Archive for October, 2008

(Review from Sid Smith)

Best known for his work in King Crimson, David Cross has been enjoying a particularly fertile period of late with his rock band (his album Closer Than Skin earned deserved praise from fans and critics alike), and now with Japanese pianist and singer, Naomi Maki in a venture which he describes as “electric chamber music.”

A conservatoire graduate in Japan, Naomi Maki has studied both western classical music and traditional Japanese forms which adds much to this album of accessible, expressive and often romantic music.

She adorns the mournful elegy from Cross which opens the evocative “A Letter From The Front” with limpid drops of bittersweet piano. This Pärt-like sparsity,. with its air of regretful contemplation is intensely emotional. The descending coda is beautifully carried by Maki’s rich soprano vocal.

At just over 15 minutes, American Walkway is typical of the album’s MO as a whole; a series of discretely connected episodes and interludes in which they give themselves permission to see where the playing might lead. Moods are established, gently explored and concluded, often to moving effect.

Maki makes great use of dramatic sweeps and Debussy-esque flourishes often providing Cross with a backdrop that is sensitive to the slightest movement of pace, tone and intention of her companion. Importantly, in the flow of improvisation, neither is afraid to do that thing which many musicians find almost impossible – to stop playing and to simply listen.

Using electric violin throughout the album, Cross deploys loops and distortion effects sparingly and wisely, giving the stately largo of Sassy a glacial texture; bringing something of the rock guitar to “American Walkway” or the wall of droning strings on “Alarum” and “Coda”.

Fall, on which Maki’s vocal adds a dreamy glamour, celebrates the space and resonance created between the voice and violin. There’s a very real excitement caused by not knowing what may happen next. One suspects it’s the same for the performers. Yet they show no signs of being tentative about their respective playing which never lacks passion.

There are moments when it feels like it could go wrong, as though allure of stylistic extremes proves impossible to resist. “Curtain Call” flirts alarmingly with Pachabel and risks being cloyingly sentimental. At the other end of the spectrum, the jagged sparring which opens The Stone’s Throw sounds like its trying a bit too hard to be dissonant for its own sake.

Yet throughout this beautifully recorded album they create something that is captivating and entirely accessible. Cross has said that his electric chamber music “demands attention and challenges preconceptions.”

With “Unbounded” he’s succeeded on both counts.

Track List:
01. A Letter From The Front
02. Stone’s Throw, The
03. American Walkway
04. Curtain Call
05. Sassy
06. Fall
07. Alarum And Coda

Links in comments.

David Cross

Ozzy Osbourne – Down to Earth (2001) (@256)

30 Oct 2008

Thanks to Man In Silence for the review contribution.

(Review from wikipedia, allmusic.com)

“Down to Earth” shows the madman of rock relying on a supergroup of metal musicians to bring his sound together. Longtime Ozzy guitarist Zakk Wylde is back, this time with Suicidal Tendencies bassist Robert Trujillo and Faith No More drummer Mike Bordin supplying the rhythm.

Despite the ever-changing world of heavy metal, Ozzy has a strangely timeless sound that he does not stray from on this record. Thick, heavy songs like “Gets Me Through” could really be on any Ozzy record after 1989 and fit in, but it is this bizarre reliability that keeps the album as listenable as it is. There are a few off moments, most specifically when it comes to the occasional murky production that muffles Wylde’s fiery guitar and Bordin’s drums.

This album has all the main ingredients of good Ozzy: a big fat Black Sabbath number (“Gets Me Through”), some wonderfully cheesy ballads (“Running Out of Time”), some tracks that can offend teenagers’ parents (“Facing Hell”), and the song about how darn crazy he is (“Alive”).

Sure it may be predictable, but no one looks to Ozzy to pioneer new sounds. Anyone who liked Ozzy’s output from the 90s will probably embrace this album with open arms, and anyone who does not like him will probably know to avoid this.

Line-up:
- Ozzy Osbourne / vocals
- Zakk Wylde / guitars
- Robert Trujillo / bass
- Mike Bordin / drums
with
- Tim Palmer / rhythm guitar, acoustic guitar, keyboards, military drums, backing vocals
- Michael Railo / keyboards, string arrangements, backing vocals
- Danny Saber / additional guitars (10)

Track List:
01. Gets Me Through – 5:04
02. Facing Hell – 4:25
03. Dreamer – 4:44
04. No Easy Way Out – 5:06
05. That I Never Had – 4:23
06. You Know… (Part 1)1:06
07. Junkie – 4:28
08. Running Out Of Time – 5:05
09. Black Illusion – 4:21
10. Alive – 4:54
11. Can You Hear Them? – 4:58

Links in comments.

Ozzy Osbourne

Dancer – Tales of The Riverbank (1972) (@256)

30 Oct 2008

(Review from progarchives.com)

The band “Dancer” didn’t last long, only leaving behind this delayed release to commemorate their existence. The album is largely centered on an early composition by the late Anthony Minghella, set to music mostly for the purpose of this record. The band recorded it over a few months period under the direction of former Black Sabbath manager Wilf Pine. The music here is accessible enough to be appealing to most of the sort of people who tend to seek out obscure progressive folk music.

The title track, which also happens to consume about a third of the album’s length, starts off with some light acoustic guitar and a couple well-placed harmonic notes, eventually (though slowly) working up around a couple of minutes to some mellotron strings, piano and a little flute before layering on electric guitar, drums and vocals in an easy-going, Genesis-meets-America melodic passage. This segues eventually as well, this time as an even more leisurely organ and stilted piano instrumental. The obligatory flute wafts in around eight minutes, along with some guitar strumming and more organ. Somewhere around nine minutes or so the whole thing starts to sound like one of Andy Tillison’s Tangent story-songs. The ending consists of a spurt of electric guitar burst and rising chorus before ending.

The languid and mostly acoustic “American Wood” flits past before the band moves back to a keyboard-intensive sound with the easy-listening, good-to- be-alive “Morning” that is distinguished by a couple of lead vocalists that morph into a harmonic duo for most of the track. “Mac’s Cafe” is more of a heavy-progressive composition that also sound a lot like a Tangent song, while “The Change in Me” moves back to an acoustic guitar arrangement distinguished by harmonizing vocals in the vein of Tractor. “Fairhill Affair” has a distinctive Neil Young-sounding guitar track but otherwise is a pretty standard contemporary rock number.

The band closes on a bit of a high note by resurrecting the flute and mellotron on the mildly funky “Mind the Houses” that is easy on the ears while at the same time is firmly rooted in the early seventies.

This isn’t a masterpiece by any means, but it is a pleasant and well-played bit of rare progressive folk that manages to tie together a number of minor acts from the heyday of progressive music.

Line-up:
- Gerry Cahill / lead guitar, flute
- Anthony Minghella / keyboards, Mellotron
- Paul Athey / percussion, guitar, backing vocals
- Mike Cuffe / bass
- Mike Jolliffe / guitar, vocals
with
- Tony McPhee / guitars (1)

Track List:
01. Tales of the Riverbank – 11:24
02. America Wood – 3:53
03. Morning – 6:03
04. Mac’s Cafe – 4:27
05. This Change in Me – 3:32
06. Fairhill Affair – 5:09
07. Mind the Houses – 4:40

Link in comments.

Ozzy Osbourne – Ozzmosis (1995) (@256)

30 Oct 2008

(Review from amazon)

After his supposed retirement for four years, Ozzy regrouped to record a comeback album.

This album is an extremely in-depth analysis of the life of Ozzy Osbourne. Since most of these lyrics were written during or just after Ozzy’s extensive court-ordered rehab session, his inner most feelings are expressed in this recording. The song “Perry Mason” was written after being the first TV show Ozzy had seen in several months. “Ghost Behind My Eyes” is a song about seeing his wife in visions every night before he went to bed at the rehab center, and “My Little Man” is a song for his son that reassures him everything will be all right. “My Jekyll Doesn’t Hide” is about his alter persona, the stage performer.

This is a fairly played-down album compared to his previous works, which indicates that Ozzy has possibly grown after his separation from his family. A few songs that will appeal to the hardcore fan are “Thunder Underground” and “My Jekyll Doesn’t Hide”. Somewhere in between the ballads and the crushingly heavy tracks lies “Tomorrow”. The verses are pretty atmospheric and balladic, and so is the solo. But the pre-chorus and chorus is heavy as hell, and really catchy too.

This album is a grand step from the main stream of heavy metal, especially Ozzy’s recognized style. Thus it wasn’t well received by most of his (old) fans.

Line-up:
- Ozzy Osbourne / vocals
- Zakk Wylde / guitars
- Geezer Butler / bass
- Deen Castronovo / drums
- Rick Wakeman / keyboards
- Mike Beinhorn / keyboards

Track List:
01. Perry Mason – 5:54
02. I Just Want You – 4:56
03. Ghost Behind My Eyes – 5:11
04. Thunder Underground – 6:30
05. See You On The Other Side – 6:10
06. Tomorrow – 6:37
07. Denial – 5:12
08. My Little Man – 4:52
09. My Jekyll Doesn’t Hide – 6:34
10. Old L.A. Tonight – 4:49

Links in comments.

Geezer Butler, Ozzy Osbourne, Rick Wakeman

Human Beast – Volume One (1970) (@256)

29 Oct 2008

(Review from Tapestry of Delights, systemrecords.co.uk)

The music of this young Edinburgh trio was described in 1969 as electro-flagellation, a phrase that aptly describes their vicious, Eastern-inflected guitar lines, pounding bass and frenetic percussion. Taped in a single twelve-hour stint in London that December, their sole album stands as one of the most distinctive and unsettling pieces of rock music ever recorded.

Tracks like “Mystic Man”, “Brush With The Midnight Butterfly” and “Reality Presented As An Alternative” typify the heavy psych genre, but the two outstanding tracks are slow and in the classic psychedelic mould with Eastern flavor; “Appearance Is Everything Style Is A Way Of Living”, which brings to mind “Beacon Street Union” band and has fine guitar work and the more acoustic than electric “Maybe Someday”, which has a good hypnotic melody.

Line-up:
- Gillies Buchan / guitar, vocals
- Edward Jones / bass, vocals
- David McNiven / clarinet
- John Ramsey / drums

Track List:
01. Mystic Man – 6:53
02. Appearance Is Everything, Style Is A Way Of Living – 4:37
03. Brush With The Midnight Butterfly – 5:26
04. Maybe Someday – 6:24
05. Reality Presented As An Alternative – 5:02
06. Naked Breakfast – 3:11
07. Circle Of The Night – 3:15

Link in comments.

