – 2:02
Links in comments.
Pescado Rabioso – Artaud (1973) (@320)
11 Jun 2008
Thanks to Zen Archer for the contribution.
(Review from tinpan.fortunecity.com)
Unfortunately, by mid 1973 Pescado Rabioso split due to musical differences and a fight between Spinetta and Lebon. Luis Alberto recorded a wonderful solo album credited to Pescado Rabioso: Artaud. Artaud is obviously dedicated to French poet and actor Antonin Artaud [1895-1948].
The cover deserves a chapter on its own. Even on this ground Spinetta surpasses his own limits. Instead of being square, the original cover of Artaud had an odd oversized shape that made it impossible to rack in conventional LP bins.
With a different (mainly folk) musical style than Pescado 2, Artaud opens with the wonderful “Todas las hojas son del viento”. “Cementerio Club” is a psycho blues. The strange “Por”, the moody “Surpercheria” and the beautiful “La sed veradera” come next. Side B opens with the long and climatic “Cantata de puentes amarillos”, and is followed by the electric “Bajan”, the psycho “A Starosta, el idiota” and the terrific “Las habladurías del mundo”.
A difficult album to describe, due to the nature of the music and the lyrics, but a must for Spinetta fans.
Line-up:
- Luis Alberto Spinetta / guitar, vocals
- Emilio del Guercio / bass
- Carlos Gustavo Spinetta / drums
- Rodolfo Garcia / drums
Track List:
01. Todas Las Hojas Son del Viento
02. Cementerio Club
03. Por
04. Supercheria
05. Sed Verdadera
06. Cantata de Puentes Amarillos
07. Bajan
08. Starosta, El Idiota
09. Las Habladurias del Mundo
Link in comments.
King Crimson – In the Wake of Poseidon (1970) (@256)
10 Jun 2008
(Review from vintageprog.com, wikipedia)
No matter how successful their debut was, King Crimson was a band close to a full break up in 1970. Ian McDonald and Michael Giles left to pursue a solo career. Greg Lake stayed long enough to complete the vocal-tracks for most of the songs of the new album before he went to join Emerson, Lake and Palmer.
Among the new members of the band were keyboardist Keith Tippett and the well-known saxophonist/flutist Mel Collins. Fripp’s another childhood friend, Gordon Haskell joined in to fill the void of Greg Lake — though he only sang on one track on their new album.
King Crimson’s second album is structurally and musically very similar to the debut, but that album was so good that we surely can take it a second time too! “Pictures of a City” is this album’s “21st Century Schizoid Man”, but with a funkier sax-riff and more float in the vocal-parts. The title-track is a really beautiful, mellotron-driven symphonic progressive rock track, and sounds like a cross of “Epitaph” and the title-track from the previous record. “Cadence and Cascade” is much in the same vein as “I Talk to the Wind” but the voice of new singer Gordon Haskell made it at least sound a little bit different.
The cheerful and jazzy “Cat Food” and the very sinister instrumental “The Devil’s Triangle” (based on “Mars” from Gustav Holt’s “The Planets”) are the only tracks where the band managed to do something that they already hadn’t done on the debut, and should be admired for just that.
Although the original of course is better, “In the Wake of Poseidon” is never the less among King Crimson’s best albums.
Line-up:
- Robert Fripp / guitar, mellotron, devices
- Greg Lake / vocals
- Michael Giles / drums
- Peter Giles / bass
- Keith Tippett / piano
- Mel Collins / saxes, flute
- Gordon Haskell / vocals (3)
- Peter Sinfield / words
Track List:
01. Peace – A Beginning – 0:50
02. Pictures Of A City – 8:02
03. Cadence And Cascade – 4:38
04. In The Wake Of Poseidon – 7:58
05. Peace – A Theme – 1:15
06. Cat Food – 4:54
07. The Devil’s Triangle (i. Merday Morn- ii. Hand Of Sceiron- iii. Garden Of Worm) – 11:36
08. Peace – An End – 1:53
Link in comments.
Download Mirrors
10 Jun 2008
As you may have noticed, I’ve started to put download mirrors in new posts for those who grow weary of rapidshare. I probably won’t be able to post mirrors for every new post but I’ll do when I can.
No, I don’t plan to make/post mirrors for all the posts in the archive. It would take a lot of time, which I unfortunately don’t have at the moment :)
Bernie Marsden – Look At Me Now (1981) (@256)
10 Jun 2008
(Review from purplerecords.net)
By 1981 three quarters of Whitesnake’s material was emanating from guitarist Bernie Marsden, and in the same year he finally managed to find time to record his second solo album.
Aside from Marsden on guitar and vocals, fellow Whitesnake members Ian Paice, Neil Murray and Jon Lord were the backbone of the band for the sessions, with Simon Phillips depping as the second drummer (Marsden even persuaded Micheal Schenker to come in and supply hand-claps to the end of one song!).
The album isn’t much different in style, it is the pretty ho-hum bluesy hard rock, we’ve come to know Marsden for.
There were plans for some live shows but Whitesnake were so busy these couldn’t be sorted out. Marsden did manage to get the musicians together again in August 1981 for a radio session, two of them are included in this edition of the album as bonus tracks.
Line-up:
- Bernie Marsden / Lead Vocals, Guitars
with
- Neil Murray / Bass
- Jon Lord / Keyboards
- John Cook / Keyboards
- Don Airey / Keyboards
- Ian Paice / Drums
- Simon Philips / Drums
- Cozy Powell / Drums
Track List:
01. Look At Me Now – 3:58
02. So Far Away – 3:39
03. Who’s Fooling Who – 3:54
04. Shakey Ground – 4:04
05. Behind your Dark Eyes – 4:42
06. Bylbos Shack Pt 1 & 2 – 4:03
07. Thunder & Lightning – 4:21
08. Can You Do It? (Rock City Blues) – 4:18
09. After All the Madness – 4:04
10. Always Love You So (Bonus B-Side) – 3:41
11. Look At Me Now (Bonus Radio Live) – 4:21
12. Bylbos Shack (Bonus Radio Live) – 4:36
Link in comments.
Pescado Rabioso – Pescado 2 (1973) (@320)
10 Jun 2008
Thanks to Zen Archer for the contribution.
(Review from tinpan.fortunecity.com)
Bocón left and was replaced by David Lebón (ex- Pappo’s Blues and Color Humano) on bass. With this new line-up, the band went to studio to cut their new album in late 1972/early 73 : Pescado 2. This album is generally considered as the highest point of Spinetta’s creativity genius.
Pescado 2 is conceived as two separate LPs: one called Pescado, and the other called 2. The 18 tracks are numbered, and the numbers are part of the song titles as well.
Side A opens with “Panadero ensonado” a guttural duo between Luis and David, and is followed by the great saga “Iniciado del Alba”/”Poseído del Alba” lead by the Hammond organ with Leslie. “Como el viento voy a ver” is a wonderful easy blues number. The effects of “Viajero naciendo” and the first Lebón composition to be recorded “Mańana o pasado” close the side.
Side B features a rock & roll number “Nena boba”, “Madre Selva”, another superb moment of the album with climatic guitar and organ, and the enigmatic “Peteribi” (unique Argentine tree).
Side C begins with 16 seconds of “Peteribí” to give continuity to the whole concept. “Seńorita” is a group-improvised composition. “Credulidad” is an acoustic song with Spintetta reminding his early years. “Hola, pequeno ser!” is an anti-drug hard rock with excellent guitar and organ duels. “Mi espíritu se fue” is a nice ballad written by Bocon.
Side D opens with “Sombra de la noche negra”, a hard rock composed by Black Amaya with furious guitars and organs. The calm returns with “La cereza del zar”, a folk-psycho ballad, and “Corto” (originally called “Después de la bomba”) about the nuclear holocaust. The album closes with an absolute Spinetta masterpiece: “Cristálida”, a 9-minute opus with rhythm changes and orchestral arrangements.
