Freedom to Music
Archive for August, 2008
Vacation at last!
29 Aug 2008
Well, I was craving for a vacation for a looong time. I’ll be away for the next 9 days.
In the meantime, I’ve “qshare”d some more of the archives, there are now alternate mirrors for all of the albums posted since February 2008. Might be a good time to dwell in the archives.
Take care.
Gevende – Ev (2006) (@256)
29 Aug 2008
(Review from progressive.homestead.com, gevende.com)
The band was founded in 2000, in Eskisehir (of Turkey) and took the name “Gevende” in 2002. Since their formation, “Gevende” have focused on perfecting their unique ‘psychedelic folk’ sound. The band combines Balkan and Middle Eastern cultures in their songs. Improvisation plays a key role in each stage performance and this open attitude has meant they have played with many diverse musicians both in Turkey and internationally.
Gevende recorded a demo in 2004 but it wasn’t until 2006 they managed to release their debut album. “Ev” is overloaded with ideas, which are arranged with compactness perfectionism, and professionalism. It almost give a feeling of something of the richness of the world, and this in a relaxed form, but in reality it is nothing else but the open vision and preparation on their own personal journey that led to these tracks.
The opening track, “Celik Comak” has some foreign language in the first vocals, and seems like having a Turkish rock band playing mixed in with a Balkan brass ensemble, with a small part somewhere with Indian rhythm-vocals on Turkish percussion as if it’s tabla. This kind of Balkan/Turkish feeling can also be noticed in the next track, “Refik” as well, presenting a happy progressive world fusion rock form, with hints to jazz, Indian music, and those elements origins aren’t immediately recognized.
“Nem” is a strong well composed track from their demo. It is classically inspired and composed “progressive” rock with a subtle arrangement. It evolves into an improvisation with the Turkish ney flute that leads this improvisation, and then some violin does a splendid composition. This is followed by more tracks from their demo. “Okyanus Dugunu” from the next two, is similarly classically gifted in style, with an improvisation on a rather classical composition, performed by a small chamber orchestra, with trumpet and electric guitar and bass. “Nayu” is a beautiful and comprehensive, slightly melancholic song, with varied improvised arrangements.
“Anonim” is a Middle Eastern traditional, arranged by the band starting with very beautiful and thoughtful, well arranged vocal harmonies. Then the band improvises on it in an acidic fusing folkrock way, with a rock band fundament with additional trumpet and trombone.
“Gözagri” (again from the demo) once again showcases a gifted composition. Just like a classical composition, it has different sections and this with a spontaneously changing rhythm according to the theme being used, from a jazzy song improvisation, with a rhythmically calmer layer of chamber-jazz rock arrangement to it, over a Turkish way of complex chamber music rock, to a more bluesy jazz improvisation. With the same qualities, “Sermest” starts with RIO-like arrangements of complex rhythms, then changes into weird vocal lead arrangements, over a more odd rock structure, with further sections of jazzrock kind of organ improvisation, a didgeridoo part with trumpet and bass, and some complex Indian-like violin improvisation with tabla, over to a complex fusion rock repeating the mode of the earlier started complex rhythms.
Last track “Seker” is a more relaxed track, lead by a classical guitar improvisation (with second guitar and bass) accompanied with harmonica and tabla, while a child voice starts to tell a whole little story (with a bit of school children noise coming in on the background), and a bit flute, until the child laughs joyfully and the album, in a relaxed mode, just like the travels of Gevende might have brought, leaves you with nothing but good memories.
Line-up:
- Ahmet Kenan Bilgic / vocals, guitar, e-bow
- Omer Oztuyen / viola, back vocals
- Can Omer Uygan / trumpet, back vocals
- Okan Kaya / bass, cumbus, oud, melodica, acoustic guitar, back vocals
- Gokce Gurcay / drums, back vocals
with
- Arda Yigit Bulut / fairy tale boy (9)
- Cenk Erdogan / fretless guitar (4)
- Cetin Erlik / percussion (2)
- Gulsah Erol / cello (4, 5)
- Izzet Kizil / percussion (1, 8, 9)
- Murat Ferhat Yegul / trombone (1, 2, 6), ney (3)
- Pin Rada / didgeridoo (8)
- Serdar Pazarcioglu / fiddle (8)
- Sinan Sakizli / saxophone (1, 6), acoustic guitar (9)
Track List:
01. Celik Comak – 3:55
02. Refik – 4:03
03. Nem – 6:31
04. Nayu – 4:25
05. Okyanus Dugunu – 4:09
06. Anonim – 5:07
07. Gozagri – 4:06
08. Sermest – 3:44
09. Seker – 6:55
Link in comments.
Jefferson Airplane – Takes Off (1966) (@256)
29 Aug 2008
(Review from progarchives.com, allmusic)
Retrospectively speaking, this album is very aptly-named as we have the embryonic Airplane, still close to their folk rock roots (both Kantner and Kaukonen were folkies hanging out in clubs around the bay area) and the way rebels assembled their bands together. The result of Marty Balin, a beatnick doodling in club ownership and toying with music, enticed Kantner to form a group, calling Kaukonen who himself called Casady from across the continent and findi,ng a local girl to handle the second twin lead vocals, the group was still missing a drummer, so Balin convinced this Canadian songwriter Skip Spence to become their drummer solely on his looks, nevermind that he had never played drums before.
Their debut album is more folk-rock than the harder psychedelic sound for which the band later became famous. It is dominated by guitarist Marty Balin, who wrote or co-wrote all the original material and sang most of the lead vocals in his heartbreaking tenor with Paul Kantner and Signe Anderson providing harmonies and backup. Though in the band’s early stages, you can already hear Jack Casady’s distinctive bass sound and Jorma Kaukonen displaying a talent for mixing country, folk, blues riffs in a rock context.
Signe Anderson and Skip Spence left the band shortly after the release of the album, making way to the infamous Grace Slick and Spencer Dryden.
Line-up:
- Signe Anderson / vocals
- Marty Balin / guitar, vocals
- Jack Casady / bass
- Skip Spence / drums
- Paul Kantner / guitar, vocals
- Jorma Kaukonen / guitar, vocals
Track List:
01. Blues From An Airplane – 2:13
02. Let Me In – 2:59
03. Bringing Me Down – 2:23
04. It’s No Secret – 2:39
05. Tobacco Road – 3:30
06. Come Up The Years – 2:32
07. Run Around – 2:40
08. Let’s Get Together – 3:35
09. Don’t Slip Away – 2:34
10. Chauffeur Blues – 2:28
11. And I Like It – 3:20
12. Runnin’ ‘Round This World (Bonus Mono Uncensored Single) – 2:25
13. High Flying Bird (Bonus) – 2:35
14. It’s Alright (Bonus) – 2:17
15. Go To Her (Bonus Early, 7/21/66) – 4:09
16. Let Me In (Bonus Original Uncensored) – 3:31
17. Run Around (Bonus Mono Original Uncensored) – 2:35
18. Chauffeur Blues (Bonus Alternate Previously Unissued) – 2:49
19. And I Like It (Bonus Alternate Previously Unissued) – 10:36
Links in comments.
Kayak – Merlin : Bard of the Unseen (2003) (@256)
28 Aug 2008
(Review from progressiveworld.net, progarchives.com)
They say that life doesn’t offer you second chances, but in one of the most surprising moves ever pulled by a progressive rock band, Kayak make good on some unfulfilled promises. A full 22 years after botching their first attempt at Merlin, the band takes a second shot at it.
This album builds on the five earlier tracks (Merlin, Tintagel, The Sword In The Stone, The King’s Enchanter and Niniane (Lady Of The Lake)) with eight newly composed tracks that fit in seamlessly to create a good neo-progressive rock opera. “Merlin” is re-invented and re-arranged.
As in true Ayreon fashion, the Merlin saga this time is based on no fewer than five main characters. Merlin and Lancelot are taken care of by singer Bert Heerink. Morgan Lefay and Guinevere are the task for Cindy Oudshoorn, whilst Rob Vunderink takes care of Mordred. Recorded with the New Philharmonic Orchestra, needless to say Scherpenzeel’s fantastic arrangements are finally exploited to the fullest, resulting in a breathtaking album.
The album has kind of a musical feel. For sure this entire Merlin saga would be ideal for being performed as a musical because the subject ideally suited to being given the full treatment including costumes, backdrops, props, lighting –the works!
With “Merlin – Bard Of The Unseen”, Ton Scherpenzeel has finally realised his all-time dream. By using a real orchestra and some outstanding vocalists he has turned his Merlin into something of outstanding quality and emotion.
Line-up:
- Ton Scherpenzeel / keyboards, backing vocals
- Pim Koopman / drums, backing vocals
- Bert Heerink / lead & backing vocals
- Rob Vunderink / guitars, lead & backing vocals
- Bert Veldkamp / bass guitar
- Joost Vergoossen / electric & acoustic guitars
- Cindy Oudshoorn / lead & backing vocals
Track List:
01. Merlin – 7:51
02. Tintagel – 2:50
03. The Future King – 3:00
04. The Sword In The Stone – 3:44
05. When The Seer Looks Away – 4:18
06. Branded – 3:52
07. At Arthur’s Court – 3:17
08. The Otherworld – 7:59
09. The Purest Of Knights – 5:49
10. Friendship And Love – 5:13
11. The King’s Enchanter – 2:33
12. Niniane (Lady Of The Lake) – 7:08
13. The Last Battle – 8:11
14. Avalon – 3:44
Links in comments.
Peter Sinfield – Still (1973) (@256)
28 Aug 2008
Thanks to Bilek for the contribution.
(Review from progarchives.com)
It’s interesting to listen what kind of result comes from the musical vision of King Crimson’s court lyricist without the guidance of Robert Fripp. The album features the typical Peter Sinfield elements like poetical lyrics and often a cynical undertone.
Almost everybody who played with King Crimson is on this album. However, only on one track- ‘The Night People’- does the album sound all that much like King Crimson, and even then, it’s the jazzier 1971 period that produced albums like ‘Lizard’ and ‘Islands’. It fits in with tracks like ‘Formentera Lady’ and ‘Indoor Games’ well enough, with Sinfield’s stream of consciousness words fitting the jazziness fairly well.
The rest of the album arguably, and somewhat surprisingly, owes more to the pastoral splendour of a band like Barclay James Harvest. These are dreamy with a wonderful harmony of acoustic guitar, flute, strings and the warm voice from Sinfield. His high, thin, reedy voice may put off some listeners but others will probably find it fitting and original. ‘Envelopes Of Yesterday’, with its treated guitar work and spaced-out atmosphere, edges towards Pink Floyd’s ‘Echoes’!
This edition also has two bonus tracks as well: the opener “Can You Forgive A Fool” which is very much pastoral and features some pleasant keys. The second one “Hanging Fire” is a candid and folk acoustic song.
Line-up:
- Peter Sinfield / vocals, guitar, synthesizer
with
- Chris Pyne / trombone
- Stanley Roderick / trumpet
- W.G. Snuffy Walden / guitar
- Ian Wallace / drums
- Tim Hinckley / piano
- Brian Flowers / synthesizer
- Don Honeywill / saxophone
- Keith Christmas / guitar
- Greg Lake / guitar, vocals
- Robin Miller / wind, cor Anglais
- Greg Bowen / trumpet
- Richard Brunton / guitar
- Boz Burrell / bass
- Brian Cole / guitar
- Mel Collins / celeste, flute, saxophone, wind, brass
- Steve Dolan / bass
- Don Honeywell / saxophone
- Phil Jump / Glockenspiel, keyboards, organ, piano, synthesizer
- John Wetton / drums, bass, percussion
- Keith Tippett / bass, piano
Track List:
01. The Song of the Sea Goat (6:08)
02. Under the Sky (4:24)
03. Will It Be You (2:42)
04. Wholefood Boogie (3:40)
05. Still (4:45)
06. Envelopes of Yesterday (6:19)
07. The Piper (2:51)
08. A House of Hopes and Dreams (3:57)
09. The Night People (7:56)
10. Can You Forgive A Fool? (Bonus) (4:21)
11. Hanging Fire (Bonus) (3:04)
Link in comments.
Wicked Lady – Psychotic Overkill (1972) (@256)
28 Aug 2008
(Review from allmusic)
Martin Weaver and “Mad” Dick Smith soon regrouped with new bassist, Del “German Head” Morley.The new lineup duly set about documenting its existence, as captured on Psychotic Overkill — whose feel is looser than Axeman Cometh.
The effect is a shotgun marriage of Black Sabbath-style rifferama, supported by a less risk-taking rhythm section. Weaver’s wah-wah and fuzz-driven guitar style carries the day. The highlights include a bluesy cover of Hendrix’s “Voodoo Child”, the sex ‘n’ drugs snapshot of “Sin City” and the howling, 22-minute epic, “Ship Of Ghosts”.
Line-up:
- Martin Weaver / guitar, vocals
- Del Morley / bass
- Dick Smith / drums
Track List:
01. I’m a Freak – 5:01
02. Tell the Truth – 5:08
03. Voodoo Chile (Slight Return) – 4:41
04. Why Don’t You Let Me Try Your P.C.P – 5:02
05. Sin City – 7:05
06. Passion – 9:29
07. Ship of Ghosts – 22:00
Links in comments.
Kayak – Nightvision (2001) (@256)
28 Aug 2008
(Review from amazon)
Nightvision is Kayak’s second studio album after the reunion, and the first to feature Bert Heerink on the vocals and Rob Vunderink on the guitars. These to new guys really added a new sound to this Kayak-album.
Ton and Pim’s musical talent with Irene Linders’ lyrics are just as strong as any past project. “Night Vision” has definitely been pumped with a lot of musical energy, with great guitar work from the dueling Robs, ever brilliant keyboarding from Ton Scherpenzeel and the addition of strings and awesome brass on a few of the tracks.
Highlights include the opening is an 8-minute plus epic about Icarus; beautiful, and Heerink sings it very emotionally. ‘Miracle Man’ gets you going with a fast tempo. ‘Water For Guns’ and ‘How’ are classic Kayak. ‘Carry On Boy’ is a great ballad.
It may take time for long time Kayak fans to get used to a new vocalist. In spite of the absence of Max Werner’s haunting vocals, the blending harmonies are pretty nice.
Line-up:
- Ton Scherpenzeel / keyboards, accordeon, vocals
- Pim Koopman / drums, vocals
- Bert Veldkamp / bass
- Rob Winter / guitar (electric & acoustic), mandoline
- Bert Heerink / vocals, percussion
- Rob Vunderink / guitar, vocals
Track List:
01. Icarus – 8:24
02. Miracle Man – 4:54
03. Cassandra – 4:25
04. A Million Years – 4:37
05. Water for Guns – 4:08
06. The Way of the World – 4:35
07. Hold Me Forever – 3:28
08. Tradition – 8:00
09. All Over Again – 5:06
10. Life without Parole – 4:12
11. How – 4:57
12. Carry On Boy – 4:04
13. Good Riddance – 4:14
14. Rings of Saturn – 4:04
Links in comments.
Wicked Lady – Axeman Cometh (1970) (@256)
27 Aug 2008
(Review from allmusic)
“Wicked Lady” was founded as a trio by Northampton singer-guitarist Martin Weaver formed in 1968. However, Wicked Lady never came within a whisper of the stratospheric status attained by Cream, or the Jimi Hendrix Experience. The band’s liberal use of feedback — and large biker following — kept them relegated to clubs, even during the twilight hours of the psychedelic era. The band never had a legitimate release back in 1968-70 when this material was originally recorded.
Don’t let that stop you from taking the plunge and snagging this proto-doom hard-fuzz monster. Imagining if Sabbath Bloody Sabbath-era Black Sabbath, instead of getting all synthy and fast, went into a bit more Jethro Tull-esque folksy melodic jamming.
The first track “Run The Night” is the most balls-to-the-wall rocking, and the song “The Wicked Lady” sound right out of the aforementioned Witchcraft’s catalog. Other songs, like “War Cloud” might wait a full 4 min before the vocals kick in, and “The Axeman Cometh” is a hard-rocking instrumental. Add a healthy does of wah-wah hell into the mix, and you might occasionally come a bit too close to wanky-jamming overkill.
The lost-in-a-void vocals, and acid-hangover guitar total blows most other supposedly “heavy” 70′s releases out of the water.
The band split in 1970 but the trio would later re-unite in a more psychedelic and progressive outfit called the Dark.
Line-up:
- Martin Weaver / guitar, vocals
- Bob Jeffries / bass
- “Mad” Dick Smith / drums
Track List:
01. Run The Night – 5:12
02. War Cloud – 7:40
03. The Axeman Cometh – 6:55
04. Life And Death – 10:03
05. Wicked Lady – 6:07
06. Out Of The Dark – 10:18
07. Rebel – 3:36
08. Living On The Edge – 10:09
Links in comments.
David Cross – Closer Than Skin (2005) (@256)
27 Aug 2008
(Review from progressiveworld.net, amazon.com)
“Closer Than Skin” offers a set of well-developed pieces with strong melodies, pieces that focus on the songs rather than on instrumental flash. Not that instrumental prowess doesn’t ooze from the tracks; well-played would be an understatement for the musicianship here.