Ozzy Osbourne – Live and Loud (1993) (@256)

29 Oct 2008

(Review from metal-archives, amazon)

Ozzy expressed his fatigue with the process of touring, and proclaimed his “retirement tour”, comically called “No More Tours”, a pun on his “No More Tears” album tour. This double live album was culled from that tour — even his former Black Sabbath bandmates pitched in for the eponymous “Black Sabbath” song.

The set is from Ozzy’s lenghty career consisting material from the first six studio albums with a couple of Black Sabbath songs thrown in. Its a double disc release, with Blizzard Of Ozz and No More Tears tracks clustered all over, and several songs from the other four albums made with Rhoads, Lee and Wylde. Argualbly Ozzy shows some really rare material such as songs as Desire, Shot In The Dark, Miracle Man and War Pigs, that would not later make into his set so often, but also tracks we’re heard to death such as No More Tears and I Dont Know. Zakks playing is wild, energetic and he shreds and adds solos every time he gots an opportunity, but he still doesnt play as good as Rhoads or Lee. Ozzy gives his best vocal performance since the 1986′s world tour and adds really fasicnating singing in the middle of War Pigs, but otherwise his singing is at best bareable. The set is lenghty, there is no disputing that, but many classic songs are being ignored, even from the new album, No More Tears.

“Live And Loud” doesn’t present anything new — you have surely already heard almost all of the songs on this album at least once (if not several times) before. Thus, it isn’t as unique, inspired, or jaw-dropping as, say, the live album “Tribute” featuring Randy Rhodes on guitar. However, in no way should that imply that it is sub-par, either, because it’s still an indisputably great performance — Zakk Wylde is no-less of a talent.

Line-up:
* Ozzy Osbourne – Vocals
* Zakk Wylde – Guitar
* Mike Inez – Bass
* Randy Castillo – Drums
* Kevin Jones – Keyboards
with
* Tony Iommi – Guitar (9)
* Geezer Butler – Bass Guitar (9)
* Bill Ward – Drums (9)

Track List:
CD1
01. Intro – 3:12
02. Paranoid – 3:15
03. I Don’t Want To Change The World – 5:03
04. Desire – 6:00
05. Mr. Crowley – 6:23
06. I Don’t Know – 5:13
07. Road To Nowhere – 5:30
08. Flying High Again – 5:02
09. Guitar Solo – 4:44
10. Suicide Solution – 5:02
11. Goodbye To Romance – 6:15
CD2
01. Shot In The Dark – 6:37
02. No More Tears – 7:49
03. Miracle Man – 4:57
04. Drum Solo – 2:53
05. War Pigs – 9:17
06. Bark At The Moon – 5:28
07. Mama, I’m Coming Home – 5:46
08. Crazy Train – 6:19
09. Black Sabbath – 7:12
10. Changes – 5:14

Links in comments.

Live, Ozzy Osbourne

String Cheese – String Cheese (1971) (@256)

28 Oct 2008

(Review from tinymixtapes.com)

Chicago sextet “String Cheese” could have been the next “It’s A Beautiful Day” with proper backing and encouragement. Like that San Francisco band, String Cheese’s sound was steeped in sparkling hippie subject matter, strongly delivered by chanteuse Sally Smaller and aided by the electric violin of Gregory Bloch. Unfortunately, their debut album was also their last.

12-string guitarist and co-vocalist Lawrence W. Wendelken wrote most of the songs on String Cheese, and there are some truly tasteful arrangements contained within. “Soul Of Man”, for example, benefits from lush, live strings over folksy acoustic guitar picking and sparse drums, while a Larry and Sally duet muses on the winding road that is the human experience. Meanwhile, the harpsichord-led intro to “Woke Up This Morning” comes straight out of a renaissance court, progressing to a summery, psychedelic electric sitar jam with lyricism glowing in sunshine-induced optimism. There is some serious talent on display here.

After their debut album failed to register a blip in the marketplace, “String Cheese” promptly faded away.

Line-up:
- John Maggi / Drums
- Gregory Bloch / Electric Violin
- Louis Constantino / Bass
- William Dalton / Organ, Piano, Celeste, Guitar, Harpsichord, Keyboards, Sitar, Orator
- Sally Smaller / Vocals
- Larry Wendelken / 12-String Guitar, Vocals

Track List:
01. For Now
02. Crystal
03. We Share
04. Here Am I
05. Empty Streets
06. Forage
07. Soul Of Man
08. Certain Kind Of Day
09. Woke Up This Morning – Coming

Link in comments.

Ozzy Osbourne – No More Tears (1991) (@256)

28 Oct 2008

(Review from allmusic, metal-archives, amazon)

“No More Tears” shows us a darker and maybe a more epic sound from Ozzy entering the 90s.

The opening song “Mr. Tinkertrain” starts out with an intro similar to the one from “Bloodbath in Paradise” but this song goes in a much different direction. “I Don’t Want to Change the World” has a great riff and solo that sounds like a faster version of a southern rock with a little metal thrown in. “Mama, I’m Coming Home” displays a mellower side of Ozzy, it is a power-ballad, very popular at the time.

“No More Tears” is the album’s seven-minute-plus title track. It starts with an infectious bass intro, then kicks into one of the greatest, albeit disturbing, Ozzy songs ever written.

“S.I.N.” is the forgotten classic of this album and for some reason it has been included on neither of Ozzy’s “greatest hits” compilations, even though it is more fit than most songs. Other rocking highlights include “Hellraiser” (which gives an ‘Ultimate Sin’ feeling at times), “Zombie Stomp” and the verses of “A.V.H.”. The album closes with “Road to Nowhere” is a sorrowful song in which Ozzy sings about his regrets and how “the road of nowhere leads to [him]“.

Line-up:
* Ozzy Osbourne – vocals
* Zakk Wylde – guitars
* John Sinclair – keyboards
* Bob Daisley – bass
* Randy Castillo – drums

Track List:
01. Mr. Tinkertrain – 5:57
02. I Don’t Want To Change The World – 4:06
03. Mama, I’m Coming Home – 4:12
04. Desire – 5:45
05. No More Tears – 7:24
06. S.I.N. – 4:47
07. Hellraiser – 4:53
08. Time After Time – 4:20
09. Zombie Stomp – 6:14
10. A.V.H. – 4:13
11. Road To Nowhere – 5:11

Links in comments.

Ozzy Osbourne

Citta Frontale – El Tor (1975) (@256)

27 Oct 2008

(Review from progarchives.com)

After first Osanna’s split up in 1974, Lino Vairetti and Massimo Guarino reformed a band called Citta Frontale. The band offer a peculiar mix between gentle folk and pastoral tunes within some jazzy incursions and melodic vocals winking at the left wing tradition.

Their only album, “El Tor” is a very easy album to assimilate and enjoy right out of the box, much less complex and crazy than Osanna or some other heavy Italian bands. The mood is mostly light and happy and the songs feature high quality vocals, musicianship, and melodies. Classic keyboards, good electric guitar, acoustic guitars, flutes, sax, there’s a bit of everything thrown into the mix here.

“Alba” features lovely acoustic, hand percussion and flutes soon joined by angelic choir vocals. It is a very lovely and relaxing opening song that puts you in a good mood. “Solo Uniti” then flys out of the gate as a jazzy number with some fiery guitars and nice vocals. The lead singer(s) on this album do a fantastic job and all have pleasing voices. The song veers to pop-rock before bringing back the jazzy flourishes at the end. The title song “El Tor” is next beginning with lovely classical guitar. Pure romantic Italian here as the warm vocals are joined by the choral voices again. Around 3 minutes a nice sax burst gives the mellow tune a kick in the rear and it gets more active with some nice soloing. “Duro Lavoro” is a very good track with more complexity and development. It seems a bit darker and more serious with nice bridges leading to different sections. There is great flute, bass, and guitars. A real Italian epic.

Side two kicks off with “Mutazione” which is a jazzy instrumental, nice playing throughout. “La Casa Del Mercant” is a nice folksy acoustic number with lots of nice vocal harmonies. True it sounds a little pop but still pleasant. “Milioni di Persone” has some harmonica with acoustic and sax, again a light pop song. “Equilibrio Divino” closes the album with a good light symphonic number that sounds more ambitious again like “Mutazione”.

Line-up:
- Enzo Avitabile / flute, sax, vocals
- Massimo Guarino / percussion, vocals
- Gianni Guarracino / guitars, Moog, vocals
- Paolo Raffone / keyboards
- Lino Viaretti / keyboards, lead vocals
- Rino Zurzulo / bass

Track List:
01. Alba Di Una Citta – 3:03
02. Solo Uniti.. – 4:57
03. El Tor – 6:30
04. Duro Lavoro – 8:23
05. Mutazione – 6:52
06. La Casa Del Mercante ‘sun’ – 4:06
07. Milioni Di Persone – 3:39
08. Equilibrio Divino – 6:36

Link in comments.

Vital Duo – Ex Tempore (2001) (@160)

27 Oct 2008

9 comments

Thanks to Crimson King for the contribution.

(Review from progarchives.com)

A side project of the French progressive band Minimum Vital, Vital Duo consists of the Payssan twin brothers Jean-Luc and Thierry. The band intend to work with various elements of classical progressive rock: baroque and ancient music, folk influences from various countries led by acoustic instruments.

Vital Duo’s first album, “Ex Tempore” weaves a distinctive tapestry of sounds based around strong medieval inspiration and contemporary music. The music is a blend of dialogues between keyboards and guitars through incredibly pure melodies. There are some French vocals but this is predominately instrumental. On many of the songs they have managed to create an old sound on mainly new instruments, which is really impressing.

Line-up:
- Jean-Luc Payssan / electric guitar, cistre 16 cords, mandoline, battery & percussions, voice
- Thierry Payssan / numerical liturgical organ, Hammond organ, piano, synthetizers, percussions, voice

Track List:
01. La Tour Haute – 7:05
02. Loue Son Nom! – 3:36
03. Chanson De Trouvere – 8:44
04. Le Saisons Marines – 6:20
05. Tel Rit au Main – 2:33
06. Ce Me Dame – 7:56
07. Deux Chemins d’Enfance – 3:35
08. Deux Chemins d’Enfance II – 4:36
09. Nostre Dame Une Messe a) Kirie – 2:06
10. b) Credo – 2:06
11. c) X File – 2:17
12. d) Exutoire – 2:49
13. En Castille – 5:49
14. Meditation – 2:05

Link in comments.

Jean-Luc Payssan, Thierry Payssan, Vital Duo

Ozzy Osbourne – Just Say Ozzy (Live 1990) (@256)

27 Oct 2008

(Review from wikipedia)

The subsequent tour of “No Rest for Wicked” saw Ozzy reunited with erstwhile Black Sabbath bandmate Geezer Butler on bass, and a live EP (entitled Just Say Ozzy) featuring this lineup.