Line-up:
- Luis Alberto Spinetta / guitar, vocals
- David Lebon / bass
- Carlos “Black” Amaya / drums
with
- Carlos Cutaia / Hammond organ
Track List:
01. Panadero Ensonado
02. Iniciado Del Alba
03. Poseido Del Alba
04. Como El Viento Voy A Ver
05. Viajero Naciendo
06. Manana O Pasado
07. Nena Boba
08. Madre-Selva
09. Amame Peteribi
10. 16′ De Peteribi
11. Senorita
12. Credulidad
13. Hola, Pequeno Ser!
14. Mi Espiritu Se Fue
15. Sombra De La Noche Negra
16. La Cereza Del Zar
17. Corto
18. Cristalida
Links in comments.
King Crimson – In the Court of the Crimson King (1969) (@256)
09 Jun 2008
(Review from wikipedia, vintageprog.com)
The initial “Giles, Giles and Fripp” band was changing, as their debut record had not been particularly successful. The first musician to be added to their new line-up was the multi-instrumentalist Ian McDonald on keyboards, reeds and woodwinds. McDonald had been writing songs with lyricist Peter Sinfield who also joined the new group. Fripp’s childhood friend, singer-guitarist Greg Lake, was recruited, and replaced Peter Giles on bass, also singing for the band. Shortly afterward they purchased a mellotron and began using it to create an original orchestral rock sound. The name King Crimson was coined by lyricist Peter Sinfield as a synonym for Beelzebub, prince of demons. According to Fripp, Beelzebub would be an anglicised form of the Arabic phrase “B’il Sabab”, meaning “the man with an aim”.
No serious progressive rock fan can be without a single King Crimson-album in his collection. While their output not always was the most even one, they were undoubtedly one of the most important and influential progressive rock bands ever. King Crimson’s membership has fluctuated considerably throughout their existence. Fripp, the only constant member of King Crimson, has arranged several distinct lineups, but has stated that he does not necessarily consider himself the band’s leader. He describes King Crimson as “a way of doing things” and notes that he never originally intended to be seen as the head of the group.
“In the Court of the Crimson King” is the definitive debut-album by a progressive rock band and it remains to most as King Crimson’s best album ever.
The legendary opener “21st Century Schizoid Man” is a heavy, complex, raw, angry and ultra energetic showcase of angry, sax-driven progressive rock. Greg Lake spits out the lyrics with a distorted effect on his voice to underline the aggression and anger in both the music and lyrics. Peter Sinfield’s lyrics may seems weird and hard to understand at first, but most people with a certain degree of fantasy will be able to understand most of his genius metaphors.
The rest of the record is of a much more mellow and symphonic kind, where the mellotron creates an often-sinister carpet of sound that perfectly fits the mood of the music and lyrics. “I Talk to the Wind” is actually one of the “brightest” moments here, with a pleasant and relaxed melody that is beautifully surrounded by the flute. “Epitaph” is far darker and features one of Sinfield’s best lyrics ever. Just the mellotron combined with Fripp’s mellow guitar-tones on the beginning is enough to make you shiver.
The fantastic title track is simply so beautiful and majestic that it can’t be described in words. Nobody had until then used the mellotron in a better, more powerful and symphonic way than this. Everything goes straight to heaven each time the chorus appears. Symphonic progressive rock can impossibly get any better than this.
“In the Court of the Crimson King” is one of progressive rock’s most magic moments.
Line-up:
- Robert Fripp / guitar
- Greg Lake / bass guitar, lead vocals
- Ian McDonald / reeds, woodwind, vibes, keyboards, mellotron, vocals
- Michael Giles / drums, percussion, vocals
- Peter Sinfield / words and illumination
Track List:
01. 21st Century Schizoid Man (including Mirrors) – 7:23
02. I Talk To The Wind – 6:06
03. Epitaph (including March For No Reason and Tomorrow And Tomorrow) – 8:48
04. Moonchild (including The Dream and The Illusion) – 12:12
05. The Court Of The Crimson King (including The Return Of The Fire Witch and The Dance Of The Puppets) – 9:23
Link in comments.
Pescado Rabioso – Desatormentandonos (1972) (@320)
09 Jun 2008
Thanks to Zen Archer for the contribution.
(Review from tripan.fortunecity.com)
After Almendra broke up, Luis Alberto Spinetto formed a trio to perform stronger acid-related music with Osvaldo “Bocon” Frascino on bass and Juan Carlos “Black” Amaya (ex-Pappo’s Blues) on drums. The dreamy psychedelic cover was the preamble of Desatormentandonos, their first superb album.
Side A (a.k.a. “Damas” -”Ladies”) opens with “Blues de Cris”, a powerful hard-blues led by Spinetta’s guitar and dedicated to the same girl that inspired him for the sweet “Muchacha ojos de papel” (his most famous song) but this time to say goodbye. “El jardinero (temprano amaneció)” is a long psycho song full of effects and distorted guitars. On the other hand, “Dulce 3 nocturno” sung by Spinetta and Bocón is a beautiful relaxing tune.
Side B (a.k.a. “Caballeros” -”Gentlemen”) begins with “Algo flota en la laguna” -another distorted guitar psycho song- and ends with the enigmatic “Serpiente (viaja por la sal)” featuring Carlos Cutaia (soon to join the group) on Hammond organ.
Line-up:
- Luis Alberto Spinetto / guitar, vocals
- Osvaldo “Bocon” Frascino / bass
- Carlos “Black” Amaya / drums
with
- Carlos Cutaia / Hammond organ
Track List:
01. Blues de Cris
02. El Jardinero
03. Dulce 3 Nocturno
04. Algo Flota En La Laguna
05. Serpiente (Viaja Por La Sal)
Link in comments.
Aziza Mustafa Zadeh – Aziza Mustafa Zadeh (1991) (@256)
09 Jun 2008
(Review from allmusic)
Pianist Aziza Mustafa Zadeh, a native of Baku in the former Soviet republic of Azerbaijan, is quite impressive on her first international release.
This solo set finds her influenced by Chick Corea and Keith Jarrett to a certain extent but also infusing the music with her heritage. The scales she often utilizes are clearly from the Near East yet her improvisational skills show that the 23-year old has long loved jazz. She takes three vocals (two of which feature rapid and exotic scatting) that display a wide range and an appealing voice. Zadeh performs fifteen diverse originals and the virtuosic pianist clearly has the potential to be a major force. At this early stage, Aziza already had something of her own to offer.
Track List:
01. Quiet Alone – 3:38
02. Tea On The Carpet – 4:05
03. Cemetery – 6:51
04. Inspiration – 4:38
05. Reflection – 4:06
06. Oriental Fantasy – 11:16
07. Blue Day – 4:16
08. Character – 5:18
09. Aziza’s Dream – 4:50
10. Chargah – 5:09
11. My Ballad – 4:17
12. I Cannot Sleep – 6:47
13. Moment – 0:47
14. Exprompt – 2:02
15. Two Candles – 5:58
Links in comments.
Giles, Giles and Fripp – Brondenbury Tapes (1968) (@256)
09 Jun 2008
(Review from progarchives.com)
This wonderfully fun, well-recorded and absolutely hilarious collection from a session in 1968 after the making of their first album is a delight. It is especially interesting if you have a penchant for the very earliest beginnings of progressive rock and it was during this period lyricist Peter Sinfield and multi-instrumentalist Ian McDonald began working with the boys, later transforming into the legenary King Crimson. Some tracks such as ‘Why Don’t You Just Drop In’ and ‘Digging My Lawn’ are shameless 1960s pop but others are sweet-sounding and carefully constructed like ‘Under the Sky’ with Judy Dyble’s lovely soprano and McDonald’s jazzy flute, the psycho- symphonic ‘Murder’, and the gorgeous arrangements and Beach Boys harmonies of ‘Wonderland’.
This is not a record one pulls out to play very often and it is rife with so many cliches as to make it a spoof of itself, like some joke 60s band right out of ‘This is Spinal Tap’, vainly trying to fit in to a quickly disappearing fad and doing it badly, to boot. But the music is thoroughly pleasant, well-produced and will make you giggle all at the same time.
The tapes can be fascinating for the Crimson fanatic (the first two versions of I Talk To The Wind with Dyble on vocals and McDonald on flute but also the version without those two) but can be tedious to the casual listener.