The album takes references from a much broad range than simply the Crimson of 30 years ago, indeed a lot of the new, and melds them into tunes which sound very 21st Century and better still: exciting.
The King Crimson references provide that contact to 72-74 , with the enimatic lyrics by Richard Palmer James, or one very brief but pungent instrumental sample about 3 and half minutes into Awful Love (track 5), here you’ll find a classic Fripp guitar riff (from ‘Lark’s Tongues’ itself), employed to provide both a dramtic break and a counter-rhythm to the middle eastern feel in the song.
This a modern album loosely in the style of the mid 70s King Crimson but significantly affected by 30+ years of experience and change in David Cross, tempered by the young musicians who has around him.
Line-up:
- David Cross / violin
- Arch Stanton / vocal
- Lloyd / drum
- Mick Paul / bass
- Paul Clark / guitar
Track List:
01. Are we one?
02. States of deception
03. Over you shoulder
04. Only fooling
05. Awful love
06. Counting
07. I buy silence
08. Valley of the kings
09. Tell me your name
10. Anybody
Links in comments.
Kayak – Chance For A Live Time (2001) (@VBR 232-245)
26 Aug 2008
(Review from progarchives.com, dprp.net)
This is Kayak’s first true live album because it has everything: there were gigs performed and recorded, and there were audience involved. Yes, you are right, “Eyewitness” was the band’s first live recording but it missed the essential elements of “true” live records: the gig and the audience.
This album was recorded live from a set of “Close To The Fire” Tour in 2000: Rotterdam, Utrecht, Leeuwarden, Hrdenberg and Enschede, Holland. At their comeback gig in Amsterdam, they had two lead singers, Max Werner and Bert Heerink. Unfortunately, Max Werner is not present on this album as he left the band during the tour.
All the vocals on this new album are done by newcomer Bert Heerink, and he’s doing a fine job. His voice is powerful, high, clear and surprisingly “proggy”. His singing sounds best on tracks from the Reekers-era of the band.
The live act is really an excellent performance for those who like Kayak’s music. You don’t need to love the band’s music, just like it – and you would enjoy their music.
7 tracks that come from “Close To The Fire” album are performed excellently by the band. The live versions are much more dynamic and more rocking than the studio ones. Despite the new album, their performance of classic hits like “Mammoth”,”Periscope of Life”, and “Wintertime” is great.
“Chance For A Live Time” is a good and energetic live album, with a perfect selection of songs.
Line-up:
- Ton Scherpenzeel / keyboards, accordion, vocals
- Pim Koopman / drums, accoustic guitar, vocals
- Bert Heerink / lead vocals, percussion
- Bert Veldkamp / electric & accoustic bass, guitar, vocals
- Rob Vunderink / electric & accoustic guitar, vocals
- Rob Winter / electric & accoustic guitar, vocals
Track List:
CD1
01. Close To The Fire (8:03)
02. Crusader (3:47)
03. When Hearts Grow Cold (3:55)
04. Mammoth (3:07)
05. Wintertime (3:00)
06. Periscope Life (3:47)
07. Sweet Revenge (3:47)
08. See See the Sun (4:36)
09. Anne (3:34)
10. Anybody’s Child (4:16)
CD2
01. Two Wrongs (4:54)
02. Forever (4:30)
03. Merlin (7:38)
04. Niniane (5:52)
05. Chance For a Lifetime (4:30)
06. Starlight Dancer (5:09)
07. Ruthless Queen (5:47)
08. Full Circle (5:41)
Links in comments.
Montrose – Montrose (1973) (@256)
26 Aug 2008
(Review from allmusic, wikipedia)
After having done sessions work for various musicians including Van Morrison, Herbie Hancock and Edgar Winter, this was Ronnie Montrose’s first record leading his own band.
The 70s gave us a slew of classic hard rock albums — the likes of which may never be equaled — and though it hasn’t had the lasting influence of, say, Boston’s or Ted Nugent’s first albums, Montrose’s eponymous debut proved equally influential and important in its day.
Released in 1973, the record also introduced a young Sammy Hagar to the world, but the explosive aggression of Ronnie Montrose’s biting guitar left no doubt as to why it was his name gracing the cover. A rock-solid rhythm section featuring drummer Denny Carmassi and bassist Bill Church certainly didn’t hurt, either, and unstoppable anthems such as “Rock the Nation” and “Good Rockin’ Tonight” would lay the ground rules for an entire generation of late-’70s California bands, most notably Van Halen.
No amount of time can dim the sheer euphoria of “Bad Motor Scooter”, the adolescent nastiness of “Rock Candy” and the simply gargantuan main riff of the phenomenal “Space Station #5″.
A welcome addition to any respectable 70s hard rock collection.
Line-up:
- Ronnie Montrose / Guitar
- Sammy Hagar / Vocals
- Bill Church / Bass
- Denny Carmassi / Drums
Track List:
01. Rock The Nation – 3:03
02. Bad Motor Scooter – 3:43
03. Space Station #5 – 5:16
04. I Don’t Want It – 2:58
05. Good Rockin’ Tonight – 2:59
06. Rock Candy – 5:05
07. One Thing On My Mind – 3:41
08. Make It Last – 5:27
Link in comments.
David Cross – Exiles (1997) (@256)
26 Aug 2008
(Review from progarchives.com)
“Exiles” is a mix of the new and old. It kicks off with an updated and modern sounding re- recording of the King Crimson title piece, Exiles. Complete with John Wetton on vocals! Funny that David Cross didn’t use Robert Fripp on the track, since the guitarist appears on three other tracks. This version of Exiles is less frantic, more polished. John Wetton appears on one other track, This is Your Life. The tune sounds more like a Wetton solo tune, with very little violin to point to the band leader.
Peter Hammill guests on two tracks, Tonk and Troppo. Tonk sounds like a missing track from Larks Tongue. Hammill’s voice is shrill and angry, while Fripp and Cross trades scorching leads. Troppo may be the most interesting track on the disc. Over eight minutes of shifting textures, keyboard driven passages and perky percussives.
Slippy Slide is a rambunctious instrumental, with guest saxaphonist, Pete McPhail, who also makes an appearance on Here. The tune ends with a round of Wetton’s vocals from This is You Life. Duo is a Frippertronic/Cross ambient piece. Soundscapes and violins. Fast is just that, a tune played with a fair amount of speed and power.
This is more of a real solo album than David Cross’ previous recordings with a lot of guest musicians.
Line-up:
- David Cross / violins
- Mick Paul / bass; also 4 guitar chords on track 5
- Dan Maurer / drums; also programming on track 5
- Peter Claridge / guitar (1,2,7)
- Paul Clark / guitar (1,3,5,6,7,8)
- Robert Fripp / guitar (2,4,7)
- Peter Hammill / vocals (2,7)
- Dave Kendal / keyboards (1,2,7)
- Pete McPhail / Sopranino sax, flute (3,8)
- John Wetton / vocals (1,5)
Track List:
01. Exiles – 8:59
02. Tonk – 3:44
03. Slippy Slide – 4:03
04. Duo – 6:51
05. This Is You Life – 4:42
06. Fast – 5:39
07. Troppo – 8:44
08. Hero – 10:53
09. Cakes – 7:47
Link in comments.
Kayak – Close to the Fire (2000) (@256)
25 Aug 2008
(Review from progarchives.com)
Kayak disbanded for good in early 1982, shortly after the release of “Eyewitness” live recording album. 17 years passed before they got back together. The founding fathers of the band: Ton Scherpenzeel, Pim Koopman and Max Werner are back with a new album. The band picks up where they left off many years ago as if they have never been away.
The title track is a powerfully written track combining a rather complex arrangement with excellent (and memorable!) melody. Annet Visser (of Flairck fame) guests on this one, enriching the textures and nuances of the song with her wonderous flute.
“When Hearts Grow Old” is a sad, short melodic track, reminiscent of classic Kayak. A ballad follows, “Dream Child” flows nicely from beginning to end with the addition of backing vocals, accentuated with percussion work and vibraphone. “Frozen Flame” is bombastic and emotional. “Forever” has a happy mood, reminding the band’s previous studio album, Merlin. “World Aparts” features electric guitar softly combined with the piano, telling a sad story of a relationship.
“Crusader” has a nice flute work that makes this track attractive – it creates a classical feel during interlude and at the background of voice line. “Two Wrongs” starts of like a classic rock ‘n’ roll song, but later on it proves to be a real oldschool Kayak composition. “Anybody’s Child” brings back the classic style of Kayak music with great piano work, powerful vocals, orchestration and guitar interlude. “Here Today” is an enjoyable, accessible mellow track with a symphonic feel.
“Full Circle” has many tricks up in the sleeve — ambient keyboard exploration, traditional Celtic influence, violin and cello works, you name it. It even has Andy Latimer (of Camel) on guitar! The album closes with the re-recording of an early work, “Ruthless Queen” with Syb vd Ploeg singing as a guest.
Well, it’s great to see the guys are back.
Line-up:
- Pim Koopman / drums, percussion, backing vocals
- Ton Scherpenzeel / keyboards, backing vocals
- Bert Veldkamp / bass, backing vocals
- Max Werner / lead vocals, percussion
- Rob Winter / guitars, backing vocals
Track List:
01. Close To The Fire – 8:14
02. When Hearts Grow Cold – 3:10
03. Dream Child – 3:32
04. Frozen Flame – 6:36
05. Forever – 4:40
06. Worlds Apart – 5:14
07. Crusader – 4:41
08. Two Wrongs (Don’t Make A Right) – 3:37
09. Anybody’s Child – 5:03
10. Here Today – 3:38
11. Just A Matter Of Time – 3:36
12. Full Circle – 5:59
13. Ruthless Queen (Bonus) – 5:00
Links in comments.
Five Day Week Straw People – Five Day Week Straw People (1967) (@256)
25 Aug 2008
(Review from amazon)
Five Day Week Straw People was the brainchild of Attack’s frontman (John Du Cann) and rhythm section (Mick Hawksworth on bass, vocals and Jack Collins on drums), in an attempt to record a full blown psychedelic opus.
In 1967 in a small studio north of London, the band recorded this legendary work in just 4 hours!
Each song on Five Day Week Straw People drips with garage-psych gooeyness. From the opening bars of Five Day Week Straw People you know what your in for. Acid fuzz guitar licks, saturated vocal reverb, tripped out drums, booming bass guitar and upside-down sound effects. It’s all here.
After the album’s release Du Cann became infatuated with the exciting new sounds of psychedelia, continuing his illustrious career with Andromeda and Atomic Rooster.
This CD edition includes 9 bonus tracks by Attack. These tracks are less psychedelic but more freakbeaty.
Line-up:
- John Du Cann / vocals, guitar
- Mick Hawksworth / bass, back vocals
- Jack Collins / drums
- Ian McLane / drums
Track List:
01. Five Day Week Straw People – 3:23
02. I’m Going Out Tonight – 3:32
03. Gold Digger – 3:30
04. Postmen – 3:43
05. Car Wash – 3:22
06. Feel Like Having A Party – 3:21
07. Sunday Morning? – 4:30
08. Does It Rain! – 3:15
09. If You Were Around – 3:50
10. Dust Is In My Eyes – 4:08
11. Magic Is In The Air – 3:38
12. Mr. Pinnodmy’s Dilemma – 4:27
13. Freedom For You – 2:35
14. Strange House – 4:10
15. Feel Like Flying – 2:37
16. Too Old – 3:05
17. Go Your Way – 2:45
18. Now The Sun Shines – 3:32
19. Sleep Like A Child – 3:25
Link in comments.
David Cross – Big Picture (1992) (@320)
25 Aug 2008
(Review from progarchives.com)
On this album David Cross not only showcases his skills on the violon but he is a very good composer too, all compositions sound strong and dynamic featuring spectacular play on the acoustic – and electric violin. There is often an ominous climate with some fiery and heavy eruptions.
Unlike the previous album, there are vocals on this one. Dillon sounds slightly similar to Roger Waters (cynical undertone) and John Wetton (powerful and melancholic).
The highlights include the opening “Nurse Insane”, “Christine”, the instrumental “Minaret”, “Black Ice”, the instrumental “Sundays”, the complex “Grinfixer”, “Holly and Barbed Wire”, not to forget the bonus instrumental “Nurse Alone”.
Line-up:
- David Cross / violin
- Sheila Maloney / keyboards
- John Dillon / vocals and bass
- Dan Maurer / drums
Track List:
01. Nurse insane (4:55)
02. Christine (6:05)
03. Inc (4:10)
04. Dustbins (3:55)
05. Minaret (7:43)
06. Black Ice (6:52)
07. Brake (3:44)
08. Sundays (5:42)
09. Grinfixer (4:35)
10. Holly and Barbed Wire (4:35)
11. Nurse Alone (Bonus) (5:26)
Link in comments.
Kayak – Merlin (1981) (@256)
24 Aug 2008
(Review from amazon)
“Merlin” is a semi-concept album. Its first five tracks are part of Kayak’s masterful musical interpretation of the Arthurian legend. The early medieval atmosphere is captured perfectly, partly due to the use of additional stringed and brass instruments – such as flute and banjo. On the whole the balance tips over decisively in favor of ballad oriented material, giving Edward Reekers and Ton Scherpenzeel every chance to show off their preeminence on vocals and piano.
Still there is many a moment when Kayak prove they are very much a (high calibre) rock outfit, who know how to cut loose. Check out epic opener “Merlin” for instance, the dramatic buildup to its chorus featuring a plenitude of soaring guitars and pompous keyboards, rockers like “The sword in the stone” and “Can’t afford to lose” or the gorgeous guitar solo toward the end of the infinitely delicate ballad “Niniane (Lady of the lake)”. “Seagull” was a single release and, deservedly, a hit in the Netherlands. “Now that we’ve come this far” is another fantastic track, the lead vocals to this heartbreaking ballad are delivered with great pathos (in the best sense of the word). On “Love’s Aglow” Edward Reekers yielded his place behind the mike to Kayak’s helmsman Ton Scherpenzeel, resulting in a rather long-winded, dreamy song extremely reminiscent of Camel circa “Snow Goose”. Odd one out is the cheerful “Boogie heart”, a fair composition not lacking in merit, but not quite able to hold its own in this company of excessive overachievers.
Merlin showcases superior artistry, dazzling skill, awardwinning melodies, intelligent lyrics and unforgettable songs
Line-up:
- Edward Reekers / vocals
- Peter Scherpenzeel / bass
- Ton Scherpenzeel / keyboards, backing vocals
- Johan Slager / guitars, backing vocals
- Max Werneer / drums, percussion, vocals
with
- Katherine Lapthorn / backing vocals
- Irene Lindner / backing vocals
Track List:
01. Merlin – 7:23
02. Tintagel – 2:41
03. The Sword In The Stone – 3:30
04. The King’s Enchanter – 2:41
05. Niniane (Lady Of The Lake) – 7:24
06. Seagull – 4:11
07. Boogie Heart – 4:12
08. Now That We’ve Come This Far – 4:30
09. Can’t Afford To Lose – 3:20
10. Love’s Aglow – 6:03
Link in comments.
Charlies – Buttocks (1970) (@256)
24 Aug 2008
(Review from freakemporium.com, rockadrome.com, recordhaven.net)
Charlies is a Finnish 5 piece unit that made this album in a recording studio in Lahti in 1970.
Buttocks is a heavy, hypnotic, progressive album with elements of Jethro Tull Aqualang era and strong loud fuzzed guitar — not far away from Jimi Hendrix style.
The use of other instruments such as tambourines, flutes, Moroccan clay drums, cowbells and screaming vocals give the album its own unique superb flavor.
Line-up:
- Wellu Lehtinen / vocals, harmonica, Moroccan clay drums, cowbell
- Eero Ravi / guitar
- Pitkä Lehtinen / bass, tambourine
- Kusti Ahlgren / drums, Moroccan clay drums, kettles
- Igor Sidorow / flute, saxophone, piano
Track List:
01. Tuesday Song – 3:32
02. Like The Purpose Told Me – 5:17
03. Smoggy Story – 5:57
04. Try,Try Or You Will Never Die – 7:51
05. Feeling That Feeling – 3:15
06. Living For Myself (I’m A King Dreamer) – 3:40
07. Madness And Other Kind Of Influences – 5:23
08. For You Catherine And Before You – 6:22
Link in comments.
David Cross – Memos From Purgatory (1989) (@192)
24 Aug 2008
(Review from progarchives.com, scaruffi.com)
This is the first album David Cross released under his own name. Like on his later albums, Cross is supported by several other musicians, but more than his other albums, “Memos From Purgatory” sounds like a solo album, even though three of the eight songs were written by Sheila Maloney. The album is completely instrumental.
David Cross also directed the staging of “Memos From Purgatory” at the Half Moon Theatre and other venues using dancers, musicians, lights, slides, etc.
Line-up:
- David Cross / violin
- Pete McPhail / saxophone
- Sheila Maloney / keyboards
- Simon Murrell / bass
- Dan Maurer / drums
Track List:
01. Poppies (3:54)
02. Meantime (9:38)
03. First Policeman (5:30)
04. Animal (6:25)
05. New Dawn (6:17)
06. Postscript (4:49)
07. Bizarre Bazaar (4:00)
08. Basking in the Blue (3:10)
Link in comments.