This six-song mini-album contains live performances featuring three songs from that album and with the addition of two Black Sabbath covers and “Shot in the Dark”.

Line-up:
* Ozzy Osbourne – vocals
* Zakk Wylde – guitars
* Geezer Butler – bass
* Randy Castillo – drums
* John Sinclair – keyboards

Track List:
01. Miracle Man – 4:02
02. Bloodbath in Paradise – 5:01
03. Shot in The Dark – 5:33
04. Tattooed Dancer – 3:47
05. Sweet Leaf – 3:22
06. War Pigs – 8:25

Links in comments.

Live, Ozzy Osbourne

Sandrose – Sandrose (1972) (@256)

26 Oct 2008

(Review from progarchives.com)

Sandrose is a legend of early French symphonic progressive. The sound of Sandrose is dominated by mellotron, organ, guitar and the voice of Rose Podwojny. Releasing their stalwart debut in 1972 and they disbanded after only a few gigs in support. A real shame given the promise of the release. It was recorded in but one week’s time and released in April 1972.

From the first side, clearly the 11 mins Underground Session is their main achievement, letting loose their talents in a jazzy Canterbury-esque manner that Caravan would not disown, but the opening Vision has plenty of power and while the second track Never Good sounds like rearranged Motown cover, it is loaded with trons of melo, that makes you forget the sugary-sweet vocals.

On the flipside, Old Dom starts a bit like Never Good did (both tracks having outside writers, as there is a link between the band and singer Claude “Chorea” Putterflam), but the 7 mins Take Him Away is another highlight with Rose’s best vocals on the album, the track sails smoothly on the serene waters of a lazy afternoon. Taken from one of my fave folk theme classically rearranged ans vastly slowed down (a bit like Vanilla Fudge would do) “Colchique Dans Les Prés”, Summer Is Yonder is very dramatic, Rose’s vocals being fit for this kind of track, as we are not far from Focus’ slower works either on Moving Waves. The Garella-penned Metakara is contrasting vastly with its frenetic drumming, its almost funky bass line and frantic Alarcen guitars.

Line-up:
- Rose Podwojny / vocals
- Jean-Pierre Alarcen / guitar
- Christian Clairefond / bass
- Henri Garella / organ, mellotron
- Michel Jullien / drums, percussion

Track List:
01. Vision – 5:22
02. Never Good At Sayin’ Good – 3:07
03. Underground Session (Chorea) – 11:06
04. Old Dom Is Dead – 4:40
05. To Take Him Away – 7:04
06. Summer Is Yonder – 4:47
07. Metakara – 3:22
08. Fraulein Kommen Sie Schlaffen Mit Mir – 0:33

Link in comments.

Ozzy Osbourne – No Rest for the Wicked (1988) (@256)

26 Oct 2008

(Review from wikipedia, metal-archives.com, amazon)

Jake E. Lee and Osbourne parted ways in 1987, reportedly due to musical differences. Osbourne found his most enduring replacement for Rhoads to date — a guitarist named Zakk Wylde, plucked from a New Jersey gas station. Wylde had been a lifelong Ozzy/Sabbath fan, and resembled Randy Rhoads both in appearanceand in playing style. Wylde joined Osbourne for his 1988 effort, No Rest for the Wicked, in which Castillo remained on drums and Daisley once more returned to co-writing/bass duties.

“No Rest for the Wicked” is where the metal influences start to taper off a bit and the rock sounds start to dominate the mix. The ironic thing is that the addition of Zakk Wylde has brought in a much heavier guitar sound than what was heard on previous efforts, but in spite of this, the songwriting has drifted away from the minor key characters and open lyrical subjects into a rigid mix of pentatonic rock/blues influences and Motley Crue sounding lyrics.

“Miracle Man” gets things started with that great opening riff and Ozzy’s classic evil laughter and from there on you are to be taken on one incredibly catchy ride of heavy metal. “Devil’s Daughter” is somewhat slower and more melodic, with that sinister dark-yet-upbeat feeling that many Ozzy songs contain here perfected. “Crazy Babies” is just insanely catchy, with that intense sense of groove to the guitars. “Tattooed Dancer” is the fastest song on the album. “Demon Alcohol” is dark and catchy, once again tackling with his own alcohol problems.

Closing the album there is “Bloodbath in Paradise” about the serial killer Charles Manson. The atmosphere is so damn sinister, and the riffwork is awesome, especially with that speed metal breakdown towards the end of every vers.

This edition includes two bonus cuts. First one reportedly from the same recording sessions, the second is a live recording of the opening track.

Line-up:
* Ozzy Osbourne- vocals
* Zakk Wylde – guitars
* John Sinclair – keyboards
* Bob Daisley – bass
* Randy Castillo – drums

Track List:
01. Miracle Man – 3:44
02. Devil’s Daughter – 5:14
03. Crazy Babies – 4:14
04. Breaking All The Rules – 5:14
05. Bloodbath In Paradise – 5:02
06. Fire In The Sky – 6:24
07. Tattooed Dancer – 3:53
08. Demon Alcohol – 4:30
09. Hero – 4:48
10. The Liar (Bonus) – 4:32
11. Miracle Man (Bonus Live) – 3:47

Link in comments.

Ozzy Osbourne

Dun – Eros (1981) (@256)

25 Oct 2008

13 comments

(Review from progarchives.com)

One of those early 80s progressive gems that was still stemming from mainland Europe, when everything else was next to dead (progressive-wise) in the Anglo-Saxon world. This rare album really shows that France’s original progressive boom started fairly early but ended rather late, this being mostly due to groups playing Zeuhl and RIO music. This group originated from the Nantes region and remained nevermore than a local curiosity (even if they played a few higher profile gigs with Magma, Art Zoyd and Etron Fou) and was the brainchild of flutist Pascal Vandenbulcke and guitarist Jean Geeraerts (most likely both of Northern France or Belgian origins) and they had changed names a few times (from Vegetaline Bouffiol in 76 to Kandaar) before settling on Dunes first (due to both leader’s infatuation with Frank Herbert’s sci-fi saga) then changing to a more Kobaian- like Dün.

To describe Dün as a Zeuhl group is not only misleading (there are some Magma influences), as we are closer to a cheerier version of RIO stalwarts Univers Zero and chamber progressive ala early-Maneige or Swiss group Circus. Their instrumental “chamber zeuhl” is highly original as it is rather difficult to really liken their sound with other groups, but if you are a fan of flute and a bit tired of Anderson’s mad-flauter style, this album is for you, because it is loaded. Termol’s many percussion instruments also provide a very Maneige ambiance as well, while Tranchant’s bass has Kobaian accents. Only four tracks, which are best described as demented, twisted but on the whole they are much happier than all the groups mentioned previously (bar the joyous Maneige) and a bit reminiscent of Pierre Moerlen’s Gong. All four tracks ranging from 7 to 10 minutes are fairly equal in quality.

This CD edition presents four bonus tracks, recorded prior to their album (and therefore of a slightly-lesser recording quality), of which three are previous versions (and sometimes fairly different) of album tracks, so they are adding a bit more of the same. The only non-album track “Acoustic Fremen” comes last, and it is the most different as it was an acoustic mid-concert interlude with only flute, sax and acoustic guitar. The fact that the bonus tracks have an added saxman does not change much to their overall sound, but these versions are sufficiently different to have their own lives.

While their album was well received in 1981 by some critics, the group never managed to sell much and by the end 1983, they had folded after a few line-up changes.

Line-up:
- Laurent Bertaud / drums
- Jean Geeraerts / electric guitar, acoustic guitar
- Bruno Sabathe / piano, synthesizers
- Alain Termol / percussions
- Thierry Tranchant / bass
- Pascal Vandenbulcke / flutes
with
- Philippe Portejoi / sax

Track List:
01. L’epice – 9:30
02. Arrakis – 9:40
03. Bitonio – 7:14
04. Eros – 10:22
05. Bitonio (alt 1979 version) – 10:25
06. Arrakis (alt 1978 version) – 5:13
07. Eros (alt 1978 version) – 7:15
08. Acoustic Fremen – 6:17

Link in comments.

Ozzy Osbourne – Ultimate Sin (1986) (@256)

25 Oct 2008

(Review from metal-archives.com, wikipedia)

Ozzy’s 1986 album featured a new bassist and a new drummer Randy Castillo. Lyrics were largely written by long-time Osbourne bass player Bob Daisley, who was also present during the initial writing sessions. Daisley left after having a disagreement with Osbourne.

“The Ultimate Sin” presents the threshold of 80s cheese and excess in its barest form, sporting an over-the-top album cover illustration and 9 equally outlandish yet ingenious tributes to metal and shred. The song structures are simple in their order; the lyrics dance between partying, mystical themes, and socio-political topics; and the guitar riffs and fills come at you full assault for the entire 40 minutes plus printed onto its analog medium. Its keyboard usage is surprisingly tasteful, avoiding the heavy atmospheric tendencies of “Mr. Crowley” and “Diary of a Madman”, and gives the guitar the necessary space to fill out the entire arrangement with its splendor.

“Never” takes the award for the most insane riff monster to ever come out of a project that Ozzy has been associated with. You find yourself constantly replaying it because you’re sure you missed something and every time it plays it perfectly walks the line between intelligibility and complexity. The title track is the heaviest thing to come out of Ozzy’s repertoire in the 80s, the opening riff having some similarities to Accept’s hard edged mid-tempo material, although occasionally kicking into a brief speed metal interlude. Of all the releases put out by the former Sabbath front man, this has the most double bass work, although still not quite venturing into speed metal territory for an entire song.

“Secret Loser” is your typical up tempo, mid-80s, metal single with all the catchy melodies and simple riffs, perfect for a road trip. “Thank God for the Bomb” is another catchy rocker from the same mold, but with a lot more lead guitar fills and a squeaky clean vocal delivery by Ozzy, something rarely heard from a man with one of the ugliest voices in rock. “Lightning Strikes” sounds like a variation on “Crazy Train” with a slight groove in the Anthrax’s “Medusa” variety, but with 10 times the lead interjections. Even the epic ballad “Killer of Giants” is notable. Jake E. Lee opts to compose his own elaborate classical guitar intro rather than borrow one from Leo Brouwer like his predecessor did, and ultimately composes something even more epic and moving than what Rhodes accomplished on the title track of the second album.

The most contentious of all the songs on this magnum opus is the first single “Shot in the Dark”. The lyrics are catchy, the chorus commands to be sung along with, and the riff work is in perfect order. The guitar solo is the greatest ever played by Jake E. Lee and it rivals everything Randy Rhodes did. It became the album’s hit single.