Line-up:
- Robert Fripp / guitar
- Peter Giles / vocals, bass
- Michael Giles / vocals, drums
with
- Ian McDonald / vocals, piano, flute, saxophone, guitar, clarinet
- Judy Dyble / vocals
- Al Kirtly / piano
Track List:
01. Hypocrite 3:41
02. Digging My Lawn (a) – 1:59
03. Tremelo Study In A Major (Spanish Suite) – 1:41
04. Newly Weds – 1:53
05. Suite No. 1 5:34
06. Scrivens 2:15
07. Make It Today (a) 3:27
08. Digging My Lawn (b) – 1:55
09. Why Don’t You Just Drop In (i) 3:40
10. I Talk To The Wind (1) 3:18
11. Under The Sky (x) 3:53
12. Plastic Pennies 2:19
13. Passages Of Time 3:32
14. Under The Sky (xx) 2:50
15. Murder 2:41
16. I Talk To The Wind (2) 3:15
17. Erudite Eyes 6:47
18. Make It Today (B) 4:46
19. Wonderland 6:09
20. Why Don’t You Just Drop In (ii) 3:42
21. She Is Loaded 3:12
Links in comments.
Giles, Giles and Fripp – Cheerful Insanity of (1968) (@256)
08 Jun 2008
(Review from wikipedia, progarchives.com)
In August 1967, drummer Michael Giles and his brother and bassist, Peter Giles, advertised for a singing organist. Robert Fripp, a guitarist who did not sing, responded. The trio of Giles, Giles and Fripp was formed, recorded one album together, The Cheerful Insanity of Giles, Giles and Fripp.
At some point tracking down this album is going to prove practically irresistible to every King Crimson fan. A psych-era album featuring three future King Crimson members including the meister himself, Robert Fripp, has to be of interest, surely.
Many King Crimson fans have a hard time appreciating this genesis of their favorite band, mostly because of the silly but yet so British humour present. Yes, some of those tracks are silly tid-bits, odd ditties but no more than Gong or even early Genesis.
And if you do forget the rather silly story line of the conceptual first side of the album, you will find many elements already present in the future Crimson. The opening track has got that special Giles drumming we all love, mellotrons are used on another track etc….
The highlight for many will be Suite No.1. It is a delicate classical instrumental, with an opening that rides on some great high speed playing by Fripp and the accompanying pianist. It then segues into a melancholy segment, before some more classical (this time tinged with flamenco/jazz) comes in. In some ways this is one of Fripp’s most impressive guitar performances ever … which is really saying something!
Erudite Eyes on the other hand is a wild folk/jazz exploration, with an intriguing melody giving way to some stunning psychedelic double-tracked guitar lead work, as the dust settles, both Fripp and Peter Giles on bass begin some really exciting atmospheric improvisations, which gives the piece a really daring quality.
Line-up:
- Pete Giles / bass guitar, vocals
- Michael Giles / drums
- Robert Fripp / guitars
with
- R. Cohen, W. Reid, K. Isaacs, G. Salisbury, B. Pecker & G. Fields / violins
- J. Coulling & R. Patten / violas
- Nicky Hopkins & Mike Hill / keyboards
- C. Tunnell & A. Ford / celli
- C. Hardie & T. Barker / trombones
- The Breakaways / backing vocals
Track List:
01. North Meadow – 2:58
02. Newly-Weds – 2:34
03. One In A Million – 2:44
04. Call Tomorrow – 2:57
05. Digging My Lawn – 2:06
06. Little Children – 2:50
07. The Crukster – 1:36
08. Thursday Morning – 2:53
09. How Do They Know – 2:27
10. Elephant Song – 3:26
11. The Sun Is Shining – 3:20
12. Suite No. 1 – 5:47
13. Erudite Eyes – 5:10
14. She Is Loaded (Previously Unreleased) – 3:16
15. Under The Sky (Previously Unreleased) – 4:06
16. One In A Million (Mono Single Version) – 2:30
17. Newly-Weds (Mono Single Version) – 2:49
18. Thursday Morning (Mono Single Version) – 3:02
19. Thursday Morning (Stereo Single Version) – 2:57
Link in comments.
Invisible – El Jardin de Los Presentes (1976) (@256)
08 Jun 2008
(Review from progarchives.com)
In 1975, virtuoso guitarist Tommy Gubitsch joined the group. Their third and final album “El Jardín de los Presentes” turned out to be their most popular. This album has a lot of tango influence and also some passages remind of early King Crimson.
This third album is their most progressive sounding effort, also because of the more frequent use of keyboards and the sound of the bandoneon. The music of Invisible on this album remind of the 70s Italian progressive, very compelling and featuring strong, often emotional. The guitarwork is delightful, very powerful with lots of great soli with elements from Santana and Steve Howe. An album to discover if you like the very distinctive sound of the latin-american progressive!
After the success of “El Jardin de los Presentes” the band split up at the end of 1976. Spinetta pursued a jazz-fusion esque solo career after the breakup.
Line-up:
- Luis Alberto Spinetta / guitar and vocals
- Hector Lorenzo / drums
- Carlos Rufino / bass and backing vocals
- Tommy Gubitsch / lead guitar
Track List:
01. El anillo del Capitan Beto
02. Los libros de la buena memoria
03. Alarma entre los an1geles
04. Que ves el cielo
05. Ruido de magia
06. Doscientos anos
07. Nino condenado
08. Las golondrinas de la Plaza de Mayo
Link in comments.
Simon and Garfunkel – Old Friends Live on Stage (2004) (@VBR 160-218)
08 Jun 2008
(Review from allmusic)
It’s no secret that Paul Simon and Art Garfunkel didn’t end their partnership on the friendliest terms. Despite a brief reunion every decade or so — most notably in the fall of 1981 at The Concert in Central Park — Simon & Garfunkel were notorious for not speaking to each other. So their reunion in the 2000s was a big deal, documented by this live album.
It’s a warm, enjoyable slice of nostalgia. Simon & Garfunkel make no attempt to hide their age — during the show, they recall meeting each other in sixth grade in a production of Alice in Wonderland, offhandedly mentioning the 40 years that have passed since they started their professional musical career. The point of the entire tour and by extension this album is nostalgia, to gain comfort in reminiscing and revisiting the duo’s generation-defining songs.
Simon & Garfunkel’s voices have aged, lowering a bit in range, and Simon’s pitch isn’t as strong as it once was, but when they harmonize, the chemistry is still apparent; if anything, the changes in their voices only adds to the nostalgic appeal of the music, since it makes it clear just how much time has passed and how much things have changed.
Track List:
CD1:
01. Old Friends,Bookends
02. A Hazy Shade of Winter
03. I Am A Rock
04. America
05. At the Zoo
06. Baby Driver
07. Kathy’s Song
08. Tom and Jerry Story
09. Hey, Schoolgirl
10. The Everly Brothers Intro
11. Bye Bye Love
12. Scarborough Fair
13. Homeward Bound
14. The Sound of Silence
CD2:
01. Mrs. Robinson
02. Slip Slidin’ Away
03. El Condor Pasa
04. The Only Living Boy In New York
05. American Tune
06. My Little Town
07. Bridge Over Troubled Water
08. Cecilia
09. The Boxer
10. Leaves That Are Green
11. Citizen Of The Planet
Links in comments.
Aardvark – Aardvark (1970) (@256)
07 Jun 2008
(Review from progarchives.com)
A progressive act without a guitar player? That’s exactly what this early 70′s British foursome is.
Originally, they became known mainly because Paul Kossoff and Simon Kirke played in the band before leaving to form legendary band Free. After their departure, Aardvark were mostly a studio act and recorded their only album in 1970.
As is to be expected, Aardvark’s material is highly keyboard oriented, the brunt of the music being carried by the fuzzed-up Hammond organ which more or less simulates the job of a distorted guitar. The soaring vocals by Skillin are pleasant and the music is quite melodic. The album contains some ear-friendly piano/keyboard interplay as well as some good R&B guitar riffs and harmonic choruses.
Line-up:
- Stan Aldous / bass
- Frank Clark / drums
- Steve Milliner / keyboards, recorder, vibraphone
- Dave Skillin / vocals
Track List:
01. Copper Sunset – 3:17
02. Very Nice Of You To Call – 3:39
03. Many Things To Do – 4:22
04. The Greencap – 6:05
05. I Can’t Stop – 5:29
06. The Outing-Yes – 9:39
07. Once Upon A Hill – 2:53
08. Put That In Your Pipe And Smoke It – 7:35
Link in comments.