Kayak – Periscope of Life (1980) (@256)
23 Aug 2008
(Review from progarchives.com)
“Periscope life” is another competent collection of pop based songs, with simplistic structures, and straight forward instrumentation. The diversity of previous albums is maintained, perhaps even enhanced, although the 10CC/City Boy similarities are still very much to the fore.
There’s a bit more emphasis on funkier sounds this time, especially on the Jim Capaldi like “Stop that song”, the prosaic “Beggars can’t be choosers”, and the Billy Joel pop of the title track. The album improves substantially towards the end, the final four tracks being the most notable.
The instrumental “Lost blue of Chartres” has some fine Tony Banks like piano, while “Anne” moves through various atmospheres including medieval, stage show, and a sing-along 60’s sad ballad sound. “One way or another” is reminiscent of “Stackridge”, leading to the Bees Gees/Hollies influenced closing ballad “Sad to say farewell”. The orchestration and simple guitar solo on this track serve to enhance the retro pop atmosphere.
The overall feel is of a band playing so far within themselves, they redefine the meaning of the word introvert.
Line-up:
- Edward Reekers / lead vocals
- Peter Scherpenzeel / bass
- Ton Scherpenzeel / keyboards, backing vocals
- Johan Slager / guitars, backing vocals
- Max Werneer / drums, percussion, backing vocals
with
- Jim Gordon / saxophone
- Jim Price / horns
- Peggy Sandwig / backing vocals
- Katherine Lapthorn / backing vocals
- Irene Linders / backing vocals
Track List:
01. Astral Aliens – 3:40
02. What’s in a Name – 4:10
03. Stopthatsong – 3:16
04. If You Really Need Me Now – 4:16
05. Periscope Life – 3:26
06. Beggars Can’t Be Choosers – 4:40
07. The Sight – 4:01
08. Lost Blue of Chartres – 3:36
09. Anne – 4:20
10. Oneway or Another – 3:21
11. Sad to Say Farewell – 4:26
12. Theme from Spelters (Part II) (Bonus) – 2:20
13. Ivory Dance (Bonus) – 1:56
Link in comments.
Low Flying Aircraft – Low Flying Aircraft (1987) (@160)
23 Aug 2008
(Info from primecuts.fi)
“Low Flying Aircraft” is a short-lived Canterbury-style experimental jazz-rock / progressive outfit, formed by ex-King Crimson David Cross, Keith Tippett, Dan Maurer and Jim Juhn.
Their first and only album is totally instrumental.
Line-up:
- Dan Maurer / drums, EMU II, whirled tube
- Jim Juhn / guitar, bass, EMU II, percussion, whirled tube
- David Cross / violins
- Keith Tippett / piano
with
- Ron Linton / tenor sax
- Eric Drew Feldman / DX7
- Paul Burwell / percussion, sqweek drum, bowed metal, whirled tube
Track List:
01. Sybilization (3:17)
02. Fourth dimension (3:14)
03. Baptism by fire (2:46)
04. Poolside (5:34)
05. Abstract Blue (5:32)
06. Moronathon (3:13)
07. Amnesia (2:59)
08. Reflection (8:45)
09. What did you do (2:06)
10. Radically conservative (3:04)
Link in comments.
Marillion – Thieving Magpie (Live 1984-87) (@256)
23 Aug 2008
(Review from progarchives.com)
This is a two-disc compilation of songs from various performances during the Fish-era. Whereas the first disc is a true compilation of live tracks, the second disc is an integral performance of the Misplaced Childhood album.
“Thieving Magpie” is a worthy record of the band’s Fish era performances. The event opens in true prog fashion (per “Yessongs” among many others), with a recorded rendition of the classical title piece (originally titled “La Gazza Ladra”) by the opera composer Gioacchino Rossini. This moves stright into the appearance of the band, and we’re off with “Slŕinte Mhath” from the “Clutching at Straws” album.
The track selections cross the four official Fish era studio albums, but puzzlingly room is not found for the non album track “Market Square Heroes”, which was always a live favourite. While there is no doubt these performances are live, there is little variation from the studio originals. The rendition of “Part 1″ of “Misplaced Childhood” (up to “Heart of Lothian”) is superb, with a majesty to Rothery’s guitar work in particular which does go beyond even the studio version.
Clearly the tour during which this album was recorded must have been difficult. “Clutching at straws” was a thinly veiled farewell album for Fish, the lyrics of a number of the songs reflecting both his personal issues and those he had with the rest of the band. “The Thieving Magpie” does serve well though, as a fitting epitaph to this all too brief part of the band’s existence.
Line-up:
- Fish / vocals
- Mark Kelly / keyboards
- Ian Mosley / drums
- Steve Rothery / guitars
- Pete Trewavas / basses
Track List:
CD1
01. Intro – 2:45
02. Slainte Mhath – 4:49
03. He Knows You Know – 5:12
04. Chelsea Monday – 8:00
05. Freaks – 4:06
06. Jigsaw – 6:24
07. Punch & Judy – 3:23
08. Sugar Mice – 6:03
09. Fugazi – 8:39
10. Script For A Jester’s Tear – 8:45
11. Incommunicado – 5:23
12. White Russian – 6:14
CD2
01. Pseudo Silk Kimono – 2:19
02. Kayleigh – 3:52
03. Lavender – 2:27
04. Bitter Suite – 7:38
05. Heart Of Lothian – 5:12
06. Waterhole – 2:16
07. Lord Of The Backstage – 6:07
08. Blind Curve – 5:34
09. Childhoods End – 2:48
10. White Feather – 4:22
Links in comments.
Kayak – Phantom of the Night (1979) (@256)
22 Aug 2008
(Review from progarchives.com)
This follow up album to “Starlight Dancer” is very much a case of more of the same. Indeed, when heard back-to-back, the tracks flow seamlessly from one album to the next.
Once again, here we have short pop rock tracks, the longest lasting a mere 5 minutes. That of course does not in itself imply that there is a complete absence of anything progressive but the fact is that the tracks on “Phantom of the Night” are all based on simple pop structures and strong melodies.
Once again we have a mixture of 10cc influenced melodic pop rock, 60s style Beatlesque numbers and Alan Parsons Project like ballads. Vocally, there are similarities with America (of “Horse With No Name” fame). It is the ballads which appear to work best here, “Ruthless Queen” and “Phantom of the Night” both having slightly more to them compositionally than the majority of the faster paced pop rock songs.
A great album with big symphonic boundaries to cross.
Line-up:
- Ton Scherpenzel / keyboards
- Edward Reekers / lead vocals
- Max Werner / drums, percussion, lead vocal on “No man’s Land”
- Katherine Lapthorn / backing vocals
- Peter Scherpenzeel / bass guitar
- Irene Linders / backing vocals
- Johan Slager/ guitar
Track List:
01. Winning Ways – 3:35
02. Keep the Change – 3:35
03. Ruthless Queen – 4:49
04. Crime of Passion – 3:33
05. First Signs of Spring – 3:42
06. Daphne – 5:09
07. The Poet and the One Man Band – 4:13
08. No Man’s Land – 4:04
09. Journey Through Time – 3:22
10. Phantom of the Night – 5:04
11. Ballad for a Lost Friend – 3:53
Link in comments.
California Guitar Trio – An Opening Act On Tour With King Crimson (Live 1999) (@256)
22 Aug 2008
Thanks to Bragi Taliesin for the contribution.
(Review from progarchives.com, wikipedia)
The story begins in England at one of Robert Fripp’s Guitar Craft Courses in 1987 when three students, Bert Lams, Hideyo Moriya and Paul Richards meet for the first time. After completing the course, they join Robert Fripp’s League of Crafty Guitarists through a long tour. The three young musicians want to keep together and join in 1991 to form California Guitar Trio.
With a whirlwind of instrumental styles fusing classical, rock, blues, jazz, world music, bluegrass, as well as the quintessential California musical genre surf music, the California Guitar Trio’s stunning virtuosity and sly sense of humor have earned them a rabid following and wide notoriety, with significant crossover in the progressive, acoustic and classical music scenes.
So once An Opening Act: On Tour With King Crimson is reminded as one of the live concerts through which California Guitar Trio stars getting more acquainted with the good moves and the impressive music, and also uses a lot of the influence with King Crimson.
The trio has a full-time opening performance but sticks to its best catchy short tunes, mostly showing what can be appreciated, leisurely listened and first-handedly conceived as a brand, as a smoking power or as a musical desire. Great popular themes and motives, interpreted under acoustic guitar (but not completely, some electric strings, a la Crimson, are also part of the movement), has the simple twist inside a music that’s without prejudice, only with craft. Stronger pieces, like “Train To Lamy” or “Kan-non power” will always exist, but the general mood is purely fashionable.
The crowd likes the music — the same impression, normally, will go through a listener’s spin.
Line-up:
- Bert Lams / guitars
- Hideyo Moriya / guitars
- Paul Richards / guitars
Track List:
01. Yamanashi Blues – 2:58
02. Melrose Avenue – 2:29
03. Train To Lamy (Including 21st Century Schizoid Man) – 5:23
04. Blockhead – 3:25
05. The Good, The Bad And The Ugly – 2:33
06. Punta Patri – 4:02
07. Toccata And Fugue In D Minor – 7:28
08. Pipeline – 1:49
09. Kan-Non Power – 3:32
10. Invitation – 2:40
11. Walk Don’t Run – 1:56
12. Misirlou – 2:25
Link in comments.
Kayak – Starlight Dancer (1977) (@256)
21 Aug 2008
(Review from connollyco.com, progarchives.com)
“Starlight Dancer” is a charmer, chocked full of clever arrangements and interesting musical themes. Elements of Genesis, Queen, Alan Parsons Project and Camel appear throughout without being derivative of those bands, and yet the most similar band is late 70s era Renaissance. Both bands fell to the left or right of progressive’s front echelon but will be remembered for carrying the standard when the front-rank fellers were fallen (or fiddling around). And both had a facility for incorporating orchestral arrangements into appealing melodies and making use of classical themes without sounding overly pretentious.
There is certainly a diversity of styles here, including The Beatles / Paul McCartney (“Daughter or Son”, “Golddust”), 10CC (“Let down”), and City Boy (“Turn the tide”). Ballads such as “Where do we go from here” and “ May” work well, often sounding similar to those of the Alan Parsons Project. The occasional instrumental interlude or even entire track (the beautiful, cascading “Irene” featuring some fine sax) show the band to be competent in that field, although they never appear to push themselves into anything which might be described as adventurous.
Line-up:
- Ton Scherpenzeel / pianos, synthesizer, organ, harpsichord, vocals
- Charles Louis Schouten / drums, percussion, marimba, vocals
- Johan Slager / guitars, vocals
- Max Werner / Mellotrons, percussion, vocals
- Theo de Jong / bass guitar
with
- Fred Leeflang / soprano saxophone (5)
- Rick van der Linden / Yamaha GX1 synthesizer (6)
Track List:
01. Daughter or Son – 3:36
02. Starlight Dancer – 4:59
03. Want You To Be Mine – 3:37
04. Letdown – 2:48
05. Irene – 4:24
06. Golddust – 2:38
07. May – 4:21
08. Turn The Tide – 3:36
09. Dead Bird Flies Forever – 4:18
10. Sweet Revenge – 3:33
11. Where Do We Go From Here – 4:39
12. I Want You To Be Mine (Bonus) – 5:13
13. Irene (Bonus USA version) – 4:22
Link in comments.
Robert Fripp – Exposure (1979) (@256)
21 Aug 2008
(Review from progarchives.com, progreviews.com)
This is the first real solo album from the somber genius. And a fitting resumé of his 70s musical activities and even a preview of things to come in the next few years. As he left Crimson to rest , Robert Fripp then meddled with Eno for two albums, then went into production and guesting on many successful albums before actually recording this mixed-bag album.
Fripp’s supporting cast? As one might suspect considering the above, one of the more impressively bizarre line-ups one could conjure up: everyone from Genesis’ Peter Gabriel and Phil Collins to Terry Roche and the late lyricist Joanna Walton to a pre-MTV Daryl Hall and Barry Andrews of XTC. No wonder Exposure sounds as unremittingly eclectic as it does!
This is a very disjointed collection of tunes but that is so representative of the “Fripp”character. A star-studded cast of guests (from his many collaborations) make this album very attractive but also rather uneven. Apart from two or three very short non-musical tracks, the doctor visits punk (track 2) , his earlier Crimson carreer (track 3 – Red – and 12), reminds us of his Frippertronics works with Eno, revisits also his production collaborations with others (Peter Gabriel – track 9 and 15 – and Peter Hammill – track 4 – on four different tracks) and even previews a future King Crimson style on another track.
Not everything is successful but the album as a whole is rather entertaining. The only hole in Fripp’s career is that his work with Bowie is actually completely ignored.
Line-up:
- Robert Fripp / guitars, Frippertronics
With:
- Barry Andrews / keyboards
- Phil Collins / drums
- Brian Eno / synthesizer, voice
- Peter Gabriel / vocal, piano
- Daryl Hall / vocal
- Peter Hammill / vocal
- Tony Levin / bass
- Jerry Marotta / drums
- Sid McGuinniss / guitar
- Terre Roche / vocal
- Narada Michael Walden / drums
- Joanna Walton / lyricist
- J.G. Bennett / voice
Track List:
01. Preface – 1:14
02. You Burn Me Up I’m A Cigarette – 2:22
03. Breathless – 4:38
04. Disengage – 2:52
05. North Star – 3:13
06. Chicago – 2:10
07. NY3 – 2:16
08. Mary – 2:10
09. Exposure – 4:25
10. Haaden Two – 1:56
11. Urban Landscape – 2:34
12. I May Not Have Had Enough Of Me But I’ve Had Enough Of You – 3:37
13. First Inaugural Address To I.A.C.E. Sherborne House – 0:05
14. Water Music – 1:18
15. Here Comes The Flood – 3:52
16. Water Music II – 6:25
17. Postscript – 0:38
Link in comments.
Riff Raff – Original Man (1975) (@256)
21 Aug 2008
(Review from progarchives.com)
“Original Man” proved to be the last album, from this highly gifted group who would’ve probably deserved much more attention from the public. Still the “classic prog quartet”, this time augmented not by one but two guest wind players and an all-around finer album. In this album Kirtley is asserting his songwriting role to the equal to Sutton, while Eyre gets only one credit.
The opening title track is right away giving you the ambiance that will pervade throughout the album, with a slightly jazzy Santana-like rock, enthralling you slowly but surely to ecstasy. This small tour-de-force is followed by another full-out fusion, this time red-hot crater-flowing fusion-lava, “Havakak”, which apparently guitarist Kirtley wrote with a previous group. In a relatively calmer mood is the funky-jazz rocker “Goddamm The Man” track, yet another superb track with a great call and response between horns section and the guitar. Still softer, Kirtley’s third track on this side of the album is a more jazzy-soulish fusion is still of a high calibre, just a little slow at times.
Sutton’s “The Waster” is a slightly jazzy-bluesy-soulish mid-tempo track with big horn arrangements, and De Souza’s drums take on conga flavours: just lovely. In a very different style, Eyre’s lone composition contrasts heavily, but is nothing shocking either, especially when hearing its high quality keyboard fest. The last track is another fusion masterpiece, it does pick up at times, remains to a superb mid-tempo with Eyre’s electric piano particularly haunting, the whole album throughout.
Unfortunately, the group will have to fold (or chose to) when British musician-union forced Brazilian drummer de Souza out of the country by pushing for the non-renewal of his working visa. This collapse was also due to US deals not falling though also. But this bunch of riff-raffers did go out in a very stylish manner pulling in a very strong British fusion masterpiece. Definitely their crowning achievement and a must discover for fusion lovers and progheads alike.
Line-up:
- Tommy Eyre / keyboards, string synthesizer, vocals
- Bud Beadle / saxophones
- Steve Gregory / saxophone, flute, clarinet
- Pete Kirtley / guitars, vocals
- Roger Sutton / bass, cello, vocals
- Aureo De Souza / drums, percussion
with
- Joanna Newman / vocals (4)
- Joe O’Donnell / viola (1)
Track List:
01. Original Man – 7:42
02. Havakak – 6:08
03. Goddamm The Man – 6:13
04. In The Deep – 4:03
05. The Waster – 5:13
06. Tom’s Song – 4:25
07. Speed – 9:17
Link in comments.
Kayak – Royal Red Bouncer (1975) (@256)
20 Aug 2008
(Review from vintageprog.com)
Their third album also proved to be their most popular one.
The band moved into a more Supertramp-influenced pop-progressive style but better, tighter, more progressive and energetic. The songwriting and playing is of a very high class and the production is as good as it can get for an album from 1975. Catchy up-tempo tracks like “Chance for a Lifetime” and the title-track features complex arrangements and breaks, despite their obvious pop-leanings. There’s also some excellent woodwind-work on several of the songs. “Bury the World” and “Said No Word” are the most progressive and complex tracks of the bunch. There are also some truly wonderful ballads here, like “Life of Gold” and “Patricia Anglaia”. The latter is an instrumental-number with some word-less female vocals. “(You’re So) Bizarre” is pure pop, but not without the progressive quirkiness in the arrangement. “If this is Your Welcome” is a very tight and wonderfully constructed song that perfectly demonstrates Kayak’s talent for writing catchy, pop-progressive music.