In April 2002, this album was deleted from the Ozzy catalog and is no longer being made, due to legal issues between Osbourne and Soussan over the track “Shot in the Dark”.

Line-up:
* Ozzy Osbourne – vocals
* Jake E. Lee – guitar
* Phil Soussan – bass
* Randy Castillo – drums
with
* Mike Moran – keyboards

Track List:
01. The Ultimate Sin – 3:44
02. Secret Loser – 4:09
03. Never Know Why – 4:28
04. Thank God For The Bomb – 3:53
05. Never – 4:19
06. Lightning Strikes – 5:13
07. Killer Of Giants – 5:42
08. Fool Like You – 5:19
09. Shot In The Dark – 4:26

Link in comments.

Ozzy Osbourne

Fusion Orchestra – Skeleton In Armour (1973) (@256)

24 Oct 2008

6 comments

(Review from progarchives.com)

Fusion Orchestra was a highly talented progressive rock ensemble from the UK that did tight but not over-worked heavy prog with an honest, classic but unique sound. Singer/flautist/synthist Jill Saward, apparently the axis of the group, leads with a high squall and quite good flute, and paralleled the vocal sound the Wilson sisters would cultivate. Though unlike Heart, this band did a very complex and multi-layered music with many roads into jazz-fusion, folk, and Celtic.

“Skeleton in Armour”, their only album, was easily trodden upon by the giant that progressive had become by 1973. And that’s a real shame, because this record, quietly released in 1973 and a bit frayed at the edges, contains some of the most creative and distinct heavy progressive rock up to that point, and is a treasure seeker’s find from that all too brief era when the majority of British rock was, in one way or another, ‘progressive’.

Though guitar-based and hard rockin’ by nature, the band incorporated all sorts of things that were now available to the rock ensemble including classical structures, Baroque flirtations, smoky jazz fusion, street party fun, and metallic harmony. Best of all, they had a yearn for what a band could do within the standard rock format without becoming experimental, as on eleven minute ‘Sonata in Z’. ‘Have I Left the Gas On?’ will remind of Jethro Tull but also of Babe Ruth sans the Spanish guitar, and the fabulous title cut is not to be missed. Out of place ‘When My Momma’s Not at Home’ is a commercial tune but 12-minute heavy symphonic blues opus ‘Talk to the Man in the Sky’ has great double-guitar lines, bedroom keyboards, and driving riff-rock that defies anything Rush would do in following years.

A rare find by an exceptional band that progressed and rocked equally well, and mandatory for fans of all those glorious second tier groups during this electrifying period.

Line-up:
- Jill Saward / flute, vocals, synthesizer
- Dave Bell / drums
- Colin Dawson / guitar
- Dave Cowell / bass, harmonica
- Sten Land / guitar, synthesizer, horns, percussion

Track List:
01. Fanfairy Suite for 1000 Trampits. (Part One) – 0:16
02. Sonata In Z – 11:45
03. Have I Left the Gas On? – 8:38
04. Ok Boys, Now’s Our Big Chance – 0:47
05. Skeleton in Armour – 5:12
06. When My Mamma’s not at Home – 3:25
07. Don’t be Silly, Jilly – 0:08
08. Talk to the Man in the Sky – 11:54
09. Fanfairy Suite for 1000 Trampits. (Part Two) – 0:14

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Ozzy Osbourne – Bark at the Moon (1983) (@256)

24 Oct 2008

(Review from metal-archives.com, wikipedia)

Ozzy Osbourne finds a permanent replacement for Randy Rhoads in Jake E. Lee. Like Rhoads, he came from a hair metal outfit. In Rhoads case it was Quiet Riot, whereas Lee came from Ratt. Whilst he doesn’t have the distinctiveness of Randy Rhoads, Jake E. Lee is a perfectly good guitarist in his own right. He does very well throughout the album, and plays a significant part in the album’s artistic success.

The classic title track, with a superb guitar riff and various screeching solos from Jake E. Lee, whilst Ozzy handles the vocals with aplomb and seems to be having great fun doing it. This is rightfully considered one of Ozzy’s best. Along similar lines is ‘Rock And Roll Rebel’, with another highly effective chorus and a driving, if predictable, guitar riff.

‘Centre Of Eternity’ has an aura of ‘Mr Crowley’ due to the dense layers of gothic keyboards and a chiming, funereal bell toll which is accompanied by an eerie vocal backdrop. It soon picks up into a hard rocking riff workout with a fine lead melody, however. The climactic ‘Waiting For Darkness’ is along similarly bleak and gothic lines, albeit with some added string arrangements to add texture.

The more straight forward melodic tracks here offer a very nice respite and show off Ozzy’s way with a melody superbly. While ‘Slow Down’ and ‘Now You See It (Now You Don’t)’ are perfectly good songs, the best of the bunch is ‘You’re No Different’, with a highly distinctive and effective lead keyboard riff that works well in conjunction with the chorus, and the lovely ballad ‘So Tired’. This is one of the best as far as Ozzy ballads go, revealing his Beatles influence for all to hear whilst the double tracked choruses and the gorgeous chord progressions.

Note : Bark at the Moon’s re-issue in 2002 is actually a remix of the album, not a remaster. Many fans were displeased with the remix, noting that some elements found in the original mix are not present in the remix, namely several lead guitar parts.

Line-up:
* Ozzy Osbourne – vocals
* Jake E. Lee – guitar
* Bob Daisley – bass guitar
* Tommy Aldridge – drums
* Don Airey – keyboards

Track List:
01. Rock ‘n’ Roll Rebel – 5:28
02. Bark At The Moon – 4:17
03. You’re No Different – 5:02
04. Now You See It (Now You Don’t) – 5:05
05. Forever – 5:24
06. So Tired – 3:58
07. Waiting For Darkness – 5:15
08. Spiders – 4:21

Link in comments.

Bob Daisley, Don Airey, Ozzy Osbourne, Tommy Aldridge

Help needed :)

23 Oct 2008

9 comments

As you may have (or not) noticed, I’ve been having trouble keeping up with the blog for the last month or so. I’m having some (hopefully temporary) time issues.

That’s why I’d like to ask for your help. Please point out to me any errors or imperfections in the blog you may notice. I’ve started to miss them due to my time constraints.

Gygafo – Legend of the Kingfisher (1973) (@256)

22 Oct 2008

7 comments

(Review from gnosis2000.net, www.freakemporium.com, progarchives.com)

This band got its name from the initials of a famous line from a record label executive not being impressed at these guys’ live demonstration and told them: “Get Your Gear And Fuck Off”. So these songs never got a release at its time, most of the tracks are from 1973 and the last two tracks from early 1974 (all in mono),

For 1973, British group Gygafo’s only album is somewhat of an anomaly as it sounds quite like a psych-rock album from a few years earlier with the fuzz guitar and organ.

Despite the 60s tonal qualities, Gygafo also show the prediliction for structural complexity as initially portrayed on the album’s second track, “A Room With a View” that trades between a whimsical progression and a more aggressive classical rock section. In fact, it is this threshold betwixt late 60′s psych and embryonic progressive rock that Gygafo pirouette around throughout… These phases are particularly distinct on the long side one-ending, three-song suite, “Waiting for the Rain/Entering Winds of Long Ago/Season’s Weather (Coming Home)”, although once the first half of the album is through, Gygafo keep solidly to a whimsical, late 60s, bay area, psychedelic influenced rock.

“Gygafo” comes from the legendary Holyground label who released the “Astral Navigations” album. Gygafo is a similar collection of dreamy acid folk rock laced with heavy progressive flouishes with electric guitar, keyboards etc. A charming album that sits perfectly alongside “Astral Navigations”.

Line-up:
- John Atkinson / vocals, guitar, mandolin, flute, glockenspiel
- Paul Kent / bass
- Pete Nickson / drums, percussion
- Charlie Speed / lead guitar, backing vocals
- Eddie Stringer / keyboards, backing vocals
with
- Mike Levon / saxophone, air guitar

Track List:
01. Solid Man Song – 3:52
02. A Room With A View – 5:33
03. Waiting For The Rain – Entertaining Winds Of Long Ago – Season’s Weather (Comning Home) – 12:05
04. And A Timne Tot Hink (Box 1) – 4:41
05. Today I Am – 5:42
06. The Legend Of The Kingfisher – 9:53
07. What You Don’t Know (Won’t Hurt You) – 8:46
08. Nineteen Eighty Four – 5:18

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Ozzy Osbourne – Speak of the Devil (Live 1982) (@256)

22 Oct 2008

(Review from allmusic)

Immediately following the death of Ozzy Osbourne’s dear friend and collaborator Randy Rhoads, tentative plans for a live recording from the Rhoads tours were quickly scrapped (though recordings later surfaced in the “Tribute” album).

Instead, the deeply troubled singer opted for a pair of one-offs at New York City’s Ritz club. No one had any idea what Ozzy would do, and an evening of Black Sabbath covers was the furthest thing from everyone’s mind. Ozzy had been portrayed as a washed-up, vocally challenged frontman by his ex-bandmates, and the perception was that Ozzy could no longer sing the original Sabbath material.

Night Ranger guitarist Brad Gillis fills in for the late Randy Rhoads. The show itself took on an ominous tone with a chair visibly propped up on the edge of the stage; upon it rested a spiral notebook containing the lyrics to all the Sabbath songs of the evening, from which Ozzy read throughout the show.

Still, Speak of the Devil is strengthened by the classic combo of Rudy Sarzo and Tommy Aldridge on bass and drums, undoubtedly one the best rhythm sections of Ozzy’s solo career. And immediately, it becomes obvious that Brad Gillis was the right man for the gig. Playing Iommi to a tee, Gillis effortlessly leads the band through some of the best of the Sabbath catalog; Speak of the Devil ends up solid throughout, if somewhat unremarkable at times.

Following the recording, due to the uncertainty surrounding the Ozzy camp, Gillis would jump ship and rejoin the ranks of Night Ranger.

Line-up:
* Ozzy Osbourne – vocals
* Brad Gillis – guitar
* Rudy Sarzo – bass
* Tommy Aldridge – drums

Track List:
01. Symptom Of The Universe – 5:41
02. Snowblind – 4:55
03. Black Sabbath – 6:04
04. Fairies Wear Boots – 6:32
05. War Pigs – 8:35
06. The Wizard – 4:42
07. N.I.B – 5:35
08. Sweet Leaf (Bonus) – 5:54
09. Never Say Die – 4:18
10. Sabbath Bloody Sabbath – 5:34
11. Iron Man – Children Of The Grave – 9:11
12. Paranoid – 3:10

Links in comments.