Invisible – Durazno Sangrando (1975) (@256)
07 Jun 2008
(Review from progarchives.com)
The band’s second album, “Durazno Sangrante” stands out a bit because of its tendency to have long songs, and its majestic opener, which is a full-on progressive rock epic with a style of its own. It doesn’t focus on virtuosism and includes one of the most humble and unpretentious long songs to come out from Argentina. The music sound like no other track in the album, drawing from different music styles and genres while keeping the unique sound of Spinetta.
“Encadenado al Anima” is simply brilliant. This song mixes the classical, symphonic, rock and roll, blues, psychedelia and other genres into a coherent whole extremely well. The musical themes are very memorable and inspired as well as the excellent vocals throughout the piece. All the musicians shine, especially Carlos’ diverse, tasteful and powerful drumming and Spinetta’s soulful guitar playing. The song is a bit unpredictable, but not in a way that makes it aimless and/or incoherent. One of the many surprises includes a guitar break that sounds as if Hendrix possessed Spinetta for a minute.
The title track is a very pleasant-sounding acoustic song with a jazz atmosphere. The main guitar motif is very memorable and unique, while the vocal melodies never fail to impress, especially the ones at the refrains. “Pleamar en Aguilas” is a good folky song with some adventurous acoustic guitar playing. Unfortunately, Spinetta doesn’t sing here and whoever does is not as good as the man behind this band. the lengthy “En Una Lejana Playa” is not as exciting as the opener. It takes a while to get started and the arrangements are a bit more obtuse and unconventional but it grows on you and has a certain charm. “Dios de Adolecencia” finishes the album with a nice ballad with good singing, but it ends too soon.
The whole album with its emotional music and lyrics seems like a huge piece of poetry.
Line-up:
- Luis Alberto Spinetta / guitars and vocals
- Hector Lorenzo / drums
- Carlos Rufino / bass and backing vocals
Track List:
01. Encadenado al anima
02. Durazno Sangrando
03. Pleamar de aguilas
04. En una lejana playa del animus
05. Dios de adolescencia
Link in comments.
Simon and Garfunkel – Concert in the Park (1981) (@320)
07 Jun 2008
(Review from amazon)
What started as a suggestion for Paul Simon to play a concert in New York’s Central Park blossomed, on September 19, 1981, as a full-blown Simon and Garfunkel reunion after an 11-year hiatus, and now proves a priceless snapshot of two of America’s greatest folk-rock performers.
Performed with a who’s-who of East Coast session aces before a record-setting crowd of half a million fans, The “Concert in Central Park” finds its stars just shy of their 40th birthdays and very much in their primes, their voices sweet and pure and their playing relaxed, perfectly in tune and in synch. The show features a mix of Simon & Garfunkel and solo Paul Simon tunes.
This is classic material from start to finish, 75 minutes of unmitigated beauty.
Track List:
01. Mrs. Robinson – 4:01
02. Homeward Bound – 4:20
03. America – 4:45
04. Me And Julio Down By The Schoolyard – 3:41
05. Scarborough Fair – 3:49
06. April Come She Will – 2:23
07. Wake Up Little Susie – 2:19
08. Still Crazy After All These Years – 3:51
09. American Tune – 4:33
10. Late In The Evening – 4:07
11. Slip Slidin’ Away – 4:54
12. A Heart In New York – 2:46
13. Kodachrome/Mabellene – 5:47
14. Bridge Over Troubled Water – 4:41
15. Fifty Ways Yo Leave Your Lover – 4:38
16. The Boxer – 5:19
17. Old Friends – 2:56
18. The 59th Street Bridge Song (Feelin’ Groovy) – 2:37
19. The Sounds Of Silence – 3:58
Links in comments.
Invisible – Invisible (1974) (@256)
06 Jun 2008
(Review from progarchives.com)
Invisible was originally formed by Luis Alberto Spinetta (guitars and vocals) who was formerly from the band Pescado Robioso that recently broke up at the time. The bass and drums were played by two former Pappo’s Blues members Hector Lorenzo (drums) and Carlos Rufino (bass). In the early days, the band’s sound is more straightforward rock with influences of Hendrix and Zeppelin and touches of a Black Sabbath sound. Their first, self-titled album, reflected their influences and was very complex, especially for a three man rock group.
“Jugo De L’ucuma” is a jazz rock tune with some great bass lines and drumming. The vocals are very well done, as are the guitar solos later on. “El Diluvio Y La Pasajera” is rather laid back to begin with, as the vocals are reserved and the acoustic guitar brings to mind Led Zeppelin’s “Song Remains the Same”. The song changes 4 minutes in as we are treated to some electric guitar that builds, leading to some soaring guitar solos. The drumming is incredible and the vocals are back after the 7 minute mark. “Suspension” is another highlight. Heavy guitar and drums are contrasted with the mellow passages with vocals. The drumming is again fantastic, as are the guitar melodies. “Tema e Elmo Lesto” is an instrumental with cool guitar riffing to open as drums pound away. Amazing blistering guitar solos! “Azafata Del Tren Fantasma” opens with bass as drums soon follow. The vocals are great! This song is slower paced with acoustic guitar as well. The bass lines are very good. The sound changes after 4 minutes as we get some great psychedelic guitar melodies. It then gets heavy 6 minutes in with some raw and aggressive sounding guitar. “Irregular” blesses us with 4 minutes of instrumental work before the vocals come in. The pace really slows down 6 minutes in.
These guys can flat out play and the vocals are terrific. The psychedelic influence, as well as the hard rock flavour would appeal to many listeners.
Line-up:
- Luis Alberto Spinetta / vocals and guitars
- Hector Lorenzo / drums
- Carlos Rufino / bass and backing vocals
Track List:
01. Jugo de Lucuma
02. El diluvio y la pasajera
03. Suspencion
04. Temo de Elmo Lesto
05. Azafata del tren fantasma
06. Irregular
07. La llave del Mandala
08. Lo que nos ocupa es la conciencia, esa abuela que regula el mundo
Link in comments.
Company of Snakes – Burst the Bubble (2002) (@256)
06 Jun 2008
(Review from amazon, metal-temple.com)
“Burst The Bubble”, made up of new studio material, picks up where early Whitesnake left off. With their timeless hard rock Made in Britain that is based on blues, boogie and traditional rock influences, “Company Of Snakes” reduce possible arguments about trends and fashions to absurdity, while proving that there will always be an audience for their brand of classic rock.
Songs like the opener ‘Labour of Love’, the melodic ‘Sacrificial Feeling’, ‘Little Miss Happiness’ with its good-time rock’n'roll attitude, ‘Back To The Blues’ (which really doesn’t require further explanation), or the ballad ‘Those Days’ bear the unmistakable mark of the Moody and Marsden. Stefan Berggren stands out with his bluesy, clear timbre. Berggren’s voice and vocal style follow in the footsteps of David Coverdale or Paul Rodgers (Free, Bad Company).
Other standouts include “Ride Ride Ride (Run, Run, Run)”, an amazingly catchy song that makes you keep tapping your foot no matter how hard you try to stop and “Can’t Go Back” which creates such a great atmosphere that imposes to be listened while you drink bourbon, smoking heavy cigarettes.
After the release of this album, Stefan Berggren left and the band slowly evolved into M3 with the incorporation of new vocalist(s).
Line-up:
* Neil Murray – bass
* Micky Moody – guitar, back vocals
* Bernie Marsden – guitar
* Don Airey – keyboards
* Stefan Berggren – vocals
* John Lingwood – drums
Track List:
01. Ayresome Park
02. Labour Of Love
03. Ride Ride Ride (Run, Run, Run)
04. Burst The Bubble
05. Sacrificial Feelings
06. What Love Can Do
07. Little Miss Happiness
08. Hurricane
09. Kinda Wish You Would
10. Days To Remember
11. Back To The Blues
12. All Dressed Up
13. Can’t Go Back
14. She
15. Ayresome Park – Reprise
Links in comments.