This album is a tad less progressive and more pop orientated than their previous albums but it’s just as good in terms of musical quality.
Line-up:
- Ton Scherpenzeel / keyboards, vocal
- Johan Slager / guitars, vocals
- Bert Veldkamp / bass, vocal
- Max Werneer / lead vocals, mellotron
- Pim Koopman / drums, vocals
Track List:
01. Royal Bed Bouncer – 4:00
02. Life Of Gold – 3:25
03. You’re So Bizarre – 3:48
04. Bury The World – 4:21
05. Chance For A Lifetime – 4:14
06. If This Is Your Welcome – 4:55
07. Moments Of Joy – 3:59
08. Patricia Anglaia – 2:14
09. Said No Word – 5:15
10. My Heart Never Changed – 2:32
11. Alibi – 3:39
12. Mountain Too Rough – 3:56
13. Woe And Alas – 3:00
14. Mouldy Wood – 5:14
15. Lovely Luna – 8:19
16. Forever Is A Lonely Thought – 5:26
17. Still Try To Write A Book – 2:01
18. Give It A Name – 2:43
19. Bulldozer (demo) – 2:22
Links in comments.
McDonald & Giles – McDonald & Giles (1971) (@256)
20 Aug 2008
(Review from vintageprog.com, progarchives.com)
After recording “In the Court of the Crimson King” as founding members of King Crimson, Multi-instrumentalist Ian McDonald and drummer Michael Giles left the band. Together they managed to record one self-titled album of fine quality progressive music.
While there are some obvious nods to the feel of “In the Court of the Crimson King” this album sounds much more like Caravan and even Supersister. The album is of a much lighter and less sinister tone than anything King Crimson ever did. It has a very hippie vide, a stubborn desire for playfulness, and a “let’s find Utopia” attitude. While it doesn’t push the envelope like Fripp would, it is still an extremely enjoyable album for fans of the bands mentioned above. Top notch playing is everywhere from Giles’ very tasteful percussion to McDonald’s lovely flute and guitar. The arrangements are quite adventurous and the sound is really good. Lyrics are absurdist and silly sometimes but that’s part of the fun.
This is progressive rock weaving together all kinds of styles and ideas into one hazy patchwork quilt.
Line-up:
- Ian McDonald / guitar, piano, organ, saxes, flute, clarinet, zither, vocals and sundries
- Michael Giles / drums, percussion (including milk bottle, handsaw, lip whistle and nutbox), vocals
- Peter Giles / bass guitar
- Peter Sinfield / lyricist
with
- Steve Winwood / organ, piano solo (1)
- Michael Blakesley / trombone (4)
Track List:
01. Suite In C
02. Flight Of The Ibis – 3:18
03. Is She Waiting? – 2:42
04. Tomorrow’s People – The Children Of Today – 7:00
05. Birdman
06. Involving The Inventor’s Dream (O.U.A.T.), The Workshop, Wish-Bone Ascension, Birdman Flies!, Wings In The Sunset, Birdman-The Reflection. – 21:40
Link in comments.
Riff Raff – Riff Raff (1973) (@256)
20 Aug 2008
(Review from progarchives.com)
Riff Raff’s selftitled album was released in late 1973. The “classic progressive” quartet, augmented on a rather permanent basis by guest saxman Beadle, develops a good mix of jazz and rock and the result comes out as more progressive than a Chicago, Blood, Sweat & Tears or Flock. With bassist Sutton as one of the main writer (he co-wrote all the tracks on the unreleased debut album) but often in partnership with Eyre, and guitarist Kirtley often contributing, the least we can say is that Riff Raff is a very multi-facetted band.
Opening salvo is an excellent tone-setter with a rather blues-based, jazz-laced soft- rocking extravaganza here the vocals can at times make you think of Plant’s interventions (minus the voice and plus some multi-vocal chorus), making it a highlight. Followed by three lesser tracks (two of them written by Eyre) hovering between progressive and soft rock, but with impeccable musicianship including cellos, 12-string guitars, flutes and saxes. The second-last track Joking is bringing back the brilliance of the lead-off song and sometimes the guitar feels like Duane Allman being still alive, too bad it ends in a fishtail spin. The 12-min+ monster track, La Męme Chose (the same thing) is THE highlight of the album with its slow intro, reminding Miles’ Bitches Brew, but it quickly picks up into a superb mid-tempoed (English-sung) jazzy-rock (some Santana is detected here and there, mostly in Eyre’s Greg Rollie-like organs) funked-up fusion. A superb moment, unfortunately making you long for more of it, but we are at the end of the album.
Line-up:
- Tommy Eyre / Hammond organ, piano, acoustic guitars, concert and bass flute, vocals
- Peter Kirtley / guitar, vocals
- Roger Sutton / basses, acoustic guitars, vocals
- Aureo De Souza / drums, percussion
with
- Bud Beadle / saxophones
Track List:
01. Your World – 7:42
02. For Every Dog – 3:50
03. Little Miss Drag – 3:15
04. Dreaming – 4:37
05. Times Lost – 4:16
06. You Must Be Joking – 7:30
07. La Meme Chose – 12:13
Link in comments.
Kayak – II (1974) (@256)
19 Aug 2008
(Review from progarchives.com)
Kayak II is the perfect marriage of the band’s hard rock tendencies, their dazzling symphonic edges and the adventurous middle ground between the two. The songs are top-notch slices of upbeat, exciting progressive.
“Alibi” opens the album with an addictive dose of high energy, but it’s the second song, “Wintertime”, that really sets the tone. Somewhat melancholic in the verses, the chorus becomes almost Supertramp-ish in its brightness. Side 1 is rounded out by two very different songs: “Mountain Too Rough”, a mostly-mellow trip into folky atmospheres with some deliberately disruptive sound effects occurring. “They Get To Know Me” offers a killer momentum, symphonic and Genesis-like in spots, with a healthy bit of aggression, especially when guitarist Johan Slager takes over. It’s always so enjoyable to witness this song unfolding.
Side two is even more diverse in scope than side 1. “Serenades” is a bouncy number, hinting at the sound they’d perfect on the ‘Starlight Dancer’ album. “Woe And Alas” offers slightly tricky timing and an impassioned Max Werner vocal. Some gorgeous layers are built up as the song moves along. We get the more gentle side of Kayak with the caress of “Mireille”, a short, to-the-point instrumental that provides a good balance to the more involved stuff here. The album’s final moments couldn’t be better: “Trust In The Machine” has a demented bit of vocal from Werner and swirling keyboard sounds that envelop the rest of the music, that music being kinetic stuff that’s wild but never out of control. Almost Fripp-ish guitar squeaks by Slager rear their head in here. There’s even a fair bit of noise in the middle, making you feel like you’re visiting “The Waiting Room” again. This gives yet another facet to the song, a well-rounded journey, a song full of paranoia and triumph that is perfect in its completeness. “His Master’s Noise” ends things nicely, with vocals that almost sound like Paul McCartney (with a Dutch accent, of course). A simple track that is all vocal layers and straight piano. It offers a cooling off period that brings this eventful album to a satisfying close.
Line-up:
- Ton Scherpenzeel / keyboards, vocal, accordion
- Pim Koopman / percussion, vocals
- Johan Slager / electric and acoustic guitars, vocals
- Max Werner / mellotrons, percussion, vocals
- Cees van Leeuwen / bass guitar, harmonica
Track List:
01. Alibi – 3:41
02. Wintertime – 2:52
03. Mountain Too Rough – 3:58
04. They Get To Know Me – 9:19
05. Serenades – 3:34
06. Woe And Alas – 3:02
07. Mireille – 2:12
08. Trust In The Machine – 6:07
09. His Master’s Noise – 1:46
10. We Are Not Amused – 3:01
Link in comments.
Riff Raff – Outside Looking In (1972) (@256)
19 Aug 2008
(Review from progarchives.com)
Riff Raff came together almost as a natural consequence of the member’s different paths crossing each others at times.
While the Eyre and Sutton pair where working with Mark-Almond progressive duet, they had the time to record an album with Alan Marshall (future Zzebra) and drummer Rod Coombes (future Strawbs), but Mark-Almond became successful in America, so their project (then-named Strabismus) got put on hold. There are also bonus tracks from a recording session of the future incarnation of Riff Raff, with Kirtley, De Souza (and second drummer Kenny Slade).
All tracks (including, bizarrely, the bonus tracks) are written by bassist Sutton and drummer Coombes self-produced, this album is much rockier than the next two Riff Raff albums, and the opening title track is certainly a lengthy energetic number, rather contrasting with its (also length) follow-up Blind Man with its choral middle-section (recorded in the Guilford cathedral).
The Bach piece is much in the line of Blind Man. The side ends with an ultra-short Paranoiac (musically-linked to the previous track). Since this album never came out under the vinyl format, it is relatively hard to tell which track would’ve been on which side since Buthelezi is also linked to Paranoiac (and therefore to the Bach piece), but it quickly develops into a drum solo. So far, this unreleased album has reserved us a few surprises, being much more classically-influenced than the next two Riff Raff albums. A bluesier (almost 11-min) To Be Free is certainly still enjoyable.
As for the bonus tracks supposed to be making the link from this unreleased album to the next one, not much is specified as to when the sessions took place, who was still in the group (three drummers for the whole album and two for the bonus tracks). “Child of the summer” is a very nice jazz-laced with soul vocals really announcing the eponymous album and is a small gem, Morning being a bit soul-folk-like, but allowing for instrumental interplay (a good flute-guitar duet), while the 7-min The Garden is a reflective piece offering peaceful ballad-like ambiances.
This “debut” album is rather different-sounding to the classic Riff Raff and is more for the hardcore fans, but still offers a few interesting moments. The bonus tracks are of a bit more interest as they really represent the Riff Raff genesis.
Line-up:
- Lana Marshall / vocals
- Tommy Eyre / Hammond organ, keyboards, acoustic guitar
- Richie Dalton / saxophones
- Martin Ball / guitar
- Roger Sutton / bass, acoustic guitar, vocals
- Rob Coombes / drums, percussion, acoustic guitar
- Joe Peters / 2nd drums
- Peter Kirtley / guitars (8-11)
- Kenny Slade / drums (8-11)
- Aureo De Souza / drums (8-11)
Track List:
01. Outside Looking In – 9:17
02. The Blind Man – 8:18
03. Bach B. Minor Prelude – 2:58
04. Feeling Paranoic – 0:43
05. Buthelezi – 3:42
06. So You Want to Be Free – 10:56
07. Changes – 3:25
08. Child of the Summer – 6:02
09. For Every Dog – 4:08
10. Morning – 5:59
11. The Garden – 6:59
Links in comments.
King Crimson – KCCC34 ProjeKct Three Live in Alexandria (2003) (@256)
19 Aug 2008
The concert in Alexandria was actually planned as a King Crimson concert but when Belew didn’t show up, the band played as ProjeKct Three.
Recorded March 3, 2003 at Birchmere Theatre, Alexandria.
Line-up:
* Robert Fripp – guitar
* Trey Gunn – touch guitar, talker
* Pat Mastelotto – electronic traps and buttons
Track List:
01. Introductory Soundscape – 8:46
02. Improv I – 6:53
03. Level 5 – 5:00
04. Improv II – 6:49
05. The Power To Believe II – 14:10
06. Facts Of Life – 3:17
07. Sus-tyan-Z – 10:49
08. The Deception Of The Thrush – 12:29
09. VROOOM – 4:47
10. Q & A – 3:14
Links in comments.
Atomic Rooster – Live in Germany (1983) (@320)
18 Aug 2008
Atomic Rooster subsequently toured with the band to Germany and Italy. A live album of their live gigs was culled and released as “Live in Germany 83″ posthumously.
Though an energetic live album, the sound quality is mediocre.
Vincent Crane intented to reform Atomic Rooster in 1987, due to ill health, a planned German tour was cancelled and Crane died in 1989.
Line-up:
- Vincent Crane / organ, vocals
- Paul Hammond / drums
- Bernie Torme / guitar
Track List:
01. Watch Out
02. Metal Minds
03. Tomorrow Night
04. Carnival
05. Hold Your Fire
06. Gershatzer
07. Devil’s Answer
08. Took Control
09. Hold Your Fire (Encore)
Link in comments.
Hunka Munka – Dedicato A Giovanna G (1972) (@256)
18 Aug 2008
(Review from progarchives.com)
Here’s a rarity for those wishing to go deep into the classic Italian period. Hunka Munka’s one full length album from 1972 features rather high-pitched vocals, lots of piano and organ, acoustic guitars, and fairly straightforward pop-rock songs with a light progressive touch. Hunka Munka is the moniker of keyboardist Roberto Carlotto who was considered quite talented and innovative.
“Nasce un Giorno” opens the album with playful bouncy piano followed by strumming acoustic and vocal reminding of Adriano Monteduro & Reale Accademia di Musica’s collaboration perhaps. “Ruote e Sogni” is the proggiest song opening with organ and drum fills. It builds gradually and features some pretty decent drum work. There is a heavy rock section in the second half with wild drums and guitar against the Hammond background. It gets fairly intense for a bit. “L’Aereoplano d’argento” is a piano based pop song that could be likened to an early Billy Joel song, like something from Streetlife Serenade or Cold Spring Harbour except with much higher vocal range. “Cattedrali di Bambu” is a nice track blending majestic orchestrations with acoustic guitars and vocal harmonies. It will be over the top cheesy for some sounding a bit like Tai Phong. There is some leftover 60s influence here too of things like The Iveys/early Badfinger.
“Anniversario” begins with organ and single drum beating like a heartbeat until bass joins. Echoed vocals and organ ride atop the still very minimal rhythm arrangement. The vocal harmonies get quite ambitious leading into a section with some acid flavored electric guitar and space rock vibe. This would be another area that moves briefly from pop-rock to proggier ambitions. “Lo Cantero Per Te” begins with strings and piano introducing a heartfelt longing vocal. This turns into a slow ballad that will be sappy to many who hear it but I don’t mind it. “Intermezzo #1” is a short piano vocal bit. “Giovanna G” is a catchy bit of funky folk sounding very 60s and like a mellower “South Bound Suarez”. “Intermezzo #2” is another short vocal but this time to organ instead of piano. “Il Canto Dell Amore” is another ballad with flowery drama and orchestration but the arrangements are really quite nice. “Muore” is a silly McCartney-like ditty to close the album.
This is a fun little album combining the lighter side of Italian progressive with a dose of the “Magic Christian” era Badfinger sound and the grandiosity of Tai Phong’s vocal style. It is well done and enjoyable if that description sounds appealing to you, but it may not be enough to satisfy heavy Italian fans or heavy progressive fans in general. A modest album for fans of the lighter Italian side.
Line-up:
- Hunka Munka (Roberto Carlotto) / customized hammond organ, effects, voice
- Ivan Graziani / bass, guitar, chorus
- Nunzio “Cucciolo” Favia / drums
Track List:
01. Nasce Un Giorno – 1:34
02. Ruote E Sogni – 5:58
03. L’aeroplano D’argento – 4:18
04. Cattedrali Di Bambu – 4:28
05. Anniversario – 5:10
06. Io Cantero Per Te – 4:40
07. Intermezzo No.1 – 1:01
08. Giovanna G – 2:11
09. Intermezzo No.2 – 1:22
10. Il Canto Dell’amore – 3:15
11. Muore Il Giorno Muore – 1:16
Link in comments.
King Crimson – KCCC33 ProjeKct Two Live in Chicago (1998) (@256)
18 Aug 2008
Recorded on June 4, 1998 at Park West, Chicago, USA.
Line-up:
* Adrian Belew – V-drums
* Robert Fripp – guitar
* Trey Gunn – touch guitar, talker
Track List:
CD1
01. Vector Shift – 2:02
02. House – 9:31
03. X-Chayn_Jiz – 7:19
04. Vector Shift To Planet Belewbeloid – 2:47
05. Light ConstruKction – 6:20
06. Heavy ConstruKction – 7:28
CD2
01. Sus_tyan-Z – 9:29
02. House 2 – 9:52
03. Contrary ConstruKction – 7:02
04. The Deception Of Thw Thrush – 13:17
05. Acoustic Dinosaur – 6:40
06. Lounge VROOOM – 6:04
Links in comments.
Atomic Rooster – Headline News (1983) (@256)
17 Aug 2008
(Review from progarchives.com)
“Headline News” proved to be the last studio album of Atomic Rooster. The songs are extremely strong and well written; most of them easily comparable to the best Atomic Rooster did in the 70s.
‘Hold Your Fire’ is an excellent song, with a pulsing bass synth riff to complement the stirring synth and organ chords. Notably, Dave Gilmour of Pink Floyd plays a great guitar solo on this song, and it has a great if doomy lyric from the late great Vincent Crane. Yet, the drums are mixed too high, and have a somewhat unresonant and dull sound. Yet, this could have fit like a dream on one of their 70s albums.