Live, Ozzy Osbourne, Rudy Sarzo, Tommy Aldridge

Gotic – Escenes (1977) (@256)

21 Oct 2008

(Review from progreviews.com, progarchives.com)

Gotic are a Spanish band who released only one album. Their sound is dominated by flute (in the style of Camel rather than Jethro Tull) and electric piano. The album is entirely instrumental, with flute and piccolo carrying most of the melody lines. The songs themselves occasionally flirt with jazz but for the most part are light, airy symphonic played with a frolicking energy.

The compactly titled “Escenes de la terra en festa i de la mar en calma” begins with some energetic electric piano and a jaunty tune on the flute which can’t help but bring a smile to your face. “Impropmt- 1″ states a slightly predominant tendency toward the jazz factor, even incepting some occasional Gentle Giant-ish tricks in a few synthesizer lines and there’s even an amazing guitar solo. “Jocs d’ Ocell”, a delicious ballad, makes the band wear its Camelesque heart upon their sleeve: the piano chord progressions and the string synth layers bear a very distinctive Bardens-inspired feel. Also digging in the introspective side of Gotic is the prologue part of “La Revolucio”, before the folkish nuances alluded to in the prologue get delivered and expanded on a more extroverted tone.

The album’s second half starts with “Dança d’Estiu”, yet another showcase for Gotic’s ability to fuse Camel and Canterbury under their own rules and instincts. The last two tracks are the most openly symphonic-focused ones in the album. The first one includes another tasteful lead guitar solo, as well as majestic Baroque-inspired organ passages, plus a candid up-tempo folkish coda – a highlight, indeed. The closing song, “Historia d’una gota d’agua” is a lovely piece of laid-back progressive rock, containing two distinct parts the first a slow atmospheric buildup, featuring classical guitar, organ and the ubiquitous flute. The track then picks up its main theme which is shared by flute and guitar.

The musicianship on this album is solid; that of the late Josep Nuix on flute is excellent. The melody lines are usually well developed, as they need to be with a purely instrumental album. Gotic do not rock, they frolic. They may not be mean, but they certainly offer a lot on this album, and the music is put together well enough that multiple listenings are highly rewarding.

Line-up:
- Rafael Escote / bass, gong, claps
- Jordi Marti / drums, percussion, claps
- Jep Nuix / flute, piccolo, claps
- Jordi Vilaprinyo / keyboards, synthesizers
with
- Jordi Codina / classical guitar (7)
- Josep Albert Cubero / acoustic & electric guitars (2-6-7)
- Jordi Vidal / effects

Track List:
01. Escenes de la Terra en Fiesta i de le Mar en Calma – 4:02
02. Imprompt – 1 – 5:55
03. Jocs d’Ocells – 3:34
04. La Revolucio – 4:09
05. Danca d’Estiu – 3:33
06. I tu que Ho Vienes Tot Tan Facil – 5:41
07. Historia d’Una Gota d’Aigua – 10:15

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Ozzy Osbourne – Randy Rhoads Tribute (Live 1981) (@256)

21 Oct 2008

(Review from amazon)

Ozzy Osbourne’s guitarist Randy Rhoads was a technical genius on his instrument, but that’s only half the story. Rhoads shaped the direction of Osbourne’s first two post-Sabbath recordings, Diary of a Madman and Blizzard of Ozz, which still stand as his best solo studio albums. Rhoads also was capable of pulling the best out of Osbourne onstage, a notable accomplishment in itself.

In this live set Osbourne and company run through the Blizzard album in its entirety, adding a few tunes from Diary, and the Sabbath classics “Iron Man”, “Children of the Grave” and “Paranoid”.

The album/concert begins with “I Don’t Know”, which features a fast, running guitar lead and a great, several parted solo. Next comes the world-renowned “Crazy Train”. It’s executed without a flaw, and includes careening guitar work (Randy’s fret board must be smoking by the time this song is over!) The next two songs, “Believer” and “Mr. Crowley,” are both highlighted by more great, long, technical, classical-sounding guitar solos. Track six, “Revelation (Mother Earth),” is a power ballad with soft strumming and even a piano. “Steal Away (The Night)” is very catchy, and ends with an extended, everything but the kitchen sink drum solo. “Suicide Solution” has a guitar solo, where Rhoads switches between lightning fast pentatonic and harmonic minor shredding to dimished scale runs and classically influenced arpeggio bits.

Any fan of Rhoads-era Ozzy needs this album, as well as guitar players looking for inspiration, or just amazing playing.

Line-up:
- Tommy Aldridge / Drums
- Ozzy Osbourne / Vocals
- Randy Rhoads / Guitar
- Rudy Sarzo / Bass

Track List:
01. I Don’t Know – 5:40
02. Crazy Train – 5:19
03. Believer – 5:08
04. Mr. Crowley – 5:37
05. Flying High Again – 4:17
06. Revelation (Mother Earth) – 5:58
07. Steal Away (The Night) with Drum Solo – 8:04
08. Suicide Solution with Guitar Solo – 7:46
09. Iron Man – 2:50
10. Children Of The Grave – 5:57
11. Paranoid – 2:59
12. Goodbye To Romance – 5:33
13. No Bone Movies – 4:08
14. Dee (Studio Out-Take) – 4:22

Links in comments.

Live, Ozzy Osbourne, Rudy Sarzo, Tommy Aldridge

Minotaurus – Fly Away (1978) (@256)

20 Oct 2008

(Review from progarchives.com)

The members of this band from Oberhausen, Germany, met around 1972. By the mid-70’s, they had become a fine group of self-taught musicians, except for one of the two guitarists who had some classical guitar and cello training. In 1978, they rented a studio and recorded the album “Fly Away”.

Inspired by the story of the Minotaurus living in King Minos’ Labyrinth on Crete this 6 piece band deliver an album full of organ roaring progressive rock. This album although essentially a symphonic mindmelt does also blend in psych and space dimensions into their sound. Their overall sound is quite rich with a good chunk of mellotron and deep bass lines. Vocals are sung in English and fit the music quite well. Instrumentally the band is amazing with inspiring and pompous keyboard leads, mellotron atmospheres, great guitar, bass and drum interplay with crisp percussion.

The is superb melodic symphonic progressive with spacey vibes and hooky compositions. A surprisingly strong English flavour included.

Line-up:
- Michael Helsberg / guitars
- Ludger “Lucky” Hofstetter / guitars
- Ulli Poetschulat / drums
- Bernd Maciej / bass
- Peter Scheu / vocals
- Dietmar Barzen / keyboards

Track List:
01. 7117 (Misik Zum Gleichnamigen Film) – 6:50
02. Your Dream – 5:42
03. Lonely Seas – 4:46
04. Highway – 3:17
05. Fly Away – 12:15
06. The Day The Earth Will Die – 4:56
07. Sunflowers (Bonus) – 3:59

Link in comments.

Ozzy Osbourne – Diary of a Madman (1981) (@256)

20 Oct 2008

(Review from allmusic)

The follow-up to the masterful Blizzard of Ozz, Diary of a Madman was rushed into existence by a band desperate to finish its next album before an upcoming tour. As a result, it doesn’t feel quite as fully realized — a couple of the ballads are overly long and slow the momentum, and Randy Rhoads’ guide solo on “Little Dolls” was never replaced with a version intended for the public.

Yet despite the fact that some songs could have used a longer gestation period, there are numerous moments of brilliance on Diary of a Madman and the title track is a jaw-droppingly intricate epic that represents the most classically influenced work of Rhoads’ all-too-brief career.

Tthe production is fuller, and the instruments better recorded this time around. It’s not uncommon to find fans who prefer “Diary of a Madman” to “Blizzard of Ozz”, since it sets an even more mystical, eerie mood, and since Rhoads’ playing is progressing to an even higher level.

One can only wonder what the Osbourne/Rhoads collaboration might have produced in the future, had Rhoads not been killed in a bizarre and sadly avoidable plane crash after the album’s release.

Note: The 2002 reissue of this album is derided by fans due to the substitution of the original bass and drum tracks of Daisley and Kerslake for new ones by Osbourne’s then-current drummer Mike Bordin and bassist Robert Trujillo (for royalty reasons). Fans and critics generally felt the move was dishonest, especially as no indication of the changes appears on the exterior packaging or sleeves of the altered albums.

Line-up:
- Lee Kerslake / Drums
- Bob Daisley / Bass, Vocals
- Ozzy Osbourne / Vocals
- Randy Rhoads / Guitar

Track List:
01. Over The Mountain – 4:31
02. Flying High Again – 4:44
03. You Can’t Kill Rock And Roll – 6:59
04. Believer – 5:15
05. Little Dolls – 5:38
06. Tonight – 5:50
07. S.A.T.O. – 4:07
08. Diary of a Madman – 6:15

Link in comments.

Bob Daisley, Lee Kerslake, Ozzy Osbourne

Sonja Kristina – Songs from Acid Folk (1991) (@256)

19 Oct 2008

(Review from amazon, allmusic)

Following the short reunion of Curved Air in 1990, this 1991 album marked a return of sorts for Sonja Kristina but not as the progressive diva that she was known as during her tenure with Curved Air. Rather, “Songs From the Acid Folk” is a trail-blazing new acoustic project comprised mostly of Kristina’s original songs, which are invariably profoundly personal and touching in nature.

The album includes twelve acoustic workouts and featuring the Curved Air classic, “Melinda (More or Less)”. Two other pieces from her first album were given new life as well, “Man He Colour” and the wonderful “Rollercoaster”. Many of the songs on the album, such as “This Is Not a Sanctuary,” “If This Was Love” and “One to One” are extremely personal and soul-baring, giving the listener a view into Sonja Kristina’s psyche only hinted at in her previous work.

Line-up:
- Sonja Kristina / vocals, accordion, acoustic guitar
- Tim Whitaker / acoustic guitar, back vocals
- Paul Silas / violin
- Ali McKenzie / cello
- Simon Whitaker / percussion

Track List:
01. Anna – 4:02
02. Devil May Care – 4:28
03. Melinda More Or Less – 3:31
04. Man He Colour – 3:45
05. This Is Not A Sanctuary – 3:52
06. Colder Than A Rose – 4:41
07. If This Was Love – 3:14
08. Rollercoaster – 4:18
09. One To One – 5:05
10. Buccaneer – 5:07
11. Who Was Hunter – 4:50
12. Citadel – 4:49

Link in comments.

Sonja Kristina

Arkham – Arkham (1970-72) (@256)

18 Oct 2008

Request of Theressa.

(Review from progarchives.com)

Arkham are an early 70s progressive band that featured keyboard player Jean-Luc Manderlier who would later join Magma, drummer Daniel Denis who would later form Univers Zero and drummer Patrick Cogneaux. As you will have guessed, their music is highly reminiscent of the avant-garde giants. This all-instrumental trio (keyboards, bass and drums) never actually recorded any official album, although tapes of their many shows and rehearsals between 1970-72 resulted in this archival album later released.