Simon and Garfunkel – Bridge Over Troubled Water (1970) (@256)
05 Jun 2008
(Review from allmusic)
Bridge Over Troubled Water was one of the biggest-selling albums of its decade, and it hasn’t fallen too far down on the list in years since. Between the record’s overall quality and its four hits, the album held the number one position for two and a half months and spent years on the charts, racking up sales in excess of five million copies.
Apart from the gospel-flavored title track, which took some evolution to get to what it finally became, however, much of “Bridge Over Troubled Water” also constitutes a stepping back from the music that Simon & Garfunkel had made on “Bookends” — this was mostly because the creative partnership that had formed the body and the motivation for the duo’s four prior albums literally consumed itself in the making of Bridge Over Troubled Water. The overall effect was perhaps the most delicately textured album to close out the 1960s from any major rock act.
Bridge Over Troubled Water, at its most ambitious and bold, on its title track, was a quietly reassuring album; at other times, it was personal yet soothing; and at other times, it was just plain fun. The public in 1970 — a very unsettled time politically, socially, and culturally — embraced it; and whatever mood they captured, the songs matched the standard of craftsmanship that had been established on the duo’s two prior albums.
The irony was that for all of the record’s and the music’s appeal, the duo’s partnership ended in the course of creating and completing the album. This proved to be their last album of new material. Although they didn’t necessarily intend to break up at the time, the break from recording eventually became permanent; as Paul Simon began a solo career that brought him as much success as the Simon & Garfunkel outings, and Art Garfunkel pursued simultaneous acting and recording careers.
Track List:
01. Bridge Over Troubled Water 4:55
02. El Condor Pasa 3:09
03. Cecilia – 2:55
04. Keep The Customer Satisfied – 2:38
05. So Long, Frank Lloyd Wright 3:45
06. The Boxer 5:13
07. Baby Driver 3:18
08. The Only Living Boy In New York 4:02
09. Why Don’t You Write Me – 2:45
10. Bye Bye Love – 2:55
11. Song For The Asking – 1:48
Link in comments.
Company of Snakes – Here They Go Again (Live 2000) (@320)
05 Jun 2008
(Review from amazon, allmusic)
Neil Murray (another ex-Whitesnake of the classic line-up) and seasoned keyboardist Don Airey joined in the “Snakes”. After several vocalist changes, the band settled for Stefan Berggren evolving into the “Company of Snakes”. The band cut a live album culled from concerts between August and September, 2000.
On this crisp sounding double live album, the group performs almost exclusively material that they wrote with Whitesnake, and it sincerely smokes. Although they do not have vocalist David Coverdale in the lineup, Stefan Bergren amply handles the vocal chores. There’s room for a couple of new songs, though, as well as a great rendition of Rainbow’s “Since You Been Gone”.
“Here They Go Again” provides a great opportunity to enjoy once more the “old” Whitesnake songs, but it isn’t just for Whitesnake nostalgics – this fine live album should appeal to all fans of hard, bluesy, guitar-heavy rock n’ roll.
Line-up:
* Neil Murray – bass
* Micky Moody – guitar, back vocals
* Bernie Marsden – guitar
* Don Airey – keyboards
* Stefan Berggren – vocals
* John Lingwood – drums
Track List:
CD1
01. Come On – 4:25
02. Walking in the Shadow of the Blues – 5:01
03. Trouble – 6:30
04. Kinda Wish You Would – 5:55
05. Rough An’ Ready – 3:24
06. Don’t Break My Heart Again – 6:35
07. Moody’s Blues – 4:01
08. Slow An’ Easy – 6:57
09. Sweet Talker – 5:06
10. Ready An’ Willing – 6:32
CD2
01. Would I Lie to You – 4:32
02. Ain’t Gonna Cry No More – 7:08
03. Silver on Her Person – 5:00
04. Lovehunter – 5:14
05. Is This Love – 5:42
06. Since You Been Gone – 3:39
07. Here I Go Again – 9:27
08. Wine Women An’ Song – 6:42
09. Fool for Your Loving – 5:07
Links in comments.
Parzival – Barock (1973) (@256)
05 Jun 2008
(Review from progarchives)
With their second (and unfortunately last) album, Parzival is scoring a perfect pair. The group has expanded to a quintet and even a sextet by now and this clearly let more freedom to Walter Quintus to switch from strings to keys.
Again oddly enough, the album starts with a bonus track (the B-side from same single as on the first album’s CD edition) with choir in it. The overall feeling of the album is clearly more towards a rockier sound, as experienced on the short Celtic track stories. Lengthy track “Black Train” reaches more in psych and prog moods and it has some astounding moments reminding you of a cross of ELO and Trees and finding its end only in chaos. Following “Mrs Virgin” has singing between Family’s Chapman and Van Der Graaf Generator’s Hammill. The album’s title is an apt one because the mood is definitely more baroque in here as can be seen by the strange (and slightly gothic but orgiastic) “Frank Supper”, but another peak is reached with the uncanny Scarlet Horses which contrast starkly with the previous two tracks yet has you begging for it not to end.
“It’s A Pity” is quickly offset with another superb track “Thought”, built in its start a bit like Eleanor Rigby, but quickly building into a wild flute jam before suddenly jumping into a slow but delightful Ritournelle and off to a devilishly fast ending: flabbergasting! The lengthy “Paradise” is yet another outstanding moment and would be THE highlight on almost any other album from some other group, but here it is just another track.
The two bonus demo tracks (this time from 70) compared to the first album’s bonus tracks are much more in phase with the album they are included in, and are of great added value and almost don’t have that demo edge.
Line-up:
- Lothar Siems / guitar & vocals
- Walter Quintus / violin, piano & organ
- Thomas Olivier / drums & vocals
- Walter von Seydlitz / cello
- Matthias Muller-Menckens / flute, piano & organ
- Harald Konietzko / bass & vocals
Track List:
01. Souls Married to the Wind (Bonus Single 1972) – 3:40
02. Stories – 1:56
03. Black Train – 8:33
04. Mrs Virgin – 4:29
05. Frank Supper – 2:23
06. Scarlet Horses – 6:25
07. It’s a Pity – 3:01
08. Thought – 5:56
09. Paradise – 8:31
10. Party Bird (Bonus Rough Demo 1970) – 2:16
11. Veronique (Bonus Rough Demo 1970) – 3:01
Link in comments.
Simon and Garfunkel – Bookends (1968) (@256)
04 Jun 2008
(Review from allmusic)
Bookends is a literary album that contains the most minimal of openings with the theme, an acoustic guitar stating itself slowly and plaintively before erupting into the wash of synthesizers and dissonance that is “Save the Life of My Child”. The classic “America” is next, a folk song with a lilting soprano saxophone in the refrain and a small pipe organ painting the acoustic guitars in the more poignant verses. The song relies on pop structures to carry its message of hope and disillusionment as two people travel the American landscape searching for it until it dawns on them that everyone else on the freeway is doing the same thing.
The final four tracks, “Mrs. Robinson”, the theme song for the film The Graduate, “A Hazy Shade of Winter” and the album’s final track, “At the Zoo” offer as tremblingly bleak a vision for the future as anything done by the Velvet Underground, but rooted in the lives of everyday people, not in the decadent underground personages of New York’s Factory studio. But the album is also a warning that to pay attention is to take as much control of one’s fate as possible.
If you only want the famous songs, you can find them on any number of compilations. However, if you wish to explore further, this album should be a high priority.
Track List:
01. Bookends Theme – 0:32
02. Save the Life of My Child – 2:48
03. America 3:41
04. Overs – 2:13
05. Voices of Old People – 2:07
06. Old Friends – 2:35
07. Bookends Theme (2) – 1:23
08. Fakin’ It 3:19
09. Punky’s Dilemma – 2:17
10. Mrs. Robinson 4:05
11. A Hazy Shade of Winter – 2:17
12. At the Zoo – 2:23
Link in comments.
Parzival – Legend (1971) (@256)
04 Jun 2008
(Review from progarchives.com)
One of the keenest progressive folk groups to come from Germany, Parzival should appeal to most progheads especially those looking into medieval music as a main influence. Organized around a guitar-bass-drums trio (the bassist being multi- instrumentalist from keyboards to violin) with an added instruments ranging from the cello, flute to the oboe. Sounds tasty does it not?