The title track has a quite complex riff and rhythm, with the organ and guitar (from Bernie Torme of Gillan) being especially strident here, and Crane’s chilling vocals at the end reveal his debt to his original employer, Arthur Brown. Again though, the recording is awful, and almost ruins a great track.
‘Taking A Chance’ is a more basic riff rocker, and notably has a better production than most of the album, yet isn’t as strong a song, typically.
‘Metal Minds’ has the familiar sonic mire though, yet it can’t hide a song of immense quality due to the ominous organs and doomy guitar riffs.
‘Land Of Freedom’ is an excellent song all around, with an oddly chilling synth voice motif that sounds quite eerie to me. However, the melody and musicianship are absolutely tremendous, and I enjoy this track hugely.
‘Machine’ is something of an unsung classic for me, being a very weird and proggy rock track that easily matches their best work. The chilling voices and complex riffing are heavy prog rock at its very best.
‘Dance Of Death’ is a slow and brooding track, with a fairly low key vocal yet it reminds me of the classic ‘Black Snake’ from around a decade earlier.
‘Carnival’ is an oddity, with a quite proggy mid section with high backing vocals and crunching guitar chords, and is quite enjoyable, as is the longer ‘Time’, though by now the atrocious production will have tested your patience.
Line-up:
- Vincent Crane / Hammond C3 organ, Bluthner grand piano, Prophet 5, Mini Moog, Clavinet, vocals, bass, percussion
- Bernie Torme / guitars
- Paul Hammond / drums, percussion
with
- David Gilmour / guitars
- John Mizarolli / guitar
- Jon Field / percussion
- Tareena Craze / back vocals (5, 6)
Track List:
01. Hold Your Fire – 4:54
02. Headline News – 5:22
03. Taking A Chance – 3:12
04. Metal Minds – 4:27
05. Land of Freedom – 3:52
06. Machine – 5:29
07. Dance of Death – 4:32
08. Carnival – 4:36
09. Time – 6:39
10. Future Shock – 4:25
11. Watch Out – Reaching Out – 5:10
Link in comments.
Cuma'ya gittim, gelecem
14 Aug 2008
I’m going away for the weekend — a longer vacation is (hopefully) still to come. I will be back on Monday.
I’ve “qshare”d all the albums posted in Apr-May-Jun-Jul-Aug 2008. Those who are haunted by the waiting periods of rapidshare, now you’ve an alternate mirror for those posts.
The King Crimson series is coming to an end with KCCC34. I don’t have the latest releases, beginning with KCCC35. If anyone has them and cares to share, I’ll be more than happy to post them.
My blog’s earliest contributor, CrimsonKing has re-opened his “Undercoverman” blog. Zen Archer is back in town too with “Clock Went Backwards“. Don’t forget to check them out.
4 Levels of Existance – 4 Levels of Existance (1976) (@256)
14 Aug 2008
Thanks to ldicker1 for the contribution.
(Info from label)
“Four Levels of Existence”, despite being recorded in mid-70s, it might as well have been 8 years earlier, because this Greek album really captures a late 60′s vibe.
Through Nick’s musical quest, Mario’s sensitivity, Christos’s madness, and Alatas’ thoughts, the band created many songs, all characterized by a psychedelic music sound, Greek lyrics and monumental guitar solos.
This is tremendous, hard edged psychedelic/progressive material, originally released in a very small quantity by a private label.
Track List:
01. Metamorphic – 3:30
02. When The Snow Melts – 3:01
03. The Village Postman – 3:59
04. Wilderness – 3:04
05. The Fool’s Trumpet – 3:49
06. Our Fight – 3:38
07. Disappointment – 3:31
08. Child’s Song – 4:33
09. Untitled – 2:34
10. Someday In Athens – 4:36
Link in comments.
King Crimson – KCCC32 Live in Munich (1982) (@256)
14 Aug 2008
(Review from dgmlive.com)
Tight, complex, startling and sonically ambitious, this is a King Crimson full of energy.
The sound is very compressed, like from out of TV speakers; but it also has a slightly distorted quality that makes for a cool variation on that heavily chorused 80′s sound. Belew’s solos in particular sound like 3-D, and Levin’s bass sound is super clean and sharp as well.
A fine companion to the other 1982 concerts.
Line-up:
- Adrian Belew / guitar & vocals
- Robert Fripp / guitar, vocals
- Tony Levin / bass guitar & Chapman Stick
- Bill Bruford / drums & percussion
Track List:
01. Waiting Man – 10:00
02. Thela Hun Ginjeet – 6:54
03. Frame By Frame – 5:59
04. Matte Kudasai – 3:46
05. The Sheltering Sky – 10:40
06. Neal And Jack And Me – 5:49
07. Elephant Talk – 5:00
08. Indiscipline – 11:06
09. Heartbeat – 4:16
10. Larks Tongues In Aspic II – 7:00
Links in comments.
Atomic Rooster – Rarities (1970-1981) (@256)
14 Aug 2008
(Info from cduniverse.com)
Rare and unreleased recordings from the British progressive-rock group including their first ever demo, with Carl Palmer and their last recording from 1981, ‘Moonrise’. Featuring previously unreleased USA radio ads, alternate mixes, original demos and live material.
Line-up:
- John Du Cann / vocals, Fender guitar
- Vincent Crane / Hammond C3 organ
- Paul Hammond / drums except tracks (1-3,5-8,10-19)
- Carl Palmer / drums (4, 9)
Track List:
01. Moonrise (Last Recording From 1981) – 1:06
02. Atomic Alert (USA radio AD 1971) – 0:34
03. Death Walks Behind You (Studio Live from 1981) – 5:35
04. V.U.G. (with Carl Palmer 1970 unreleased) – 4:33
05. Broken Window – 3:47
06. Alien Alert – 0:28
07. Throw Your Life Away – 2:49
08. Devils Alert – 0:26
09. Devils Answer – 4:00
10. Do You Know Who’s Looking For You? – 2:42
11. Don’t Lose Your Mind – 3:32
12. He Did It Again – 3:40
13. Backward-Forward Revealed – 0:28
14. End Of The Day – 3:45
15. Lost In Space – 3:42
16. Hold It Through The Night – 3:10
17. No Change By Me – 3:15
18. Play It Again – 3:58
19. I Can’t Take No More – 8:57
Link in comments.
Ben – Ben (1971) (@256)
13 Aug 2008
(Review from myspace.com)
Ben’s self-titled debut is a classic example of 70s British jazz-rock, beautifully executed. Here are lengthy multi-part suites, excellent musicianship and an overall very appealing early 70′s, very jazzy progressive rock sound with lots of flute, sax, keyboards and guitar.
The group’s harmonic blend of jazz and progressive rock and the considerable talent of each musician takes the listener on an inspired and vivid journey.
Line-up:
- Peter Davey / sax, flute, clarinet
- Alex McCleery / harpsicord, electric piano, mini moog
- Gerry Reid / guitar
- Len Surtess / bass
- Dave Sheen / drums
Track List:
01. The Influence – 10:08
02. Gibbon – 9:30
03. Christmas Execution – 7:20
04. Gismo – 11:49
Link in comments.
King Crimson – KCCC31 Live at the Wiltern (1995) (@256)
13 Aug 2008
Thanks to Bragi Taliesin for the contribution.
(Review from stagerat.com, dgmlive.com)
Fripp believed the Wiltern gig to be a major show and wanted to release it straight away. Belew agreed and a mix was partially completed but the tapes were lost. The planned record was shelved; superseded by B’Boom and the all-improv album, THRaKaTTaK.
With the tapes recovered, here we have the whole show — it may yet be the most powerful live album of the double-trio line-up.
The band is very clearly enthusiastic and excited to play, and it shows throughout every piece in the set. Perhaps it’s that “last night of the tour” mindset that allows for this. Whatever the case, this is a show not to be missed.
One of the interesting aspects of this show is “Prism”, the percussion piece that featured Bruford, Mastelotto, and Belew. Most versions featured all three in front of a percussion table at stage front, playing together. However, the version in this concert has Bruford playing from his kit. It sounds as if Mastelotto is at least doing some of his percussion from the kit as well (if not all of it), and he even appears to throw in some samples of soundscapes in the midst of it!
The concert features the brilliant arrangements and master mind of a sextet perfectly executing counter rhythms while avoiding the usual mindless cluster of notes and nuances before it becomes inaudible and indistinguishable between all the players.
Line-up:
- Adrian Belew / guitar, voice
- Robert Fripp / guitar, soundscapes
- Trey Gunn / touch guitar
- Tony Levin / basses, stick
- Pat Mastelotto / acoustic & electronic drums and percussion
- Bill Bruford / acoustic & electronic drums and percussion
Track List:
CD1
01. Introductory Soundscape – 6:16
02. VROOOM VROOOM – 5:22
03. Frame by Frame – 5:23
04. Dinosaur – 7:17
05. One Time – 5:52
06. Red – 6:36
07. B‘BOOM – 6:36
08. THRAK – 5:52
09. Matte Kudasai – 3:47
10. Walking on Air – 8:36
CD2
01. People – 6:22
02. Improv: Two Sticks – 2:42
03. Elephant Talk – 4:33
04. Indiscipline – 8:51
05. Prism – 2:27
06. The Talking Drum – 3:04
07. Larks’ Tongues in Aspic: Part II – 8:12
08. VROOOM – 3:56
09. Coda: Marine 475 – 4:16
10. Walking on Air – 8:36
Links in comments.
Atomic Rooster – Atomic Rooster '80 (1980) (@256)
12 Aug 2008
(Review from progarchives.com)
By 1980, there was a return on Vincent Crane’s part to heavier fare, even bringing back singer/guitarist John Du Cann.
Atomic Rooster always had far greater subtlety than they are given credit for, as audible in dark and moving slower ballads. This worked as a buffer against the sludgy, riff laden heaviosity of songs. However, this album’s mostly dominated by the latter. Their self titled album of 1980 is their heaviest since ‘Death Walks Behind You’.
The ten songs on this album sound rather straightforward but very energetic and propulsive with elements from Deep Purple (organ and guitar), Led Zeppelin (guitar riffs), Argent (organ), Alice Cooper (vocals) and The Stranglers (vocals and organ). The interplay between Du Cann’s guitar and Crane’s organ is hot and often furious.
Despite some shortcomings, this is a pretty decent mix of old school Rooster/hard progressive with the snarling attitude of “New Wave of British Heavy Metal”.
Line-up:
- Vincent Crane / Hammond C3 organ
- John Du Cann / Fender guitars, lead vocals
- Preston Heyman / drums, percussion
Track List:
01. They Took Control Of You – 4:49
02. She’s My Woman – 3:14
03. He Did It Again – 4:03
04. Where’s The Show? – 3:54
05. In The Shadows – 6:51
06. Do You Know Who’s Looking For You – 3:04
07. Don’t Lose Your Mind – 3:34
08. Watch Out! (instrumental) – 4:05
09. I Can’t Stand It – 3:48
10. Lost In Space – 5:53
11. Throw You’re Life Way (Bonus) – 2:51
12. Broken Windows (Bonus) – 3:49
Link in comments.
Chamaeleon Church – Chamaeleon Church (1968) (@256)
12 Aug 2008
(Review from progressiveworld.net, geocities.com)
Chamaeleon Church’s sole album is archetypal period rock music. Everything about this LP is 1968… the music, the cover art, the dreamy vocals. In fact, it is all very Beatlesque. There are harpsichords, flutes, and a decidedly psychedelic flavor and atmosphere.
The mixture is effective with the usage of guitars and keyboards, leading the way into rock and pop jewels with an opium den haze surrounding it. The album features orchestration on many of the tracks, but it is very well tempered, tasteful, and non-intrusive.
This CD edition features two bonus tracks not on the original album: the demo “Ready, Eddie (Waltz for Debbie)” and a B-Side single, “Your Golden Love”.
The band disbanded in 1969, in the mid-70s Chevy Chase would move on to Saturday Night Live, feature comedy films, and enjoy a completely productive career outside of music.
Line-up:
* Ted Myers – vocals, guitar
* Tony Scheuren – vocals, guitar, bass, harpsichord
* Kyle Garrahan – vocals, bass, lead guitar, piano
* Chevy Chase – vocals, piano, drumset, percussion, organ, roxichord
Track List:
01. Come Into Your Life – 2:17
02. Camillia Is Changing – 4:15
03. Spring This Year – 4:12
04. Blueberry Pie – 3:29
05. Remembering’s All I Can Do – 4:01
06. Flowers In The Field – 2:27
07. Here’s A Song – 1:59
08. In A Kindly Way – 3:07
09. Tompkins Square Park – 3:06
10. Picking Up The Pieces – 2:09
11. Off With The Olds – 4:23
12. Ready, Eddie? (Bonus Demo) – 2:50
13. Your Golden Love (Bonus Single) – 3:13
Link in comments.
King Crimson – KCCC30 Live in Brighton (1971) (@256)
12 Aug 2008
(Review from progarchives.com)
Music is great, it’s just one brilliant King Crimson concert more. But the whole problem is sound quality, which makes this album not very listenable.
There are two rare live tracks : “Islands” sounds good, even if not as perfect as in studio version. “Letters” is played and especially sung very impressing.
Line-up:
* Boz Burrell – bass, lead vocals
* Robert Fripp – guitar, mellotron
* Mel Collins – saxes, flute, mellotron
* Ian Wallace – drums, vocals
* Peter Sinfield – words, sounds & visions
Track List:
CD1
01. Cirkus – 11:02
02. Pictures Of A City – 11:04
03. Formentara Lady – 7:14
04. The Sailor’s Tale – 5:30
05. The Letters – 8:05
06. Islands – 7:00
CD2
01. Ladies Of The Road – 6:52
02. 21st Century Schizoid Man – 24:55
03. Groon – 12:00
04. Mars – 10:11
Links in comments.
Atomic Rooster – Nice 'n' Greasy (1973) (@256)
11 Aug 2008
(Review from progarchives.com)
“Nice’n'greasy” is the second of a pair of albums recorded by with Chris Farlowe. It takes the formula of its predecessor and tries to duplicate it. There’s a new guitarist in the band and the music is dominated by guitar far more than any other album by Atomic Rooster.
The soul and funk elements which had infiltrated “Made in England” are apparent once again here, together with a fair bit of blues based material. The opening “All across the country” for example is a guitar driven blues song. “Voodoo in you” follows a similar path, this 7 minute piece being reminiscent of Peter Green’s Fleetwood Mac. “Can’t Find a Reason” is an orchestrated ballad featuring the voice of Farlowe. The instrumental “Ear In The Slow” features heavy organ and guitar riffs, remiscant of their earlier sound.
The band once again imploded after the release of this album.
Line-up:
- Chris Farlowe / vocals
- Vincent Crane / Hammond organ, electric piano, piano, A.R.P. synthesizer
- Johnny Mandala / electric guitar
- Rick Parnell / drumkit, percussion
Track List:
01. All Across The Country – 5:09
02. Save Me – 3:13
03. Voodoo In You – 7:04
04. Moods – 4:27
05. Take One Take – 5:04
06. Can’t Find A Reason – 4:30
07. Ear In The Snow – 6:15
08. What You Gonna Do – 5:31
Link in comments.
Brainchild – Healing of the Lunatic Owl (1970) (@256)
11 Aug 2008
(Review from progarchives.com)
Among the rare and unknown 70s groups, one of the most obscure must be “Brainchild”, who recorded a sole album as the decade just unfolded. The intriguingly-titled “Healing Of The Lunatic Owl” contains some brilliant progressive brass-rock, developed by the septet, which had three wind instrument players in its line-up.
Starting on “Autobiography”, a track that rises from a fade-in coming from hell, the group rides a quick wave, before the middle section gives a slower Spanish-style trumpet solo, gradually picking up speed as other wind instrument step in, leading to a wild guitar solo, underlined by brass throes and Wilshaw’s sax leading the wild brassy fade-out outro. The title track starts very slowly on a flute and vocals, before it kicks in and offers an already-heard-before melody on the chorus (most likely strongly derived from Blood, Sweat & Tears, but not quite as cheesy). The slow menacing bass line of the 7-mins “Hide From Dawn”, soon joined by brass and slow sinister drum rolls provide a great climate and constant groove throughout the track, over which Jennings’ organ can stroll upon, accompanying Edwards’ vocals, and when not busy singing, he plays a few remarkable guitar fills, but the show is really for the brass section. A rapid groove shakes you from your torpor and “She’s Learning” has a real enthralling hot memorable hook, mostly driven by the organ. The tracks suddenly stops halfway to allow for a short bass solo, before resuming the original groove, but slowly morphing into a dissonant mutant form.
The album’s flipside opens on the album’s centrepiece, the 9-minute “A Time A Place”. The rest of the albums glides on effortlessly with the funny “Two Bad Days” (and its descending riffs), the slow, enchanting and haunting flute-laden “Sadness Of A Moment” (another highlight) and the closing “To B”, also starting slowly, but ending in complete dissonant chaos.
Truly one of those minor unearthed gem, Brainchild’s only album stands as one of brass rock’s best albums ever, out-ranking many better-known acts.