Arkham aren’t nearly as dark as Magma or Univers Zero, their jazzy overtones placing them a little closer to Soft Machine. The three musicians, who show some maturity, are obviously pouring their hearts out through out the album, which exudes an intensity that can’t be ignored.

This archival release is a hodge-podge of old studio and live cuts (1970 thru 1972) and starts with the excellent ‘Upstairs in the Granary’, a solid hunk of progressive, still a child as a musical format, with great playing and the classical-meets-jazz feel these early proggers produced. ‘Eve’s Eventful Day’ is equally good with top notch syncopation and nice melodies. The eight-minute ‘Monolithic Progression with Anticipated Rapture’ is aptly named, slows down a bit and allows a better look at this accomplished outfit with a Doors homage and some freakout jazz. ‘Brussels Shortly After’ is a muddy affair of little note, and ‘Bleriot: Visibility Poor’ plays out like some ancient B&W horror flick. An early form of minimal rock fusion is also heard here, as it is throughout the music on this historic retrospective. The driving ‘With Asays of Bias’ (featuring a tremendous live drum solo from Daniel Denis) continues the twirling neo-classical workout and surprisingly tight kinetics– at over 10 minutes, it is this album’s epic. Part 3 of ‘Eve’ is spectacular quasi-symphonic rock, ‘Riff 14′ is a remarkable, lovely warble a la Steve Reich, and ‘Tight Trousers’ finishes with some terrific carousel jazz rock.

Arkham shows a group of young musicians who weren’t afraid to experiment with offbeat musical styles and were the precursors of a lot of good things to come.

Line-up:
- Jean-Luc Manderlier / hammond organ, electric piano, clavioline
- Daniel Denis / drums, whistles
- Patrick Cogneaux / bass and some strange frequency modulations
with
- Claude “Piccolo” Berkovitch / bass (3)
- Claude Deron / electric flugelhorn (8, 9)
- Christian “Djoum” Ramon / bass (8, 9)

Track List:
01. Upstairs in the Granary – 5:13
02. Eve’s Eventful Day, Pts. 5-6 – 3:24
03. Monolithic Progression With Anticipated Rupture – 8:02
04. Brussels Shorty After – 8:32
05. Bleriot: Visibility Poor – 8:20
06. With Assays of Bias – 10:23
07. Eve’s Eventful Day, Pt. 3 – 4:47
08. Riff 14 – 8:50
09. Tight Trousers – 4:40

Links in comments.

Daniel Denis

Univers Zero – Live (2006) (@VBR ~186-215)

17 Oct 2008

8 comments

(Review from progarchives.com, progreviews.com)

If Univers Zero has reunited by the late 90s, they were mostly not a touring group. But for their recent studio album Implosion, Daniel Denis not only wrote one of his most groundbreaking and spellbinding albums, but also decided to take the group on the road.

With a fairly different line-up of musicians compared to the Implosion album (most notably the absence of long-time member Descheemaeker), Univers Zero is simply brilliant and the musicians are clearly on the best level.

Univers Zero has never been a group of histrionics and shredding solos, but rather an incredibly tight group where improvisation is not absent, but tightly controlled still, keeping things concise and the listener awake.

The set list presented here is of course partly re-presenting the full show, but the selection is widespread throughout their discography, having chosen to feature only two tracks from their latest album, although not the shortest ones. Of interest is Electronica Mambo Musette, which sounds anything but mambo, but rather borrows on improv some of Ravel’s bolero.

There are very few bands active today doing the neoclassical/chamber rock thing anywhere near as well as these guys. For fans of the new incarnation of Univers Zero, Live is a no-brainer. For those who still prefer the earlier material, this album presents the new stuff in the most favorite possible light.

Line-up:
- Michel Berckmans / oboe, English horn, bassoon, melodica
- Kurt Bude / clarinet, bass clarinet, tenor saxophone
- Daniel Denis / drums, percussion
- Martin Lauwers / violin
- Eric Plantain / bass
- Peter Van Den Berghe / keyboards

Track List:
01. Xenantaya – 12:53
02. Civic Circus – 7:33
03. Electronika Mambo Musette – 7:20
04. Kermesse Atomique – 6:04
05. Bonjour Chez Voys – 5:00
06. Meandres – 10:33
07. Falling Rain Dance – 8:53
08. Toujours Plus A L’est – 8:23

Link in comments.

Daniel Denis, Live, Michel Berckmans, Univers Zero

Kestrel – Kestrel (1975) (@256)

16 Oct 2008

(Review from allmusic, progarchives.com)

In the early 70’s, a symphonic rock quintet were doing the London college circuit when they caught the attention of producer John Worth who signed them and released their one album in 1975. Nowadays it is largely forgotten like many a progressive rock album from this era that enjoyed only piddling success.

The Mellotron does not fail to liven up some of the Kestrel tracks. The finale entitled “August Carol” has shown up on several lists of “greatest Mellotron performances ever” faithfully compiled by enthusiasts. The group also features an excellent singer, Tom Knowles, and a journeyman rocker named Dave Black who plays guitar and writes songs. Black wrote all but one of the songs on Kestrel.

The album features enough mellotron blasts to hook the most fleeting tron admirer. Along with some good guitar work, excellent vocals and interesting arrangements; the compositions are simple and straightforward. Not overly complex but pleasantly melodious and well executed.

Line-up:
- Dave Black / guitar, vocals
- John Cook / guitar, synthesizers
- Tom Knowles / lead vocals
- Fenwick Moir / bass
- Dave Whitaker / drums, percussion

Track List:
01. The Acrobat – 6:43
02. Wind Cloud – 4:38
03. I Believe In You – 4:07
04. Last Request – 4:47
05. In The War – 7:28
06. Take It Away – 4:08
07. End Of The Affair – 4:47
08. August Carol – 7:15

Link in comments.

Univers Zero – Implosion (2004) (@320)

15 Oct 2008

(Review from progarchives.com)

The thing that strikes most when looking at the track listing of “Implosion” is the sheer number of them (an unprecedented 16) and the average length. Once your album is inside your deck and spinning the shock comes right away: never had you heard such (and so much) synthesised/sampled music before on a Univers Zero album.

While the music may have evolved, the typical Univers Zero ambiances are still there and very much in the same spirit as before with the sombre but haunting atmospheres evoking the mysterious mid-east (somewhere between the Egyptian empires and the Sumerian era), but so much more. As one of the highlights, “Temps Neuf” or the lengthy finale “Meandres” are representing the classic Univers Zero.

Implosion is easily a 21st-century Univers Zero favorite. Most proghead should lend an attentive ear to the two Mellotronic themes but this album is must-hear for everyone enjoying challenging music.

Line-up:
- Daniel Denis / drums, percussion, keyboard, samplers, accordion, guitar
- Michel Berckmans / oboe, English horn, bassoon
- Serge Bertocchi / saxes & tubax
- Aurelia Boven / cello
- Ariane De Bievre / flute, piccolo
- Dirk Descheemaeker / bass clarinet, clarinet
- Bart Maris / trumpet, flugelhorn
- Eric Plantain / electric bass
- Christophe Pons / acoustic guitar
- Bart Quartier / marimba, glockenspiel
- Igor Semenoff / violin

Track List:
01. Suintement (Oozing) – 1:13
02. Falling Rain Dance – 4:14
03. Partch’s X-Ray – 5:23
04. Rapt d’Abdallah – 3:01
05. Miroirs (Mirrors) – 1:19
06. La Mort de Sophocle (Sophocle’s Death) – 3:11
07. Ectoplasme – 1:07
08. Temps Neufs – 4:56
09. Mellotronic – 4:04
10. Bacteria – 1:28
11. Out of Space 4 – 2:53
12. First Short Dance – 0:43
13. Second Short Dance – 0:44
14. Variations on Mellotronic’s Theme – 3:05
15. A Rebours (In Reverse) – 1:56
16. Meandres (Meanderings) – 9:38

Links in comments.

Daniel Denis, Michel Berckmans, Univers Zero

Drum Circus – Magic Theatre (1971) (@256)

15 Oct 2008

(Review from progarchives.com)

Drum Circus is a shortlived Swiss band founded by the great drummer Peter Giger. The band he formed had three drummers (!) and many other musicians, including Joel Vandroogenbroeck, from Brainticket, playing Organ, Piano, Flute and Sitar. Carole Muriel from Brainticket appears also in the band doing vocals.

Stories of pixies and prostitutes? Sax, flute and percussion mania? Manic male and female vocals? Gongs and tinkly bells? Sound familiar?

The title track “Magic Theatre” is the essence of Gong’s “Angel’s Egg” – every ingredient is there, except Steve Hillage, the Space Whispers of Yoni and Davied Allen’s mad rantings about the Planet Gong and Zero the Hero – but more mashed up and more random seeming. Less organised, yet somehow with its very own free-flowing form that comes from musicians united in their vision. Mostly percussonists, as you may have guessed from the bands’ name, and probably united through communal partaking in, er, common things.

Add to that healthy lashings of sitar, and an almost complete disregard for anything as fancy as learning how to play… OK, I take that back – the flautist/saxophonist knows some great licks which show a musical background in jazz.

Despite the overall randomness and lack of academic musical background inherent in the music and composition, the piece never gets boring in the entire 21-odd minutes – it’s like a living thing that you can hear breathing as the music ebbs and flows. The textures combine and separate perfectly – there’s no feeling of anyone trying to dominate proceedings, as all musicians get down to the business of creating a truly psychedelic work of group expression. Quite frankly, it’s amazing how well the performance has been captured, for this sort of music, as the production quality is pretty good – although maybe a tad enthusiastic with the levels.

Side 2 opens with “Now it hurts You” a track that reminds me of Ladytron (the electronic pop group, not the Roxy Music song!) in many ways, with the processed female vocals that lend it an almost 1980s feel a decade early.

The arrangement of the song has the same loose, almost random feel of the title track – but a form of structure does appear to be in place. For all the drummers, the beat is not very constant, and I feel it’s over-loose – but the song as a whole is fascinating and gripping to the end – and a real sound of a vision of what music could be like in the future.

“Papera” maintains a constancy in approach and style, until 1:30, when the piece takes a far more structured and jazzy direction that really is later Gong all over. The bass is a little flabby and tends to lose it a bit – but the piece has a few tricks up its sleeve for the ending, which is well composed.

“La-Si-Do” begins with a kind of Latin feel – but the lyrical delivery is dark, and the piece takes on a whole, new, sinister angle that runs through several feelings, including psalm-like chanting.