Oddly enough the album starts with a bonus track, a non-album single, but a masterstroke that puts you right away in superb joyous mood and the album is in the same mould. Cellos and flute gives a rather medieval feeling to the music, but never really completely indulging in it like Gryphon would, they sound more like ELO’s first superb album also. The “8 Years Later” almost instrumental is an incredibly beautiful track where they are soaring away like eagles from us poor mortals. Senseless and a few other tracks have slightly acidic-sounding vocals reminding Spirogyra’s Martyn Cockerham or Comus’s Wooton, but without having that eerie feel to it. “Empty Land” is based on Bach’s Matthew’s Passion, but the previous track always had another classical influence I could never place.
Their largely acoustic sound is incredibly contagious and highly joyous. Their lenghty Groove Inside, based on an improvisation, is never less than interesting but reaches the enthralling stages too especially when they get to a raga section much like the Third Ear Band (and even reminding of Jan Dukes De Grey’s Sun Symphonia), until it ends on a rather pointless and wink to Beatles’s “When I’m 64″. But only on this lenghty track does the mood become …… moody ;-)
Two more short bonus tracks (on top of the opening one) are ending the album in a rougher manner than necessary, both being demos dating from 1969, this album is one of the real pearls from German folk scene.
Line-up:
- Lothar Siems / guitar & vocals
- Walter Quintus / violin, bass, organ & piano
- Thomas Olivier / drums, vocals & percussion
- Matthias Muller-Menckens / flute & piano
- Joachim Reichhold / cello
- Hans Jaspers / viola
Track List:
01. One Day (Bonus Single 1972) – 3:39
02. Marsby Legend – 2:30
03. Resignation – 2:55
04. 8 Years Later – 4:40
05. Senseless No. 6 – 4:54
06. Wall Bungalow – 2:41
07. Empty Land – 5:11
08. Groove Inside16:02
09. Change Your Mind (Bonus Rough Demo 1969) – 2:11
10. Sarah Girl (Bonus Rough Demo 1969) – 2:06
Link in comments.
Snakes – Live in Europe (1998) (@320)
04 Jun 2008
The band released a live opus, comprising Whitesnake songs following their studio album.
It’s always nice to hear the classic-era Whitesnake songs all over again, with Jorn Lande this time. He certainly can hit high notes like a young Coverdale.
Line-up:
- Jorn Lande / vocals
- Micky Moody / guitar
- Bernie Marsden / guitar
- Sid Ringsby / bass
- Willy Bendickson / drums
Track List:
01. Walking In The Shadow Of The Blues
02. Sweet Talker
03. Trouble
04. Slow An’ Easy
05. Don’t Break My Heart Again
06. Ready An’ Willing
07. Ain’t No Love In The Heart Of The City
08. Rough An’ Ready
09. Fool For Your Loving
10. Wine, Women And Song
11. Here I Go Again
Links in comments.
Simon and Garfunkel – Live in New York City (1967) (@320)
04 Jun 2008
(Review from allmusic)
This album features an almost-complete recording of a performance given by the duo at Philharmonic Hall, at the Lincoln Center in New York City on January 22, 1967. The duo performs acoustically, without accompanists (as was usually the case in their concerts), on a fine-sounding and well-delivered set that doesn’t contain any revelations, but is nonetheless an excellent document of their live work as they reached their prime.
Certainly a Simon & Garfunkel fan could have hardly wished for a better song selection, as it features all the major hits and most of the best album tracks that the pair had recorded prior to 1967.
Only two of the cuts, though, would qualify as relatively seldom-heard tunes: “A Church Is Burning”, which was a Paul Simon solo song, not recorded for release by Simon & Garfunkel and the uncommonly tough-minded “You Don’t Know Where Your Interest Lies”, which would be a 1967 non-LP B-side.
Though there are numerous live Simon & Garfunkel bootlegs circulate around, it’s great to have a classy, above-board document of their live presence.
Track List:
01. He Was My Brother – 3:21
02. Leaves That Are Green – 2:58
03. Sparrow – 3:06
04. Homeward Bound – 2:40
05. You Don’t Know Where Your Interest Lies – 2:07
06. A Most Peculiar Man – 3:00
07. The 59th Street Bridge Song (Feelin’ Groovy) – 1:50
08. The Dangling Conversation – 3:02
09. Richard Cory – 3:24
10. A Hazy Shade Of Winter – 2:38
11. Benedictus – 2:55
12. Blessed – 3:46
13. A Poem On The Underground Wall – 4:46
14. Anji – 2:28
15. I Am A Rock – 2:58
16. The Sound Of Silence – 3:25
17. For Emily, Whenever I May Find Her – 2:40
18. A Church Is Burning – 3:43
19. Wednesday Morning, 3 A.M. – 3:36
Links in comments.
Dragonfly – Dragonfly (1970) (@256)
03 Jun 2008
(Review from headheritage.co.uk)
The lone self-titled album of the southern Californian band Dragonfly is a tough psych-pop/proto-metal gem that features acid guitar solos, dynamic rhythms & complex multi-part compositions that recall pop-art era Who & the MC5′s classic “High Time”; plus endless weird production touches like backwards tapes, judicious echo & reverb, overdubbed orchestration, etc., and with the tracks segueing together into two side-long suites. The bluesy singer does a fine job too, smoothly growling like T.S McPhee tempered with a bit of Burton Cummings.
“Blue Monday” begins with some off-tempo hard blooz riffage (Blues Magoos minus the organ maybe?) before sliding into a thrashy gogo acid groove. The whole world is turning day-glo blue from sheets of melodic guitar feedback constantly wailing tremolo-squeejee-stylee ala Fever Tree & the Amboy Dukes.
“Enjoy Yourself” is an obvious “get high” anthem, beginning with some crazy stereo-panned drum riffs before crunching into a midtempo MC5 groove leading to a backwards cymbal swooshy waltz time bridge — words echo looping, crossfading into angular Vincebus Eruptum guitar solo. “Hootchie Kootchie Man” is totally progged out, no “cod blues”. It comes off like “LA Woman”-era Morrison fronting the Groundhogs (complete with another Leigh Stephens-esque backwards guitar solo). “I Feel It” features many MC5ish rhythm elements, and more great lead guitar that seems to fuse the Stephens & Holden styles of Blue Cheer. But also harpsichord-like guitar arpeggios! These guys defiinitely know how to arrange their shit. “Trombodo” is a brief faux-Spanish orchestral interlude that very much recalls that perennial favorite of prog rockers everywhere, Miles Davis’ “Sketches of Spain” (see also Uriah Heep’s “Salisbury” track.)
“Portrait Of Youth” steals the verse riff and pummeling drum rolls from “I Can See For Miles” and weds them to a Beatlesy chorus complete with those stretched meters that Lennon loved so much (very much like the extra beats in “Good Morning, Good Morning”). “She Don’t Care” uses the waltztime tempo trick again, a sort of stoner version of “Ticket To Ride.” “Time Has Slipped Away” is the toughest darkest moment: “Time is a deep dark hole . . . you’ve burned my mind with pain / and time has made your grave!”. The guitar solo is tortured and dissonant, riffin’ like a slightly more laid back Sir Lord Baltimore. “Darlin” is another 30 second goof, starting with a few bars of country music before collapsing in gales of overdubbed stoned laughter.
The finale “Miles Away” is some tasty Moby Grape/Byrds psychpop with country-folkrock overtones, plus reams of multitracked fuzztone, backwards electronic sounds, tape speed manipulation, raga drones, disembodied orchestras, dub-o-matic crossfading & echo . . . in other words a pull-out-all-the-stops pyschedelicious climax to the album.
“Dragonfly” is an archetypal example of the 1968-1972 late-psych / proto-metal style. Sure all this sounds familiar and has been done by plenty of others before & since, but rarely does a record distill the moment with a hit-to-miss ratio as high as you’ll find here.