Line-up:
- Harvey Coles / bass, vocals
- Bill Edwards / lead guitar, vocals
- Dave Muller / drums
- Chris Jennings / organ, piano
- Brian Wilshaw / saxophone, flute
- Lloyd Williams / trumpet
Track List:
01. Autobiography – 3:47
02. Healing Of The Lunatic Owl – 5:21
03. Hide From The Dawn – 7:12
04. She’s Learning – 4:24
05. A Time A Place – 9:16
06. Two Bad Days – 4:07
07. Sadness Of A Moment – 4:18
08. To B – 4:05
Link in comments.
King Crimson – KCCC29 Live in Heidelberg (1974) (@256)
11 Aug 2008
(Review from progarchives.com)
This show was recorded in Heidelberg at 29th of March in 1974. The sound quality is excellent, just as the concert itself.
The recording starts with an improv, which is more or less an intro to Dr Diamond. This track was never released on a studio album but Crimson played this song a lot during the first months of 1974. It is a dark track about a driver of an underground train. Next is a long version of Exiles with excellent mellotron and violin interplay. This is followed by the second improv of this show. It starts heavy but ends in the vain of Trio, which is a nice bridge to the wonderful Starless. This is one of the classic Crimson tunes. It starts as a ballad and then developes through some heavy bass lines to an excellent epic. Next are two melodic tracks: Night Watch, about Rembrandt’s painting and Lament. Then comes the heavy Easy Money and the album ends with the opening bars of Fracture.
The only flaw on this album is that the tape runs out during Fracture, so only the first three minutes appear on this album.
Line-up:
* David Cross – violin, mellotron, electric piano
* Robert Fripp – guitar, mellotron, electric piano
* John Wetton – bass guitar, vocals
* Bill Bruford – drums, percussion
Track List:
01. Improv: Heidelberg I – 2:43
02. Dr. Diamond – 7:03
03. Exiles – 10:04
04. Improv: Heidelberg II – 6:48
05. Starless – 12:46
06. The Night Watch – 4:39
07. Lament – 4:19
08. Easy Money – 6:35
09. Fracture – 3:08
Links in comments.
Atomic Rooster – Made In England (1972) (@256)
10 Aug 2008
(Review from progarchives.com)
As the MK-II line-up of Atomic Rooster dissolved, the only band member to remain as the band entered 1972 was founder and leader Vincent Crane. Everything had to be re-started from scratch. Crane put his (significant) personal issues aside, and recruited three new members. He managed to convince the immense voice of Chris Farlowe (fresh off the break-up of Colosseum) to join up along with a bunch of lesser known musicians (and still no bassist).
The band’s music takes a new twist with such a powerful (soulful) vocalist but still remains truthful to Rooster standarts. The music is slightly more funky hard rock and this album makes frequent calls to an excellent horn section for about a third of the tracks on here. There are even strings on the killer “Stand By Me”.
There is an eclectic mixture of songs here, some of which hark back to the band’s earlier albums (such as “Little Bit of Inner Air” and “All In Satan’s Name”). Others are overtly funky, white soul songs, such as the James Brown inspired “Don’t Know What Went Wrong”.
The edition of the album has 2 bonus tracks, both of which were originally on the following album “Nice ‘n’ Greasy”.
Line-up:
- Vincent Crane / Hammond organ, piano, electric pianos, A.R.P. synthesizer
- Chris Farlowe / vocals
- Steve Bolton / electric guitars, 12-string guitar
- Rick Parnell / drums, congas, timbales and additional percussion, vocals on «Little Bit Of Inner Air»
with
- Bill Smith / electric bass on «Stand By Me»
- Doris Troy and Liza Strike / backing vocals on «Stand By Me» and «People You Can’t Trust»
Track List:
01. Time Is My Life – 6:02
02. Stand By Me – 3:46
03. Little Bit Of Inner Air – 2:39
04. Don’t Know What Went Wrong – 4:00
05. Never To Lose – 3:17
06. Breathless – 5:17
07. Space Cowboy – 3:20
08. People You Can’t Trust – 3:53
09. All In Satan’s Name – 4:44
10. Close Your Eyes – 3:49
11. Goodbye Planet Earth (Bonus) – 4:09
12. Satan’s Wheel (Bonus) – 6:41
Link in comments.
Def Leppard – Pyromania (1983) (@256)
10 Aug 2008
(Review from rollingstone.com, wikipedia)
Def Leppard was formed in 1977 as part of the New Wave of British Heavy Metal movement. Their music is a mixture of hard rock, album-oriented rock (AOR), and heavy metal elements, with its multi-layered, harmonic vocals and its melodic guitar riffs.
Just when it seemed like synthesizers had taken over the airwaves, along comes Def Leppard with its third album, Pyromania, a heavy-metal album full of brawling guitars and boasting state-of-the-radio production. Steve Clark and Phil Collen’s fat fuzz riffs and power chords are more emotionally charged than most of the synthesized disco that passes for “modern music”, and Robert John “Mutt” Lange’s work behind the board brings singer Joe Elliott’s screaming vocals into focus.
“Action! Not words,” crows Elliott in the track of the same name, and that modus operandi holds true for most of the album. Rick Allen’s crack-shot drumming, the thick layers of guitars and the enveloping echo of Lange’s artfully busy mix more than cover up the street-corner rhyming of these tales of Tarzan sexuality and macho party exploits. But the band demonstrates surprising sophistication as it manipulates old heavy-metal tricks into tight, invigorating songs while holding epic pretensions in check. Both “Comin’ under Fire” and “Photograph” combine the kaboom of AC/DC with slick choruses and brassy vocal harmonies that sound like a gassed-up Boston.
Def Leppard may not be highly original, but they mean what they play, and Pyromania puts some much-needed fire back on the radio.
Line-up:
* Joe Elliott – lead vocals
* Steve Clark – guitars
* Phil Collen – guitars
* Rick Savage – bass
* Rick Allen – drums
* Pete Willis – rhythm guitar
with
* John Kongos – Fairlight CMI programming
* Booker T. Boffin – keyboards
Track List:
01. Rock Rock (‘Til You Drop) – 3:58
02. Photograph – 4:08
03. Stagefright – 3:45
04. Too Late For Love – 4:27
05. Die Hard The Hunter – 6:17
06. Foolin’ – 4:33
07. Rock Of Ages – 4:07
08. Comin’ Under Fire – 4:14
09. Action! Not Words – 3:48
10. Billy’s Got A Gun – 5:56
Link in comments.
King Crimson – KCCC28 Live in Warsaw (2000) (@256)
09 Aug 2008
This concert was recorded on June 11, 2000 at “Roma” in Warsaw, Poland. Some parts of it was also included on the mainstream “Heavy ConstruKction” live album.
Line-up:
* Adrian Belew – guitar & vocals
* Robert Fripp – guitar
* Trey Gunn – touch guitar, ashbory bass, talker
* Pat Mastelotto – electronic drums
Track List:
CD1
01. ProzaKc Blues – 6:09
02. The ConstruKction of Light – 8:43
03. The World’s My Oyster Sout Kitchen Floor Wax Museum – 7:42
04. Improv-Warsaw – 12:35
05. Dinosaur – 5:27
06. One Time – 5:52
07. VROOOM – 4:46
08. Cage – 5:27
CD2
01. Into the Frying Pan – 6:40
02. Larks’ Tongues in Aspic-Part Four – 13:54
03. Three of a Perfect Pair – 4:01
04. The Deception of the Thrush – 10:18
05. Sex, Sleep, Eat, Drink, Dream – 7:12
06. Heroes – 7:17
Links in comments.
Bi Kyo Ran – Parallax (1983) (@256)
09 Aug 2008
(Review from progarchives.com)
Bi Kyo Ran is one of the most important Japanese progressive rock bands. Forming in the 70s, the legendary band plays with a bristling energy, intensity and aggression, then alternately delicate and pastoral, with ample use of mellotron.
Bi Kyo Ran’s second studio album finds the band persisting on resurrecting the momentum of “Red”-era King Crimson with an added refurbishing hard rock-centered freshness. Kunio Suma, doubling on lead guitar and mellotron, leads the band through the valleys of his Crimsonian musical vision.
The opener ‘Silent Running’ is a real treat of exciting vibe, due to the combination of rawness and melodic catchiness, displaying a convincing sense of energy and not using an exaggerated dose of complication concerning the arrangements. Suma’s effective riffs and aggressive Spartan solos on guitar are firmly sustained by the rhythm scaffold. The stellar moment of this number is the violin solo provided by guest Toshihiro Nakanishi, whose musical sensibility somewhat reminds of Eddie Jobson’s.
As catchy as this track is, the other two get to reveal the real dimension of Bi Kyo Ran’s powerful progressive trend to the listener’s ears. ‘Prediction’ kicks off with a deceitfully languid motif that soon gives way to a diverse exposure of instrumental density, at times showing off in a very frontal manner, at times partially hiding behind a mask of complex simplicity with slight bluesy flavours. This time Suma really goes enthusiastic – indeed, almost mad – with his Fripp-inspired neurotic guitar textures, leading the way for the development of the composed ideas. The track’s climax starts with a weird sonic sequence, including horns, until the initial motif is briefly reprised.
The album’s great ending is incarnated in ‘Suite Ran’, the sidelong track that occupied the entire B-side of the vinyl edition. This 21-minute long, 5-part monster delivers the most bizarre melodies and counterpoints in the album, while the track’s overall spirit alternates between the sinister and the ethereal, like a nightmare that has a mystic vibe in it. The mellotron is heavily featured on this one, rivaling with the lead guitar in the “stealing the spotlight” game like a dreadful contender in a battlefield of madmen: the minimalistic horn arrangements serve as allies for the mellotron side, in this way, enhancing the aura of emotional oppression that almost fills the suite’s entirety. Picture a triple marriage of ‘Red’ straightforward harshness, ‘Lark’s Tongues in Aspic’ inscrutable magic and ‘Fracture’ storming power, held in the exuberant cathedral of “Lizard”.
This album displays a solid confluence of the power of complex rock and the overall artistic neurosis of King Crimson, with a predominance of the latter factor: in many ways it would be fair to say that Bi Kyo Ran’s most notable virtue is their ability to recapture the musical magic of the average progressive fan’s favorite King Crimson period, but that’s not the whole picture. Bi Kyo Ran knows how to handle the art of noise in the forest of their obvious influences, and the excellent “Parallax” is a proof of that.
Line-up:
- Masaaki Nagasawa / drums
- Masahide Shiratori / bass
- Kunio Suma / guitar, vocals
with
- Toshio Egawa / keyboards, Mellotron
- Hazime Mizoguchi / cello
- Toshihiro Nakanishi / violin
- Hitoshi Okano / trumpet
Track List:
01. Silent Running – 8:00
02. Prediction – 9:30
03. Suite ‘Ran’ – 21:10
Link in comments.
If – Tea Break Over, Back On Your 'Eads (1975) (@320)
09 Aug 2008
Thanks to Silversurfer for the contribution.
(Review from progarchives.com)
This whole album brings to my mind a question “How much pop in your progressive?”. Two tracks out of seven from this release, ‘Merlin The Magic Man’ and the title track are just about the measure!
Luckily, the rest of material offers more jazz and heavy progressive elements; the latter specially inherent to the number ‘Yessirom Kid’ eccentric not only by its title (however, pronounced backwards it leads to the name of band leader and founder member) but also with its odd sax solo ending. What follows is ‘Don Quixote’s Masquerade’ with nice interplay between Whitehorn’s acoustic guitar and Morrissey’s electric tenor sax.
On the B side of the record there are two good moments; in wistful ballad ‘I Had A Friend’ and closing instrumental ‘Raw Sewage’.
Line-up:
* Clifford Davis / Drums, Synthesiser, Vocals
* Gabriel Magno / Keyboards
* Carlos Martinez / Percussion
* Walt Monaghan / Bass, Vocals
* Dick Morrissey / Saxophone
* Geoff Whitehorn / Guitar
Track List:
01. Merlin The Magic Man – 5:07
02. I Had A Friend – 5:20
03. Tea Break Over-Back On Your ‘eads – 7:51
04. Ballad Of The Yessirrom Kid – 6:06
05. Raw Sewage – 3:55
06. Song For Alison – 4:28
07. Don Quixote’s Masquerade – 5:47
Link in comments.
Bobak, Jons and Malone – Motherlight (1970) (@256)
08 Aug 2008
(Review from cduniverse.com)
Mike Bobak, Andy Jons and Wilson Malone produced an album called Motherlight, full of spooky psychedelia with progressive leanings, which works really well.
Almost all tracks have a slightly unsettling atmosphere, originating in a clever use of dissonance, without being quirky. On A Meadow – Lea has good fuzz guitar paired to pastoral lyrics, while Mona Lose bears overt traces of malice. Burning The Weed sounds quite surprisingly akin to US Kaleidoscope. The Lens is Procol Harum on a bad trip and even foreshadows Joy Division!
Track List:
01. Motherlight – 3:28
02. On a Meadow-Lea – 4:38
03. Mona Lose – 3:00
04. Wanna Make a Star, Sam – 2:09
05. House of Many Windows – 3:39
06. Chant – 4:08
07. Burning the Weed – 3:24
08. The Lens – 6:48
Link in comments.
King Crimson – KCCC27 ProjeKct Three Live in Austin (1999) (@256)
08 Aug 2008
(Info from progarchives.com)
ProjeKCt Three played on the University of Texas campus in the basement of the student union in a sweet little wood-paneled club called the Cactus Cafe. This little boho, campus box of a bar room usually hosts the likes of open-mic singer/songwriters or Texas acoustic troubadours. The concert was overbooked and about 200-250+ rabid Crim fans piled in, to imbibe ProjeKCt Three’s sonic mayhem. The little wooden box of the Cactus Cafe and the 200 sweaty fans were the perfect acoustic sound chamber for the assault of sound and ideas wrangled ProjeKct Three.
Here we are treated to a symphony of electronically treated guitars, drums & samples that the Fripp/Gunn/Mastelotto could wrench out of their musically fervent minds. Imagine the rock monstrosity that the Lark’s Tongue In Aspic is and cram it through Fripp’s mind, a bank of computer/samplers, and then stir well with improvised musical chops and the nuance of King Crimson’s legacy.
This is music performed by interdimensionally-minded virtuosos with their latest toys and then amped up to 11 by an enthusiastic crowd all up in the band’s face.
Line-up:
* Robert Fripp – guitar
* Trey Gunn – touch guitar, talker
* Pat Mastelotto – electronic traps and buttons
Track List:
01. Masque 3 – 15:37
02. Masque 11 – 7:25
03. X-chayn-jiZ – 8:29
04. Hindu Fizz – 2:32
05. Heavy ConstruKction – 4:44
06. Introductory Soundscape – 3:35
07. Masque 8 – 7:13
08. Light ConstruKction – 1:43
09. Masque 2 – 7:17
10. CCCCCCs – 9:02
11. ProjeKction – 4:41
12. The Deception Of The Thrush – 6:37
Links in comments.
If – Not Just Another Bunch of Pretty Faces (1974) (@256)
07 Aug 2008
(Review from progarchives.com)
The 1974 If recording found Dick Morrissey as the only member of the starting line-up and delivering material varied in music expression; now it is not only jazz-rock but there’s to find very good blues in ”Stormy Every Weekday Blues” and even classic rock tune in closing track ”I Believe In Rock And Roll”.
The highlight’s the instrumental ”Follow That With Your Performing Seals” which reminds us on genuine If – excellent musicians performing superb jazz-rock.
Line-up:
* Clifford Davis / Drums, Synthesiser, Vocals
* Gabriel Magno / Keyboards
* Carlos Martinez / Percussion
* Walt Monaghan / Bass, Vocals
* Dick Morrissey / Saxophone
* Geoff Whitehorn / Guitar
Track List:
01. In The Winter Of Your Life – 5:00
02. Stormy Every Weekend Blues – 6:10
03. Follow That With Your Performing Seals – 5:52
04. Still Alive – 4:32
05. Borrowed Time – 4:33
06. Chiswick High Road Blues – 5:20
07. I Believe In Rock & Roll – 4:56
Link in comments.
Eneide – Uomini Umili Popoli Liberi (1972) (@256)
07 Aug 2008
(Review from progarchives.com)
So many Italian bands have made their mark in the 70s, it’s almost impossible to keep track. And just when you thought you had scraped the bottom of the barrel, up comes a little forgotten nugget like “Uomini Umili Popoli Liberi”. Eneide, a five-piece set from Padova.
The album consists of ten fairly short melodic pieces of typical 70s Italian progressive, not overly complex but featuring a nice array of moods and some good interplay between the guitar, keyboard (mostly Hammond but also moog) and flute.
The most amazing parts are when Eneide get into their groove and then they really take off. Bass and drum lay a fantastic backdrop for keyboard, electric guitar and flute to overlay. Songs are well written and offer a nice array of mood and tempo changes with some grand well thought out melodies.
An pleasant slice of 70s Italian progressive rock.