“Groove Rock” kicks off with the funkiest beat outside of Can, jazz flavoured bass lines and all manner of keyboard and percussion interjections, before the sax takes us on a wild flight. Soon, little conversations take place between keys and sax, keys and percussion, but ultimately, this ends up as a noodly sax solo – interesting and nicely coloured, but rather indulgent and without much drama or musical shape. The ending is a great dissolution into noise, though.

Finally, “All Things Pass” – and alas, that includes this album. Very poignant – and a nice change of mood. It sounds oddly like the band have roped in Jon Anderson on vocal duties, as the music shimmers around before a wonderfully heavy funky groove kicks in to see the album out in style.

A very consistent album with a great mix of psychedelic indian influences, jazz and impressive drumming.

Line-up:
- Peter Giger / drums, percussions
- Marc Hellman / drums
- Alex Bally / drums
- Joel Vandroogenbroeck / organ, flute, sitar
- Gerd Dudek / sax, flute
- Isla Eckinger / bass
- Carole Muriel / vocals
- Polo Hofer / vocals

Track List:
01. Magic Theatre – 21:32
02. Now It Hurts You – 2:48
03. Papera – 3:32
04. La-Si-Do – 2:22
05. Groove Rock – 8:43
06. All Things Pass – 3:25

Link in comments.

Univers Zero – Rhythmix (2002) (@320)

15 Oct 2008

(Review from progreviews.com, progarchives.com)

“Rhythmix” shows the band in fine form, repeating the formula that had been successfully invented in “Uzed”. The musics still seems to come out of the entrails of Earth with its dark and gloomy athmospheres full of near classical music but with a demonic/devilish drummer cadencing as you row your life away onto your king’s galley whipped if you start to weaken.

The first striking thing is the addition of so much extra instrumentation. The return of cello was nice, and flute and accordion were presented with a subtle enough touch as to be virtually transparent. The kickers, though, are trumpet and acoustic guitar. Christophe Pons’ guitar work on “Rouages: Second Rotation” is simply great.

The defining moment comes with the opening of “The Fly-Toxmen’s Land”. The trumpet’s arrival is absolutely jarring, which is fitting for such a brutal composition. New bassist Eric Plantain holds his own with spidery bass fingering against Denis’ rampant thumping, while the winds and percussion swirl around like dreams of angry lactating bats. Before long (making you wish it were longer), the whole thing shifts into a melancholic coda, with the trumpet resurfacing in a much less piercing fashion. Denis’ drums take on a more direct approach, with bass and keys repeating a daunting riff. Five minutes is just not long enough for this masterpiece.

Line-up:
- Daniel Denis / drums, percussion, keyboards
- Michel Berckmans / horns and wind instruments
- Eric Plantain / bass
- Bart Quartier / marimba, other percussion
with
- Christophe Pons / accoustic guitar (# 1,3,5)
- Aurelia Boven / cello (# 1,5,9)
- Bart Maris / trumpet (# 6,10,12)
- Dirk Descheemaeker / clarinet (# 7)
- Ariane de Bievre / flutes (# 2)
- Louison Renault / accordion (# 1)

Track List:
01. Terres Noires (Blacklands) – 6:09
02. Reve Cyclique – 5:58
03. Rouages – Second Rotation (Cogwheels – Second Rotation) – 3:39
04. The Invisible Light – 3:12
05. Phobia – 5:33
06. Zorgh March – 3:24
07. Zebulon – 3:13
08. Foret Inviolee (Secret Forest) – 2:20
09. Shanghai’s Digital Talks – 4:51
10. Emotions Galactiques (Galactical Emotions) – 5:47
11. Waiting for the Sun – 3:16
12. The Fly-Toxmen’s Land – 4:52
13. Reve Cyclique (Reprise) – 0:53

Links in comments.

Daniel Denis, Michel Berckmans, Univers Zero

Tracy Bonham – In the City + In the Woods (EP 2006) (@256)

14 Oct 2008

(Review from tracybonham.com)

Tracy Bonham began singing at age 5, playing the violin at 9, and piano at age 14. After transfering to a college of music to study voice, leaving her full violin scholarship at the University of Southern California behind, she began to write her own songs incorporating these skills into her compositions.

With this EP, Tracy Bonham show us her sensitive side. It is mostly made up of acoustic performances where she plays every instrument, sometimes shifting from guitar to violin and back again in one song. With the help of loops and effect pedals Bonham creates an exciting and creative musical landscape for her songs to exist.

Track List:
01. Crazy In Love – 3:26
02. In My Other Life – 4:45
03. I’m No Giant – 3:16
04. The Idiot In Me – 3:03
05. Kissing The Lipless – 2:22
06. One Hit Wonder – 2:37
07. Your World Turns Upside Down – 3:59
08. Blue Jay Way – 3:17
09. Eyes – 3:10
10. Navy Bean – 3:03
11. Lily Livered – 2:43

Link in comments.

Univers Zero – Hard Quest (1999) (@256)

14 Oct 2008

(Review from progarchives.com, progreviews.com)

After a 13 year rest Univers Zero rises again from its ashes. For the reunion, Michel Berckmans (an original member) came back and the son of another original player Roger Trigaux, Reginald (both father and son are in Present, another seminal and influential Belgian band that had made its triumphant return a few years before) joined on guitars.

The music on this album pretty much picks up where the group had stopped some thirteen years back adding up some ever somber drama to a very descriptive chamber rock . Again Bartok and Ives are the most audible influences here. The violin does not make a great impact on the music. Whatever vocals are on this album are strictly voices and recitations – no actual singing.

The compositions are tighter and more accessible than previous albums, almost as if Denis had written the album keeping in mind with the prospect of luring a new generation of potential fans. Texturally and compositionally, this is a very diverse album. The keyboard sounds generated include the now-reinstated harmonium, as well as organ (“Affintite”) and even harpsichord (“Civic Circus”). On “Vieux-Manants”, sparse bass drum and tambourine create a medieval feel, while other tracks feature tuned percussion (“Civic Circus”) and Denis’ traditional drum kit. Denis even loosens up to play a straight 4/4 on the middle-Eastern “Xenantaya”; always wondered if he could do that!

Line-up:
- Michel Berckmans / bassoon, oboe, English horn, melodica, piano
- Daniel Denis / drums, keyboards, percussion, melodica, voice
- Dirk Descheemaeker / clarinet, bass clarinet
- Igor Semenoff / violin
- Reginald Trigaux / electric bass, voice, acoustic guitar

Track List:
01. Vieux-manants – 2:54
02. Civic Circus – 4:42
03. Affinite – 5:54
04. Rouages – 5:54
05. News From Outside – 3:27
06. Rébus (To All Children) – 2:50
07. Kermesse Atomique – 5:37
08. Succčs Damne – 4:22
09. L’impasse Du Choléra – 1:51
10. Xenantaya – 10:39
11. L’oubli – 1:49

Link in comments.

Daniel Denis, Michel Berckmans, Reginald Trigaux, Univers Zero

Ozzy Osbourne – Blizzard of Ozz (1980) (@256)

14 Oct 2008

(Review from allmusic, wikipedia)

Though many bands have succeeded in earning the hatred of parents and media worldwide throughout the past few decades, Ozzy Osbourne has always been one of the best. Despite his outlandish reputation, however, one cannot deny that Osbourne has had an immeasurable effect on music. While he doesn’t possess a great voice (it’s thin and doesn’t have much range), he makes up for it with his good ear and dramatic flair.

After the 1978 album Never Say Die, Osbourne was fired from Black Sabbath, which led him to form his own solo project. With his new manager and wife, Sharon, Ozzy formed his own band with guitarist Randy Rhoads, bassist Bob Daisley, and drummer Lee Kerslake (ex-Uriah Heep).

Ozzy Osbourne’s 1981 solo debut “Blizzard of Ozz” is a masterpiece of neo-classical metal that became a cornerstone of ’80s metal guitar. Upon its release, there was considerable doubt that Ozzy could become a viable solo attraction. “Blizzard of Ozz” demonstrates not only his ear for melody, but also an unfailing instinct for assembling top-notch backing bands.

Onetime Quiet Riot guitarist Randy Rhoads was a startling discovery, arriving here as a unique, fully formed talent. Rhoads is just as responsible as Osbourne — perhaps even more so — for the album’s musical direction, and his application of classical guitar techniques and scales rewrote the rulebook radically. Rhoads can hold his own as a flashy soloist, but his detailed, ambitious compositions and arrangements reveales his true depth, as well as creating a sense of doomy, sinister elegance built on Ritchie Blackmore’s minor-key innovations.

All of this may seem to downplay the importance of Ozzy himself, which shouldn’t be the case at all. The music is a thoroughly convincing match for his lyrical obsession with the dark side; so, despite its collaborative nature, the album’s unequivocally stamped with Ozzy’s personality. What’s more, the band is far more versatile and subtle than Sabbath, freeing Ozzy from his habit of singing in unison with the guitar (and proving that he has an excellent grasp of how to frame his limited voice).

Nothing short of revelatory, Blizzard of Ozz deservedly made Ozzy a star, and it set new standards for musical virtuosity in the realm of heavy metal.

Note: The 2002 reissue of this album is derided by fans due to the substitution of the original bass and drum tracks of Daisley and Kerslake for new ones by Osbourne’s then-current drummer Mike Bordin and bassist Robert Trujillo (for royalty reasons). Fans and critics generally felt the move was dishonest, especially as no indication of the changes appears on the exterior packaging or sleeves of the altered albums.

Line-up:
- Ozzy Osbourne / Vocals
- Randy Rhoads / Guitar
- Bob Daisley / Bass, Gong, Back Vocals
- Lee Kerslake / Drums, percussion, Bells, Tympani
with
- Don Airey / Keyboards
- Rudy Sarzo / Bass

Track List:
01. I Don’t Know – 5:14
02. Crazy Train – 4:50
03. Goodbye To Romance – 5:34
04. Dee – 0:49
05. Suicide Solution – 4:16
06. Mr. Crowley – 4:56
07. No Bone Movies – 3:58
08. Revelation (Mother Earth) – 6:09
09. Steal Away (The Night) – 3:30

Link in comments.

Bob Daisley, Don Airey, Lee Kerslake, Ozzy Osbourne

Capitolo 6 – Frutti Per Kagua (1972) (@256)

13 Oct 2008

(Review from progarchives.com)

Capitolo 6 was another of the many groups that rode the tidal wave of progressive rock that swept across Italy in the 1970. Personel issues hampered the group, and despite good reviews from their various apperances on TV, and in the pop festivals across Italy in the early 70′s they only left us with this one album. Frutti Per Kagua — a concept album about the tricky negotiations of Indian lands by the white man.