Track List:
01. Blue Monday – 3:16
02. Enjoy Yourself – 3:19
03. Hootchie Koochie Man – 4:42
04. I Feel It – 4:37
05. Trombodo – 0:32
06. Portrait of Youth – 2:46
07. Crazy Woman – 2:34
08. She Don’t Care – 2:50
09. Time Has Slipped Away – 2:40
10. To Be Free – 3:17
11. Darlin’ – 0:38
12. Miles Away – 4:48
Link in comments.
Simon and Garfunkel – Parsley, Sage, Rosemary and Thyme (1966) (@256)
03 Jun 2008
(Review from allmusic, amazon)
Simon & Garfunkel’s first masterpiece; Parsley, Sage, Rosemary and Thyme was also the first album on which the duo exerted total control from beginning to end, right down to the mixing, and it is an achievement akin to the Beatles’ Revolver or the Beach Boys’ Pet Sounds album, and just as personal and pointed as either of those records at their respective bests.
After the frantic rush to put together an album in mere weeks that characterized their early albums; Parsley, Sage, Rosemary and Thyme came together over a longer gestation period of about three months, an uncommonly extended period of recording in those days, but it gave the duo a chance to develop and shape the songs the way they wanted them.
From the opening finely-woven tapestry, “Scarborough Fair/Canticle”, to the closing wake-up call, “7 O’Clock News/Silent Night”, Paul Simon and Art Garfunkel present a powerful statement–theirs was to be the new standard in contemporary rock. These harmonies were not those of the fun-loving Beach Boys, and these two New Yorkers weren’t singing about girls in bikinis. They sang about women who read Emily Dickinson. Intellectual folk-based rock flourished in this classic collection written by the poet-of-the-moment, Paul Simon.
The chemistry between Paul’s warm, low tenor and Art’s high, airy, etheral tenor was an unrivaled mix, creating a precise harmonic exchange that lent itself perfectly to Paul’s well-crafted songs. The intricate arrangement of “Scarborough Fair” is one of the prettiest in the band’s catalogue.
“Parsley, Sage, Rosemary and Thyme” contains songs that have since become part of the musical lexicon: the multi-layered poetry of “Dangling Conversation”, and the emotional ode “For Emily, Whenever I May Find Her”. Songs like “Patterns” signalled that there was now an articulate elite that was changing the sound of the musical landscape. The revolution in the streets and campuses was making its way on to radio airwaves and thence into people’s homes. But as heavy as they were politically and intellectually, the duo could still offer upan infectious, light-hearted ditty like “The 59th Street Bridge Song (Feelin’ Groovy)”.
Track List:
01. Scarborough Fair / Canticle 3:11
02. Patterns – 2:45
03. Cloudy – 2:15
04. Homeward Bound – 2:30
05. The Big Bright Green Pleasure Machine – 2:44
06. The 59th Street Bridge Song (Feelin’ Groovy) – 1:42
07. The Dangling Conversation – 2:40
08. Flowers Never Bend with the Rainfall – 2:14
09. A Simple Desultory Philippic (Or How I Was Robert McNamara’d Into Submission) – 2:12
10. For Emily, Whenever I May Find Her – 2:04
11. A Poem On the Underground Wall – 1:57
12. 7 O’Clock News/Silent Night – 1:59
Link in comments.
Snakes – Once Bitten (1998) (@256)
02 Jun 2008
(Review from rockdetector.com, theboysareback.se, amazon)
After David Coverdale sacked them from Whitesnake, ending the band’s classic sound, Micky Moody and Bernie Marsden didn’t want to give up on their unique chemistry. With different Coverdale-like sounding vocalists and band-mates, they led on a fork of Whitesnake under different monikers.
This incarnation of the duo, “Snakes” performed numerous club shows playing exclusively Whitesnake material. The guitar pairing had initially been working up a proposed band titled “Saints and Sinners” with erstwhile Whitesnake refugees bassist Neil Murray and Cozy Powell plus American vocalist John West. Powell’s own solo album with West put an end to this venture.
For the August 1998 ‘Once Bitten’ album, three Norwegians, including ex-Vagabond vocalist Jorn Lande were drafted. The outcome is strong bluesy rock songs with truckloads of feeling — an early Whitesnake-sounding album. Jorn Lande is extremely “Coverdale-like” and the songwriting and production is very good. It’s like “Slide It In” and “Lovehunter” melted into one incredible opus.
Definitely a great fix for Whitesnake fans and a surprising delight for Jorn Lande fans.
Line-up:
- Jorn Lande / vocals
- Micky Moody / guitar
- Bernie Marsden / guitar
- Sid Ringsby / bass
- Willy Bendickson / drums
Track List:
01. Labour Of Love
02. Can’t Go Back
03. What Love Can Do
04. Real Faith
05. The Dancer (The Liar)
06. Gonna Find The Sun
07. Little Miss Happiness
08. Bring Yo’ Good Self Home
09. Showdown
10. Sacrificial Feelings
11. Tough Love
12. All Dressed Up (Bonus Track)
13. September Tears (Bonus Track)
Link in comments.
Atoll – L'Araignee Mal (1975) (@256)
02 Jun 2008
Request of Anne.
(Review from progarchives.com)
Between the somewhat naive Ange-inspired symphonic pastoral progressive of their debut album and the gradually commercial indulgence from 1977 onwards, Atoll made a French progressive masterpiece with their second album, “L’Araignee-Mal”.
The incorporation of a Jean-Luc Ponty school violinist into the band’s line-up and the augmentation of percussive sources into the instrumentation (lead singer Andre Balzer helps at it when not singing) fit the demands of the material perfectly: this is symphonic progressive with a strong jazzy feel added that raises the level of majesty in the band’s overall sound.
The album kicks off with a sinister, solemn number that sets an ambience of mystery and impending tragedy: Balzer’s soliloquy is so typically French in its dramatic flavor, with those guitar phrases and keyboard adornments doing nothing but enhance the track’s spiritual darkness. Quite close to “Larks’ Tongues”-era King Crimson with an extra Floydian element.
From “Cazotte No. 1″ onwards the material unabashedly reveals the jazz-tinged renovation that the band set out to provide for their progressive trend. This is an amazing instrumental which is solidly stated on the trend of progressive fusion. The violin almost assumes an undisputed starring role on this one, so Beya must try real hard to allow his guitar be noticeable in the mix. The rhythm section behaves as a solid column for the ensemble sound, while Taillet displays a taste for Corea. As a whole, the track sounds as “Birds of Fire”-meets-“Sound Chaser”.
“Le Voleur d’Extase” starts in a bucolic mood, not languid but clearly serene, in a way leaning closer to the most intimate side of Yes and Genesis. However, it won’t be long before the fusion thing returns with a vengeance, making the song shift into the jazz-rock territory, somewhere between the joyful and the furious.
The album’s second half is occupied by the 4-part namesake suite. Part 1 is pretty much ethereal, with a dense sound that sounds as a hybrid between Pink Floyd and Camel, but not tense or dark, just predominantly serene. Part 2 is based on a recurrent harmonic sequence led by the synth and the electric piano on a 7/8 tempo. Balzer’s singing reaches its peak in this album while the instruments gradually grow stronger and louder in an amalgam that uses repetitiveness as a mesmerizing power. The third section begins when the final synth arpeggios are still to be faded out, with a clavinet that paves the way for an exhibition of space-rock and fusion. Part 4, since it’s the closing one, is in charge of providing the final climax for this epic number. Its bombastic, dramatic aura works perfectly right as a closure – its first 4 minutes find the band concentrating on the symphonic side of things, which they leave behind in favor of the fusion element for the definitive coda.
This edition of the album also includes a live rendition of the instrumental second track as a bonus.
Line-up:
- Richard Aubert / violin
- Andre Balzer / lead vocals, percussion
- Christian Beya / guitar
- Alain Gozzo / drums
- Michel Taillet / keyboards
- Jean Luc Thillot / bass
Track List:
01. Le Photographe Exorciste – 8:16
02. Cazotte No.1 – 6:21
03. Le Voleur D’Extase – 7:33
04. L’Araignee-Mal A) Imaginez Le Temps B) L’Araignee-Mal – 11:54
05. L’Araignee-Mal C) Les Robots Debiles – 3:33
06. L’Araignee-Mal D) Le Cimetiere De Plastique – 6:20
07. Cazotte No.1 (Bonus Live) – 12:00
Links in comments.