Line-up:
- Carlo Barnini / organ, Eminent, Mini Moog, backing vocals
- Gianluigi Cavaliere / lead vocals, acoustic & electric guitars
- Adriano Pegoraro / acoustic & electric guitars, flute, backing vocals
- Romeo Pegoraro / acoustic & electric basses, backing vocals
- Mereno Diego Polato / drums, percussion, backing vocals
Track List:
01. Cantico Alle Stelle (traccia I) – 2:51
02. Il Male – 3:22
03. Non Voglio Catene – 7:53
04. Canto Della Rassegnazione – 2:33
05. Oppressione E Disperazione – 3:06
06. Ecce Omo – 4:08
07. Uomini Umili Popoli Liberi – 3:21
08. Viaggio Cosmico – 3:50
09. Un Mondo Nuovo – 2:39
10. Cantico Alle Stelle (traccia II) – 1:38
Link in comments.
King Crimson – KCCC26 Live in Philadelphia (1982) (@256)
07 Aug 2008
Recorded at the Mann Music Centre, Philadelphia, USA, July 30, 1982.
Line-up:
* Adrian Belew – guitar & vocal
* Robert Fripp – guitar
* Tony Levin – bass guitar & Stick
* Bill Bruford – drums & percussion
Track List:
01. Thela Hun Ginjeet – 7:14
02. Red – 5:56
03. The Howler – 4:45
04. Frame by Frame – 4:55
05. Matte Kudasai – 3:40
06. The Sheltering Sky – 9:28
07. Discipline – 5:22
08. Elephant Talk – 5:07
09. Indiscipline – 11:12
10. Neurotica – 6:29
11. Heartbeat – 4:18
12. Sartori In Tangier – 4:20
13. Lark’s Tongues In Aspic Part II – 6:43
Links in comments.
If – Double Diamond (1973) (@192)
07 Aug 2008
(Review from progarchives.com)
The original If line-up split up in the mid of 1972 due to serious health problems of its founder member Dick Morrissey. After successful recuperation Morrissey revived If with a completely new crew and they recorded ‘Double Diamond’.
Material presented on this album differs very much from their earlier releases and somehow indicated more rocking direction which will be consequently developed on their next two albums. From A side of LP second number ‘Pebbles On The Beach’ attracts with its acoustic tune where dominate strong rhythm giving bass of Kurt Palomacki together with superb Morrissey flute; the real highlight of the whole album, is this side closing track ‘Another Time Around (Is Not For Me)’ where nice melody shines accompanied by Arnesen’s impressive piano and Rosenthal’s guitar. The B side is more or less rocking, close to its harder edge, except Part 2 and Part 3 of ‘Feel Thing’.
This ‘transition’ album is quite a solid cut.
Line-up:
- Dick Morrissey / flute, tenor and soprano saxophone , lead and background vocals
- Cliff Davies / drums, percussion, background vocals
- Kurt Palomacki / bass, background vocals
- Fi Trench / piano, background vocals
- Steve Rosenthal – guitar, lead and background vocals
- Pete Arnesen – piano, organ, synthesizer, background vocals
Track List:
01. Play, Play, Play – 3:47
02. Pebbles On The Beach – 4:37
03. Pick Me Up – 5:06
04. Another Time Around – 7:00
05. Groupie Blue – 4:11
06. Fly, Fly, The Route Shoot – 4:30
07. Feel Thing, Part 1 – 4:20
08. Feel Thing, Part 2 – 4:57
09. Feel Thing, Part 3 – 3:15
Link in comments.
Hidria Spacefolk – Symbiosis (2002) (@256)
06 Aug 2008
(Review from progarchives.com)
This group of five self-taught Finnish musicians make a music loaded with textures and colours that leave most space rock bands sounding like a sample machine stuck in loop mode. Their songs evolve continuously, with the music occasionally returning to specific themes but with something new each time.
Released in 2002, their full-debut album is an exciting, pulsating affair. As the opening track “Terra Hidria” gets going you could forgiven for thinking you had stumbled across a long lost follow up to PORCUPINE TREE’s “The sky moved sideways”, such is the similarity between the tracks. Here though, there are no vocals to speak of apart from the occasional vocalising of guest singer Sabrina. There are Eastern influences to “Terra Hidria”, especially in the flute and sitar parts, but the overall effect is somewhere between Europe and Asia.
There is some nice guitar work on tracks such as “Kaneh Bosm” and “Kaikados”, the latter having distinct Santana overtones thanks to the nature of the percussion. “Jahwarp” reverts to the “Sky Moved Sideways” feel, the track being heavier than much of the album.
“I-Mantra” is a frantic, pulsating number with real energy. The final track “Pangaia” is the longest at just under 12 minutes. There are passing similarities here with the work of Tangerine Dream around the time of “Force majeure” (when they allowed lead guitar to infiltrate their sound). The track has a hypnotic repetitive rhythm with evolving themes which develop as the back-beat slowly climbs the scales. Think perhaps of Hawkwind plays the Tangs!
The music tends to follow the same pattern, with lengthy part improvised jams over a strong repeating rhythm. At times that rhythm can be reminiscent of Hawkwind, but the sound is generally looser. Inevitably, given the style of music, comparisons are going to be made with Ozric Tentacles. Those comparisons are certainly valid, particularly in view of the repeating nature of the tracks and the predictability of the album as a whole. For me though, the music here is far more dynamic and enthusiastic.
The general production is clean and distinct, with good separation between the instruments. There is an excitement to the performances which indicate a real determination among the band members to deliver something which represents them well.
The space rock tag stems as much as anything from the many floating sound effects which adorn each track, with liquid bubbles and laser fire aplenty. Take those effects away though, and what is left is far more earthy, with strong links to jazz, fusion and avant-garde.
Line-up:
- Kimmo Dammert / bass
- Mikko Happo / electric guitar, digeridoo, harp
- Teemu Kilponen / drums, percussion, voice
- Janne Lounatvuori / synthesizers, electric and acoustic piano, organ
- Sami Wirkkala / electric, acoustic and midi guitar, mandolin, sitar, jawharp, synthesizers
with
- Teemu Vaisanen / flute
- Olli Kari / marimba, vibraphone, percussion
- Tuure Paalanen / cello
- Mikko Rajala / violin
- Sabrina / voice
Track List:
01. Terra Hidria I – 7:03
02. Terra Hidria II (Reversion) – 1:39
03. Kaneh Bosm – 5:12
04. Kaikados – 6:17
05. Nasha Universo – 5:15
06. Jahwarp – 5:47
07. Agents Entropos – 3:12
08. I-Mantra – 5:14
09. Pangaia – 11:41
Link in comments.
King Crimson – KCCC25 Live at Filmore East (1969) (@256)
06 Aug 2008
(Info from progarchives.com)
This album contains two back-to-back gigs from November 21&22, 1969. The sound quality is quite good and the performances are decent. The gig from 21 November was previously released as Vol. 1 of the Epitaph Live Box Set (with the exception of The Court of Crimson King).
Line-up:
* Robert Fripp – guitar
* Ian McDonald – flute, saxophone, mellotron, vocal
* Greg Lake – bass guitar, lead vocal
* Michael Giles – drums, percussion, vocal
* Peter Sinfield – words and illumination
Track List:
01. The Court Of The Crimson King – 2:36
02. A Man A City – 12:21
03. Epitaph – 8:03
04. 21st Century Schizoid Man – 8:05
05. The Court Of The Crimson King – 2:16
06. A Man A City – 12:19
07. Epitaph – 8:31
08. 21st Century Schizoid Man – 7:56
Links in comments.
If – Waterfall (Live 1972) (@256)
05 Aug 2008
(Info from amazon)
This is the US version of the 4th If album (If 4) with a slightly different track selection/order.
On this version Track 7 & 8 are bonus A & B sides of the single and track 9 is an alternate take. The rather annoying thing is that both CD versions should have had the tracks unique to the other as bonus tracks. “Waterfall” is the most complete album but that means you miss out on the track Svenska Soma, but with “If 4″ you miss out on Paint Your Pictures and Cast No Shadows.
Line-up:
* Cliff Davies – Drums
* Dennis Elliott – Drums
* J.W. Hodgkinson – Vocals, Percussion
* John Mealing – Piano, Organ
* Dick Morrissey – Saxophones, Flute, Vocals
* Dave Quincy – Saxophones
* Jim Richardson – Bass
* Terry Smith – Guitar
* Dave Wintour – Electric & Acoustic Guitar, Bass, Vocals
Track List:
01. Waterfall – 5:42
02. The Light Still Shines – 5:06
03. Sector 17 – 8:00
04. Paint Your Pictures – 5:18
05. Cast No Shadows – 7:30
06. Throw Myself To The Wind – 4:42
07. You In Your Small Corner (Bonus) – 3:28
08. Waterfall (Single Version) – 4:02
09. Waterfall (Radio Station Mono Version) – 4:00
Link in comments.
Bram Stoker – Schizo-Poltergeist (1972) (@256)
05 Aug 2008
(Review from progarchives.com)
Bram Stoker was a one shot band that released their album in 1972.
The eight melodic and dynamic compositions are Hammond organ drenched, the electric guitar is often distorted (fuzz) delivering some fiery soli but in general it is on the background. Bram Stoker their sound has elements from Atomic Rooster (Born to be free), ELP (Fast decay) and often Beggar’s Opera, mainly due to the classical organ sound (for example Bach’s Toccata In D-Fuga in Fast Decay and the long Fingal’s Cave) and the pleasant vocals. The track Blitz has some Spanish flavored guitar undertones and sounds a bit dark. The final, horror-like song Poltergeist features floods of classical inspired organ.
Track List:
01. Born To Be Free – 3:43
02. Ants – 3:47
03. Fast Decay – 3:48
04. Blitz – 5:32
05. Idiot – 4:28
06. Fingacs Cave – 7:41
07. Extensive Corrosion – 4:19
08. Poltergeist – 4:33
Link in comments.
King Crimson – KCCC24 Live in Guildford (1972) (@256)
05 Aug 2008
(Review from progarchives.com)
“Live in Guildford, 1972″ presents us the concerts which established the Wetton / Cross / Muir line-up of King Crimson and also show up the birth process of their classic “Larks’ Tongues in Aspic” album. Its sound quality is better than the previous KCCC releases with Muir.
The show opens with a very aggressive version of “Larks’ Tongues in Aspic – part one”, and that distorted tone of Fripp’s guitar is just a pure killer. The two second movements after the violent main theme are here quite similar, later the bass and drum patterns evolved separating these moments as more different from each other. The number is also here longer than in the Beat Club performance, having the violin “Larks’ Ascension” solo part, missing only the nightmarish coda, which ends the studio version and later performances of this brilliant avant-garde number. The violin tunes are followed with “Book of Saturday”, creating a nice contrast and a calm moment to the more violent and chaotic moments here. Here the song has some tambourine backing it up, usually it doesn’t have much percussions played over it. The name of the song is also yet “Daily Games” according to Fripp’s following polite and disciplined speech. The speech also reveals that the set should end up with “Larks’ Tongues in Aspic – part two”, which sadly didn’t got on this recording, as the tape ran out too quickly.
The next “attack towards culture” is a freeform collective improvisation which is built up by the same principles as the long improvisation of the era-concerts. It opens up with really loud and violent communal crashing of the instruments, and then stage is free, players presenting themes and demanding reactions from others. If you like interactive jamming and old rock sounds with Mellotrons, here’s a gourmet dish of this for you!
The record ends to the beginning of the harmonic “Exiles” rising up from the “Mantra” theme, which was used also in the 1969 concerts as an opener for other musical ideas. The version here is incomplete, and the tape runs out after three minutes, which is a really sad thing but from the documentary point of view it’s good to have it here, as it’s nice to hear how Muir coloured the beginning with his bird whistles.
Line-up:
- David Cross / violin, flute, mellotron
- Robert Fripp / guitar, mellotron
- John Wetton / bass guitar, vocals
- Bill Bruford / drums
- Jamie Muir / percussion & allsorts
Track List:
01. Larks’ Tongues In Aspic (Part I) – 8:58
02. Book Of Saturday (Daily Games) – 4:23
03. Improv- All That Glitters Is Not Nail Polish – 25:38
04. Exiles – 3:40
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Shareonall is toast, any new suggestions?
04 Aug 2008
The mirroring service I use for the blog, shareonall has been closed down. I’m open to new suggestions, I would prefer sites which are more reliable (the reason why I use rapidshare), since switching service providers is extra work for me.
If – If 4 (1972) (@256)
04 Aug 2008
(Review from progarchives.com)
This mainly live album, If 4 follows the more jazz orientated meanderings of their earlier albums, but with a more heavy guitar sound.
This is typified by the first track the amazing ten minute live instrumental “Sector 17”, a real album highlight. As the band were essentially more at home playing this type of music live this makes sense, but still sounds great in the studio. “The Light Still Shines”, another live track, features a nice keyboard solo and strong bass, as is the next track “You in Your Small Corner”.
Opening side 2 is a great song “Waterfall”, a folkish rock song with guitar, sax, tom-toms and Tull-style flute but firmly back in very enjoyable If territory again – it is this varied style of music and choice of instruments that make them special. “Throw Myself to the Wind” swings in, jam-like, warms up with a guitar/sax exchange. The last track, strangely titled live seven-minute “Svenska Soma”, a great blues instrumental featuring some good organ and sax solos, backed by some solid bass and drums.
Line-up:
* Dennis Elliott – Drums
* J.W. Hodgkinson – Vocals, Percussion
* John Mealing – Keyboards
* Dick Morrissey – Saxophones, Flute
* Dave Quincy – Saxophones
* Jim Richardson – Bass
* Terry Smith – Guitar
Track List:
01. Sector 17 – 10:45
02. The Light Still Shines – 5:02
03. You In Your Small Corner – 3:39
04. Waterfall – 5:36
05. Throw Myself To The Wind – 4:42
06. Svenska Soma – 7:14
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Black Orchids – Awol (1974) (@256)
04 Aug 2008
(Review from stoneislandrecords.com)
Black Orchids were an early 70s US power trio. In 1974 they pressed ‘AWOL’, their sole output, on their own label. It came in a plain white sleeve, shrinkwrapped with the title and band info written on the outside of the shrink with a marker pen.
The album is an instrumental only journey of psychedelic hard rock that is more Cream than Hendrix. For the most part the music is a heavy blues jam with many tempo changes and plenty of feedback. There is also a feeling here of UFO’s second album the space rock jam “Flying”.
It consists of one track “AWOL” which was recorded live and being 29 minutes long was spread over the two sides of the LP. This CD version has the track rejoined as one continuous piece.
Line-up:
- Rob Hamer / guitar
- John Wehde / bass
- Paul Bennington / drums
Track List:
01. Awol – 28:24
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King Crimson – KCCC23 Live in Orlando (1972) (@256)
04 Aug 2008
(Review from progarchives.com)
Recorded on February 27, 1972 at the Kemp Coliseum; this performance took place one day after the Jacksonville concert. The sound quality of this (double) album is much better than the Jacksonville album and the playing is more inspired.
This incarnation is said to be more of a jam band and that may be true. That doesn’t mean however that they didn’t make some interesting, challenging music. Because they did. The jamming side is at its best in the jazzy rendition of Schizoid Man and in Earthbound. But this version of the band was also capable of more structured music, as in Cirkus.
Line-up:
* Boz Burrell – bass, lead vocals
* Robert Fripp – guitar, mellotron
* Mel Collins – saxes, flute, mellotron
* Ian Wallace – drums, vocals
Track List:
CD1
01. Pictures Of A City – 10:12
02. Formentera Lady – 8:24
03. The Sailors Tale – 6:57
04. Cirkus – 9:20
05. Ladies Of The Road – 6:07
CD2
01. Groon – 16:09
02. 21st Century Schizoid Man – 11:05
03. Earthbound – 6:31
04. Cadence And Cascade – 4:24
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If – If 3 (1971) (@256)
03 Aug 2008
(Review from progarchives.com)
If’s third album was released in 1971.
Starting on the enthralling instrumental Fibonacci’s Number, the album gets a really strong start, with the following Forgotten Roads, which proved to be their biggest hit. The next Sweet January takes on a more soulish tone, even if the flute brings a noble touch. Child Of Storm returns to a better RnB with some excellent jazzy solos, most notably Morissey’s awesome alto sax, the track ending in a great thunderbolt.
The flipside gets a Lighthouse-like start with the cheesy (mostly due to the chorus) Far Beyond, Seldom Seen Sam is returning to amore comfy RnB with some rather expert soloing from Mealing’s electric piano with twang-ey closing guitar parts from Smith. The following Upstairs uses a cool organ and massive horn section answering lines. The closing Mr Time uses some more organ moans, this time in a Dave Greenslade and Rod Argent manner with Steve Smith’s guitar getting an extra notice, and develops from a slow start with some clever chord changes.
Line-up:
* Dennis Elliott – Drums
* J.W. Hodgkinson – Vocals
* John Mealing – Keyboards, Vocals
* Dick Morrissey – Saxophones, Flute
* Dave Quincy – Saxophones
* Jim Richardson – Bass
* Terry Smith – Guitar
Track List:
01. Fibonacci’s Number – 7:49
02. Forgotten Roads – 4:27
03. Sweet January – 5:04
04. Child Of Storm – 3:51
05. Far Beyond – 5:00
06. Seldom Seen Sam – 5:05
07. Upstairs – 4:44
08. Here Comes Mr. Time – 4:45
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Blind Guardian – Tales from the Twilight World (1991) (@256)
03 Aug 2008
(Review from progarchives.com, metal-archives.com)
Blind Guardian were founded in the mid 1980s in Krefeld, Germany as an “ordinary” speed/power metal band. Beginning with their third album, “Tales from the Twilight World”, they expanded their musical vocabulary and would eventually create their very own style which is still rooted in speed/power metal, but is also very orchestral and epic, with rich arrangements of guitar lines and vocals and an ever-present medieval/folky presence.
There are 10 tracks in total, all clocking in about 45 minutes and when it’s over you will want more! Each song has a hook that instantly draw’s you in, and the chorus’ are so damn anthemic that as soon as you learn the words you will be singing along to them to. The standout tracks are “Traveler In Time” a fantastic opening song that sets the album, “Lord of The Rings” a ballad featuring two great guitar solos; ”Goodbye My Friend”, “Lost In The Twilight Hall” features Kai Hansen (ex-Helloween, Gamma Ray) on vocals but for only 25 seconds and some great lead guitar work courtesy of Olbrich. “Tommyknockers” is based of the Stephen King novel of the same name, the beginning will bring King Diamond to mind also), “Altair 4″ is also based on the Stephen King novel.
“Tales From the Twilight World” broke Blind Guardian to a much wider audience.
Line-up:
* Hansi Kursch – vocals and bass
* Andre Olbrich – lead guitar & backing vocals
* Marcus Siepen – rhythm guitar & backing vocals
* Thomas “Thomen” Stauch – drums
with
* Kai Hansen – back vocals, vocals (6) and guitar solo (9)
Track List:
01. Traveler In Time – 6:01
02. Welcome To Dying – 4:50
03. Weird Dreams – 1:21
04. Lord Of The Rings – 3:18
05. Goodbye My Friend – 5:36
06. Lost In The Twilight Hall – 6:01
07. Tommyknockers – 5:12
08. Altair 4 – 2:27
09. The Last Candle – 6:01
10. Run For The Night (Live) – 3:44
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King Crimson – KCCC22 ProjeKct One Jazz Cafe Suite (1997) (@256)
03 Aug 2008
(Review from progarchives.com)
This album contains 50 minutes of improvised music by four members of King Crimson, divided in three suites. Some parts may sound familiar, since small bits and pieces were released on the album “Live at the Jazz Cafe”. It was the last time Bill Bruford was a member of King Crimson.
The album opens with a soundscape and after a few minutes the band starts to play. This means the distinctive rhythm provided by Bruford / Levin, complemented with guitar parts from Fripp / Gunn. The music that follows is very groovy, lively, sometimes boring, but more often fascinating. It changes between fast and slow, has great soloing (especially from Gunn) and some strange sounds. The second suite also starts slow. As its main attraction it has some trademark Fripp solos. After a while it sounds a lot like the space rock of ProjeKct Two. The shortest and third suite starts with the xylophone sounds where the second suite ended with, but soon picks up a groove with bass sounds everywhere.
ProjeKct One wasn’t the first of the ProjeKcts, it also probably wasn’t one of the best of the ProjeKcts. When a band plays improvised music it can both create magical moments and boring times. That also happened with this release. It is a joy to listen to the Bruford / Levin tandem, but the music that is played is not from the highest order.
Line-up:
* Robert Fripp – guitar
* Trey Gunn – Warr guitar
* Tony Levin – bass guitar, Stick, synth
* Bill Bruford – drums and percussion
Track List:
01. Suite One – 29:02
02. Suite Two – 15:13
03. Suite Three – 6:25
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If – If 2 (1970) (@320)
02 Aug 2008
(Review from progarchives.com)
If’s second album perfectly complements the first, released the same year and includes the same high standard of playing.
Opening up on the soulful Your City Is Falling, the track’s best moments are the excellents drum breaks around the end of the track. The following Sunday Sad starts on a pastoral electric Spanish-sounding guitar mixed with a quiet flute, soon joined by Hodgkinson’s soulful vocals, but Smith’s psych guitar solo takes the show, excellently underlined by the pulsing and flamencoing bass of Richardson. Lonesome Nymphomaniac (a rare Mealing composition) is not my fave on this album, partly because it’s a bit messy in the recording, most notably the very shallow space allotted for most of the instruments in the stereo space.
The flipside starts on the lengthy Motown-like track, but soon digresses into a series of excellent solos, including an epic guitar solo. Fellow British jazzer writes the next Shadows And Echoes, where after a full-fledged jazz tour of the group, the guitar gets very jazzy this time around. The closing Song For Elsa is much more of a Colosseum track than most of the rest of the album, with the two saxes again pulling a Heckstallian trick every now and then.
Line-up:
* Dennis Elliott – Drums
* J.W. Hodgkinson – Vocals
* John Mealing – Keyboards, Vocals
* Dick Morrissey – Saxophones, Flute
* Dave Quincy – Saxophones
* Jim Richardson – Bass
* Terry Smith – Guitar
Track List:
01. Your City Is Falling – 5:04
02. Sunday Sad – 8:22
03. Tarmac T. Pirate And The Lonesome Nymphoniac – 4:32
04. I Couldn’t Write And Tell You – 8:19
05. Shadows And Echoes – 4:25
06. A Song For Elsa, Three Days Before Her 25th Birthday – 5:45
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Bon Jovi – Slippery When Wet (1986) (@256)
02 Aug 2008
(Review from wikipedia, allmusic, amazon)
Few bands embodied the trends of 80s-era mainstream hard rock and metal like Bon Jovi. By merging Def Leppard’s loud but tuneful metal with Bruce Springsteen’s working-class sensibilities, the New Jersey-based quintet developed an ingratiatingly melodic and professional variation of hard rock — one that appealed as much to teenagers as to housewives.
During the recording of their third album, the band frequently wound up in a striptease club where incredibly good looking girls were putting water and soap on each other. They became so slippery because of that, that you couldn’t hold on to them even if you wanted to really bad. ‘Slippery when wet!’ one of them yelled out and the rest of the band immediately knew: that had to be the title of the new album!
The production and the entire feel of the record are huger than huge. The songs are catchy and melodic yet still utilise the full band sound typical of hard rock bands despite many of the sentiments put forth are teeny AOR in the extreme. Somehow with this album the uplifting buoyancy of proceedings sounds unmatched by just about any other record in this sphere, the brainless good times just washing over the listener with frontman and namesake Jon Bon Jovi as circus master, leading you through a journey of boisterous yet playfully G-rated rockers like the massive hits “You Give Love A Bad Name” and “Livin’ On A Prayer”, songs that still sound good today.
Other rockers are also pretty darn handy as opener “Let It Rock” pronounces that yes this band is an animal that still remembers the jungles planet bar band. “Social Disease” is both tongue in cheek and serious all at once, walking a fine line and the first side finishes with one of the crowning achievements of the entire Bon Jovi catalogue in the form of “Wanted Dead or Alive”. This is an excellent song full of more genuine emotion than any two or three more traditional power ballads and is deservedly more remembered than any of them.
As side two rolled along, it was obvious that the good time rockin’ was very much part of the very heartbeat of this band with numbers like “Raise Your Hands” and “Wild in the Streets” with massive production values that made much else of what was around sound very very yesterdays news.
“Slippery When Wet” is the album that propelled Bon Jovi from an opening act to major league headliners.
Line-up:
* Jon Bon Jovi – lead vocals
* Richie Sambora – guitars, guitar synths, backing vocals
* Alec John Such – bass guitar, backing vocals
* Tico Torres – drums, percussion
* David Bryan – keyboards, piano, synthesizer, various noises, backing vocals
Track List:
01. Let It Rock – 5:23
02. You Give Love A Bad Name – 3:43
03. Livin’ On A Prayer – 4:10
04. Social Disease – 4:18
05. Wanted Dead Or Alive – 5:10
06. Raise Your Hands – 4:18
07. Without Love – 3:40
08. I’d Die For You – 4:32
09. Never Say Goodbye – 4:50
10. Wild In The Streets – 3:54
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King Crimson – KCCC21 Champaign-Urbana Sessions (1983) (@256)
02 Aug 2008
(Review from progarchives.com)
The new 80s incarnation of King Crimson made a head start. In 1981 the excellent “Discipline” was released and this was followed by “Beat” in 1982. Touring went well and when it became 1983 it was time to think about yet another album. From January 17 until 30 they went to C.V. Lloyd Music in Champaign-Urbana to rehearse for the next album. In the end, no album was released in 1983 by King Crimson and this album consists of those sessions.
The music is more experimental than on their next album, “Three of a Perfect Pair”. Of course most of the material is rather fragmented, but since some of the tracks segue into each other this doesn’t bother. There are some nice heavy, groovy tracks (“San Francisco”, “Tony bass riff”, “Not one of those”). You can also find complete tracks that could easily have been included on a regular album (Steinberger Melody” and “Grace Jones”). The track “Fragmented” was re-recorded as “Industry” on their next album. A good one is also “Heat in the Jungle” (a faster and heavier “Thela Hun Ginjeet”).
Line-up:
* Adrian Belew – Guitar
* Robert Fripp – Guitar
* Tony Levin – Bass Guitar, Stick
* Bill Bruford – Drums
Track List:
01. San Francisco – 2:06
02. Tony Bass Riff – 3:28
03. Sequenced – 3:55
04. Steinberger Melody – 4:59
05. Fragmented – 4:01
06. Not One Of Those – 1:45
07. Zzzz’s – 2:10
08. Reel 3 Jam – 2:34
09. Robert And Bill – 2:08
10. Say No – 2:46
11. Robert’s Ballad – 3:44
12. Heat In The Jungle – 7:07
13. Grace Jones – 5:45
14. Adrian Looped – 1:19
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If – If 1 (1970) (@256)
02 Aug 2008
(Review from wikipedia, progarchives.com)
If were difficult to classify with any of their contemporaries; they seemed out of place wherever they played, and were considered too jazzy when billed with groups with a more rock orientation and too bluesy or loud when billed with more jazz-oriented bands. Their music is based around wind players Dave Quincy and Dick Morrissey, the main songwriters.
On their debut album, starting out on the absolutely delightful Reaching Out On All Sides, the group shows a real knack for writing inventive jazzy tunes that have a rock edge, while making it interesting for demanding music fans. All Sides comes with a good searing guitar solo, underlined by Mealing’s organ, then the saxes come in a very Heckstallian fashion. Hodgkinson’s voice is fairly close to Chicago’s singer. The lengthy instrumental About The Box is probably the A-side’s highlight, with Morrissey’s flute drawing a long solo before the two saxes cut away in a Heckstall manner, allowing for Smith’s guitar to wallow much like Clempson’s did. This second track is probably the most Colosseum-like of the album. Rounding off the first side is the 7-mins What Can A Friend Say, which boasts a very brassy rhythm’n blues, in this case reminiscent of Chicago or The Flock, but boasting yet another stellar electric guitar.
The flipside is made of four shorter tracks, with the rapid 100 mph soul number “Woman, Can You See?” track, where the repeating sax riffs and chorus and a sizzling solo of the same instrument. Conscious Mind did not steal its name, as it is easily the easiest track on the album, this being the attempt at mass exposure via the single. Best forgotten if you ask me. Dockland is a strange and slow (almost doomy) track, which seem to emphasize dark atmospheres, but Smith’s guitar is again the main solo instrument, again a bit reminiscent of Hiseman’s tribe. The closing Promised Land is an upbeat funky track that contains plenty of intricate arrangements, but cannot escape a pop feel, but positively said.
If’s first album is an absolute must for those wanting to find the perfect link between brass-rock (since If did not have brass instrument proper, but woodwind instruments) and jazz-rock.
Line-up:
* Dennis Elliott – Drums
* J.W. Hodgkinson – Vocals
* John Mealing – Keyboards, Vocals
* Dick Morrissey – Saxophones, Flute
* Dave Quincy – Saxophones
* Jim Richardson – Bass
* Terry Smith – Guitar
Track List:
01. I’m Reaching Out On All Sides – 5:44
02. What Did I Say About That Box, Jack? – 8:22
03. What Can A Friend Say? – 6:56
04. Woman Can You See (What This Big Thing Is All About) – 4:12
05. Raise The Level Of The Conscious Mind – 3:16
06. Dockland – 4:45
07. The Promised Land – 3:44
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Back Door – 8th Street Nites (1973) (@256)
01 Aug 2008
(Review from allmusic, amazon)
Back when giant carnivorous bass players ruled the earth, Back Door was the hungriest of them all. What sets Back Door apart is the bass playing. While a few bassists-such as Chris Squire, John Entwistle, and Jack Bruce — have tried exploiting the bass’s potential as a lead instrument, they were confined by bands where the guitar or keyboards were the usual lead. Not Colin Hodgkinson; he dispenses with these instruments altogether, allowing the bass to be the sole lead instrument. He strums chords on it the way you’d expect someone to with a six-string.
Their second album, “8th Street Nites” is an overlooked joy – Colin Hodgkinson is justly famous for his chorded-style electric bass playing, but saxophonist Ron Aspery is equally brilliant, and drummer Tony Hicks plays just enough (and not too much) to fill the sound without being overly busy.
The album soars to great heights with its standout covers of Leadbelly and Robert Johnson. These blues numbers are largely played as unaccompanied bass and vocal pieces. There’s something to this unadorned combination — the inherent grittiness of the bass matched against his voice hearkens back to the raw power of delta blues, where it’s just a guy and his crappy old guitar. On “32-20 Blues”, Hodgkinson sings an old Robert Johnson number while throttling away at the bass; on the opening “Laying Track,” the whole band takes on Leadbelly in a sort of restrained funkiness, with the constant thrashing of a tambourine underlining the rhythm section’s punches on the downbeat.
For a three-piece they produce a dense and deeply melodic groove – music that stays in your head, plays in your head. Back Door show much variety and invention.
Line-up:
* Colin Hodgkinson / bass, vocals
* Ron Aspery / saxophonist, keyboards
* Tony Hicks / drums
Track List:
01. Linin’ Track – 4:00
02. Forget Me Daisy – 2:14
03. His Old Boots – 3:24
04. Blue Country Blues – 2:47
05. Dancin’ In The Van – 1:52
06. 32-20 Blues – 2:26
07. Roberta – 2:51
08. It’s Nice When It’s Up – 2:55
09. One Day You’re Down, The Next Day Your Down – 3:35
10. Walkin’ Blues – 3:15
11. The Bed Creaks Louder – 2:21
12. Adolphus Beal – 3:53
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King Crimson – KCCC20 Live at Zoom Club (1972) (@256)
01 Aug 2008
(Review from progreviews.com)
This double album spanning nearly two hours of music with two sprawling, occasionally awe-inspiring improvisations taking up more than half of the running time. It also offers historical significance; the show documented was the first live appearance by the Larks’-era band, and it’s one of the few recordings available showcasing the talents of madcap percussionist Jamie Muir. Given the short time that the band had had to gel at the time of this show, it’s remarkable how tight they already are and how mature some of the compositions are.
“Larks’ Tongues” is a killer way to open the set, though it stops after Cross’ violin solo and segues into a somewhat embryonic “Book of Saturday”. The latter is a little different from the final album version, but is still very nice, marred only by some surprisingly awful flute playing from Cross. “Easy Money” is a really great surprise; it lacks the aggression of both the studio cut and subsequent live versions, instead offering Cross space for a soothing violin solo — even Wetton steps back and plays a soft, relaxed supporting role. The end result is unexpected but undeniably pretty.
Of course, the real attraction point of this set are the improvs. The two shorter ones on disc 2 are easily approached: “Easy Money” goes straight into what would end up being the central guitar riff for “Fallen Angel” on Red, and of course it’s fascinating to hear how the riff originated and what the other bandmembers do around it. Between improvs on disc 1, comprise nearly 70 minutes of spontaneous music. It’s beyond power to satisfactorily describe such a beast, but suffice it to say that — to surprise — the band keeps up the intensity throughout. The interplay between Fripp and Wetton is particularly fun, as is the first half of “Zoom” which features Wetton scat-singing along to his bass playing, with Fripp interjecting accents here and there and the rest of the band mostly just taking a back seat and letting Wetton do his thing. Cross gets more of a chance to shine the latter half of “Zoom”, after a long and seriously intense Fripp solo. “Zoom Zoom” is impossibly long, and the band hits on countless themes; while admittedly it begins to sound samey after a while (46 minutes is a long time!), these guys have a good feel for pacing and there’s always something interesting happening.
Line-up:
- David Cross / violin, flute, mellotron
- Robert Fripp / guitar, mellotron
- John Wetton / bass guitar, vocals
- Bill Bruford / drums
- Jamie Muir / percussion and allsorts
Track List:
CD1
01. Larks’ Tongues In Aspic (Part I) – 8:22
02. Book Of Saturday – 3:16
03. Zoom – 22:03
04. Improv: Zoom Zoom – 44:48
CD2
01. Easy Money – 4:08
02. Improv: Fallen Angel – 4:12
03. Improv: Z’Zoom – 4:48
04. Exiles – 8:36
05. The Talking Drum – 6:13
06. Lark’s Tongues In Aspic (Part II) – 8:37
Links in comments.