Simon and Garfunkel – Sounds of Silence (1965) (@256)
02 Jun 2008
(Review from allmusic, amazon)
The Simon & Garfunkel story might have ended after their (first) split, except for a brainstorm of their producer, Tom Wilson. Folk-rock was taking off in 1965, and Wilson, who had helped Dylan electrify his sound, took the strongest track from their debut, “Sound of Silence,” and embellished it with electric guitars, bass, and drums. It got to number one in early 1966, giving the duo the impetus to reunite and make a serious go at a recording career.
Their second album is a radical departure from their first, owing to its being recorded in the wake of “Sound of Silence”, with its overdubbed electric instrument backing, topping the charts. Paul Simon arrived with a large song-bag, enhanced by his stay in England over the previous year and his exposure to English folk music, and the duo rushed into the studio to come up with ten more songs that would fit into the folk-rock context of the single.
Lines from “I Am a Rock” (“For a rock feels no pain / And an island never cries”) and the title track (“Fools, said I, you do not know / Silence like a cancer grows”) are the essence of sophomoric poetry. And who but a couple of self-serious young men would sequence the suicide odes “Richard Cory” and “A Most Peculiar Man” back to back? That said, every callow couplet found here is counterbalanced by words that are disarmingly guileless. The unabashed romanticism of “Kathy’s Song” is truly poignant; it ranks with “For Emily” and “The Only Living Boy in New York” among the duo’s most resplendent performances. “April Come She Will” has a similar innocent appeal, while the title track is a folk-rock landmark. It’s not hard to find fault with “Sounds of Silence”, but it’s easier still to bask in its inchoate splendor.
Track List:
01. The Sounds Of Silence – 3:08
02. Leaves That Are Green – 2:23
03. Blessed – 3:16
04. Kathy’s Song – 3:21
05. Somewhere They Can’t Find Me – 2:37
06. Angie – 2:17
07. Richard Cory – 2:57
08. A Most Peculiar Man – 2:33
09. April Come She Will – 1:51
10. We’ve Got A Groovey Thing Goin’ – 2:00
11. I Am A Rock – 2:50
Link in comments.
Simon and Garfunkel – Wednesday Morning, 3 AM (1964) (@256)
01 Jun 2008
(Review from wikipedia, allmusic, amazon)
Close friends since childhood, Paul Simon and Art Garfunkel grew up in the same Forest Hills neighborhood just blocks away from one another. They were together their whole school career, began performing together in their junior year as “Tom and Jerry”.
By the early 60s, both Simon and Garfunkel were coming under the influence of folk music. When they reteamed, it was as a folk duo, though Simon’s pop roots would serve the act well in their material’s synthesis of folk and pop influences.
Their debut album, “Wednesday Morning, 3 AM” doesn’t resemble any other Simon & Garfunkel album, because the Simon & Garfunkel sound here was different from that of the chart-topping duo that emerged a year later. The album was cut in March 1964 and, in keeping with their own sincere interests at the time, it was a folk-revival album. Paul Simon was just spreading his wings as a serious songwriter and shares space with other composers as well as a pair of traditional songs, including a beautifully harmonized rendition of “Peggy-O”. The album opens with a spirited rendition of Gibson and Camp’s gospel/folk piece “You Can Tell the World”. Also present is Ian Campbell’s “The Sun Is Burning,” which Simon heard on his first visit to England as an itinerant folksinger. But the dominant outside personality on the album is that of Bob Dylan — his “Times They Are A-Changing” is covered, but his influence is manifest on the oldest of the Simon originals here, “He Was My Brother”. Yet the album is best known for the acoustic version of “The Sound of Silence”.
The music of this album – guitar and two voice harmony – is simple and straightforward. Satisfyingly so, since most were chosen for content not just ‘feeling good.’ They ask questions, some of which have never really been answered – that are just as pertinent today as they were then. Thus it is in the design of the album, not in the individual songs, that the true richness and complexity lays, as we travel a range from reflective to jarringly tragic.
If you are used to the later work of this duo, your first reaction to this album may be a bit doubtful. This is more intimate and less adventurous than what was to when Paul Simon took over all the songwriting. There are foreshadowings of the coming years, but ‘Wednesday Morning, 3 AM’ stands very much on its own.
The duo (again) went their separate ways after this album, Paul Simon moving to England.
Track List:
01. You Can Tell The World – 2:45
02. Last Night I Had The Strangest Dream – 2:11
03. Bleecker Street – 2:46
04. Sparrow – 2:50
05. Benedictus – 2:41
06. The Sound Of Silence – 3:06
07. He Was My Brother – 2:49
08. Peggy-O – 2:25
09. Go Tell It On The Mountain – 2:06
10. The Sun Is Burning – 2:49
11. The Times They Are A-Changin’ – 2:53
12. Wednesday Morning, 3 A.M. – 2:17
Link in comments.
Faust – Faust (1971) (@256)
01 Jun 2008
(Review from progreviews.com)
Difficult, dissonant, chaotic, abrasive, scary, German… Faust were all of these things and more on their groundbreaking debut album.
The album opens with a squall of noise as snippets of the Rolling Stones’ “Satisfaction” and The Beatles’ “All You Need is Love” are warped and melted into the din: Faust acknowledges the rock heroes of the previous age and Faust are prepared to terminate them. But a 21st-Century listener somewhat versed in the avant-garde of rock music (or a progressive listener with some positive experience with krautrock, RIO or the Mothers of Invention) shouldn’t find this record either perplexing or unapproachable. Harsh sounds do sometimes cascade upon the listener, (there is more than a passing acquaintance here with the aesthetics of countryman Karlheinz Stockhausen), tape loops abound and the vocals (in both English and German) are mostly limited to primitive shouts and chants and biergarten dances rather than actual singing. But Faust is not trying to destroy rock because they hate it, they’re trying to liberate it because they love it and they adopt the attitude that if morphing it into something new requires that it first be ferociously beaten into a substance more malleable, then, so be it.
To that end, although the album has its less accessible moments, it is still grounded in both tonality and rock traditions – even if the latter isn’t always apparent. This is one of those albums you really wish you could have heard on the day it was released instead of decades later, after its novelty and innovations have bled into the history of rock music. This music isn’t totally unprecedented, as the Mothers of Invention seem to have invented chaotic, collage-style avant-rock and indeed one of the earlier segments of “Why Don’t You Eat Carrots” sounds a bit like one of Frank Zappa’s Uncle Meat-era themes. This music is much spacier and more effects-laden than anything that the Mothers did, though, and in this sense parts of it remind me of what Gong was doing contemporaneously, the latter part of “Why Don’t You Eat Carrots,” in particular. Both of the two subsequent tracks, “Meadow Meal” and “Miss Fortune”, contain fantastic, rip-roaring guitar solos backed with rock-oriented drumming. Velvet Underground, as well, were earlier champions of low-fi noise-mongering, though history’s verdict on the VU is that they were better when they stayed within rock/pop’s confines than when they deconstructed them. Faust have a better handle on the deconstruction. Or destruction, if you prefer.
As the album nears its end and the spoken vocals are intoned “we have to decide what is important / a war we never see / or a street so black that babies die / a system and a theorie / or our wish to be free / to organize and analyze / and at the end realize that nobody knows / if it really happened”, it is apparent that Faust, at least, believed that they hit upon something of a certain import with this album.
This album doesn’t have to taken dead-serious in order for it to be enjoyed or appreciated. Consigned to cult status pretty much from the get-go, Faust’s first album presents a fascinating side of early avant-garde rock, and is an indispensable piece of Krautrock history. They take an existing aesthetic, use it to forge an entirely independent identity, and produce a brilliant first album.
Line-up:
- Werner Diermeier / drums
- Hans-Joachim Irmler / organ
- Jean-Herve Peron / bass
- Gunter Wusthoff / synthesiser, saxophone
- Rudolf Sosna / guitar, keyboards
- Arnulf Meifert / drums
Track List:
01. Why Don’t You Eat Carrots (9:35)
02. Meadow Meal (8:05)
03. Miss Fortune (16:35)
Link in comments.