The title track encompasses the entire first side on the album, running for 22 minutes. Their crowning glory is truly a prime slice of progressive rock heaven with beautiful flute passages interlaced with guitars and keyboards. The vocals are exceptional, very expressive and fit well with the music.

The album’s second half begins with ‘Grande Espiritu’, an acoustic ballad with a catchy main motif. The last two tracks are the most colorful in the album. “Il Tramonto di un Popolo” starts with a brief chant and drum rolls, before the instrumentation brings a solid alternation of furiously rocking passages and pastoral ones. The diversity that took 18 minutes to develop and settle for the suite is here comprised in 5 ˝ without losing an ounce of tension. The closer ‘L’Ultima Notte’ bears a very similar vibe, albeit with bigger doses of expansion and fluidity, which is fine for its 11 ˝ minute span. The drummer works efficiently in the basis while the lead guitarist delivers what are arguably his best solos in the album. The last rocking moments are filled with sarcastic gibberish: a touch of Zappa in this exposure of Mediterranean psychedelia.

Line-up:
- Riccardo Bartolotti / vocals, guitar, flute
- Antonio Favilla / keyboards
- Maurizio Romani / bass
- Lorenzo Donati / drums, vocals

Track List:
01. Frutti Per Kagua – 18:26
02. Grande Spirito – 3:33
03. Il Tramonto Di Un Popolo – 5:59
04. L’ultima Notte – 11:33

Link in comments.

Daniel Denis – Les Eaux Troubles (1993) (@256)

13 Oct 2008

(Review from progarchives.com)

For his second solo album in a two year gap, Daniel Denis invited more “friends” and this guest list reads a bit like a who’s who of experimental rock in Belgium. Catoul is now defunct but was a good violinist, Segers of course an ancient UZ and Present alumni, Vervloesem is the guitarist leader of those crazy X-Legged Sally, and more…. Without forgetting future-UZ members Kuiken and Descheemaeker.

Unlike the previous album, the tracks are shorter and some suggest a bit of humour something almost inconcievable with such somber music still very much in Univers Zero mould. This is the most musically diverse and probably the most personally revealing work of this remarkable composer and performer.

The two lengthy tracks that open and (almost) close the album are closest in style to Univers Zero, and in between them he lets his muse run free and pays homage to some of his influences. ‘Coeur de Boeuf’ – literally translated ‘Heart of Beef’ is a deftly executed tip of the hat to another great individual stylist, Captain Beefheart, and features some nimble marimba playing from future Univers Zero member Bart Quartier. ‘Bulgarian Flying Spirit Dances’ draws heavily on the East European composers who are an obvious influence on his work, particularly Bartok. ‘Opus Rictus’, despite the sombre title, is almost playful, propelled along by bass tuba and some agreeably daft massed voices. Denis’ drumming is impeccable throughout, and he coaxes superb performances from all his guests. Jan Kuijken on cello and Dirk Descheemaeker on clarinet make particularly fine contributions.

Whilst it’s not exactly easy listening, this is probably the most accessible of Denis’ work to date.

Line-up:
- Daniel Denis / drums, percussion, keyboards, noises
with
- Francois Garny / bass
- Guy Segers / bass
- Pierre Vervloesem / guitar
- Andy Kirk / piano, guitar
- Dirk Descheemaeker / clarinet, bass clarinet, Soprano saxophone
- Michel Massot / bass tuba
- Daniel Stokart / Alto saxophone
- Jan Kuijken / cellos
- Jean-Pierre Catoul / violin
- Bart Quartier / marimba

Track List:
01. Les Portes – 7:13
02. Stratageme – 3:22
03. Deploration Funebre Mais Non Destinee Aux Morts – 4:38
04. Petit Choral – 1:20
05. Electronika Mambo-Musette – 5:27
06. Coeur De Boeuf – 2:37
07. Opus Rictus – 4:59
08. Histoire Belge – 1:36
09. Bulgarian Flying Spirit Dances – 5:43
10. Rumeurs D’En Bas – 3:00
11. The Devil’s Kitchen – 2:01
12. Second Presage – 8:09
13. Histoire Belge (Reprise) – 0:38

Link in comments.

Daniel Denis

Iommi – Fused (2005) (@256)

12 Oct 2008

(Review from amazon)

“Fused” combines classic blues rock vocal stylings with the Iommi’s famous signature guitar sound. Joining Iommi for the third time is vocalist/bass guitarist Glenn Hughes. With drummer Kenny Aronoff from Iommi’s “all-star” solo effort the trio is complete.

Iommi and Hughes tend to write quickly when they settle in. Once the basic song ideas were written for this new album, Hughes worked on overall melodies and lyrics.

These new songs most definitely work, and they rage with great fire and intensity. There is nothing quite like the sound of a power trio, because there can be no weak links — each musician’s efforts stand out. There is no place to hide. Iommi, Hughes and Aronoff feed off each other, whether it’s the concise punch of “Dopamine” and “What You’re Living For” or the fluid twists and turns in the nine-minute epic “I Go Insane”.

Iommi’s lethal guitar crunch leads the charge. Hughes truly pushes himself to the edge and adjusts his voice to fit the overall direction of each song while simultaneously propelling the rhythm with his pounding bass guitar. The volcanic thunder Aronoff unleashes from his drums sounds like nothing he has done before. Marlette’s sparkling, crisp production results in a hard-hitting, modern, in-your-face sound.

Line-up:
- Tony Iommi – Guitars
- Glenn Hughes – Vocals, Bass
- Kenny Aronoff – Drums
with
- Bob Marlette – Keyboards, Bass

Track List:
01. Dopamine – 4:09
02. Wasted Again – 3:56
03. Saviour Of The Real – 4:07
04. Resolution Song – 4:54
05. Grace – 5:14
06. Deep Inside A Shell – 3:42
07. What You’re Living For – 4:39
08. Face Your Fear – 4:34
09. The Spell – 4:57
10. I Go Insane – 9:16
11. Let It Down Easy – 4:29

Link in comments.

Glenn Hughes, Tony Iommi

Off to the juggling festival

09 Oct 2008

I’m going away for the next three days. Will be back on Monday. Take care.

Daniel Denis – Sirius and the Ghosts (1991) (@256)

09 Oct 2008

(Review from progarchives.com)

Daniel Denis’ solo albums provide a kind of continuity after the break up of Univers Zero in 1986. “Sirius and the Ghosts” picks up where “Heatwave” left off, and sees Denis further exploring the possibilities of electric keyboards. The compositional style is very much in keeping with “Uzed” and “Heatwave”, featuring just six comparatively long tracks with the trademark time changes and doom laden atmosphere.

The strongest pieces on the album are those which come closest to being a full band performance – “Beyond the Mountains” and “A L’Ombre Du Zed” are extremely strong, with the brilliant reeds player Dirk Descheemaeker adding some real colour and the low end of the sonic palette being complemented by cellist Jan Kuijken and bassist Michel Hatzigeorgiou.

For Univers Zero fans there is plenty to enjoy on this album. It’s a solid, well crafted piece of work that is unmistakably in the same style. Denis’ drumming is as powerful as ever, and he acquits himself respectably on keyboards.

Line-up:
- Daniel Denis /drums, percussion, keyboards
with
- Frederic de Roos / recorders
- Dirk Descheemaeker / soprano saxophone, clarinet, bass clarinet
- Michel Hatzigeorgiou / bass
- Jan Kuijken / acoustic and electric cellos
- Michel Hatzigeorgiou / bass
- Frederic DeRoos / recorders

Track List:
01. Beyond The Mountains – 10:04
02. A L’Ombre Du Zed – 8:07
03. Eastwave – 5:38
04. Sirius – 6:56
05. Strange Twist – 7:41
06. Fete Souterraine – 7:15

Link in comments.

Daniel Denis

Iommi – Dep Sessions (1996) (@256)

09 Oct 2008

(Review from amazon)

In 1996, Tony Iommi was trying to put together some solo material after deciding to take a break from Black Sabbath in 1995. 11 years after Seventh Star, Iommi & Hughes got together to write some more material. They recorded it with Dave Holland & Don Airey but the recordings got shelved. About a year or so later they surfaced as a bootleg named “Eighth Star”.

At last in 2004, Iommi finally decided to dust off the old 8th Star material and properly clean it up and finally release it. In addition to that, there was one track that was not on the original bootleg version, so we’d get a “new” track as well. The songs on here are of a uniformly high quality.

There are a few minor changes from the bootleg version – the track “Don’t you Tell Me” had it’s main riff appear on the song “Black Oblivion” on Iommi’s 2000 record. It’s apperance here has the riff altered slightly, so it’s not directly the same. Additionally, some of the vocals have additional lyrics on “I’m Not The Same Man”, and there is the aforementioned extra track. Additionally, the drums are re-recorded – the original drummer (Dave Holland) was removed in favor of Jimmy Copley.

After hearing these eight tunes, most will be starving for more, especially considering that it’s less than 40 minutes worth of music.

Line-up:
- Tony Iommi – Lead Guitar
- Glenn Hughes – Vocals, Bass
- Don Airey – Keyboards
- Geoff Nicholls – Keyboards
- Mike Exeter – Keyboards
- Jimmy Copley – Drums

Track List:
01. Gone – 4:29
02. From Another World – 5:56
03. Don’t You Tell Me – 4:14
04. Don’t Drag The River – 4:34
05. Fine – 5:05
06. Time is The Healer – 4:16
07. I’m Not The Same Man – 4:20
08. It Falls Through Me – 4:46

Link in comments.

Don Airey, Glenn Hughes, Tony Iommi

Iommi – Iommi (2000) (@256)

08 Oct 2008

(Review from amazon)

A diverse cast of characters helped create this impressive, four-years-in-the-works solo album from legendary Black Sabbath guitarist Tony Iommi.

The vintage ultra-heavy Sabbath musicality gives the album cohesiveness despite the variety of voices and lyrics penned by 10 different singers. Skin (of Skunk Anansie) has a lovely, precise delivery that contrasts with the dirge-like feel of “Meat”, while Foo Fighters frontman Dave Grohl turns in a performance that mixes the Foos, Nine Inch Nails and Sabbath on “Goodbye Lament”. Ian Astbury’s dramatic vocals on “Flame On” are especially suited to the material, which in this case sounds like a Danzig tune. Also perfect for the portentous vibe is Billy Idol, whose sensual snarl and trademark “yow!” on “Into the Night” is a highlight.

This album is a showcase for Iommi’s many talents, including his unquestionable songwriting abilities, as well as his ability to work in guitar solos that add to the song rather than overpower it. He does an excellent job of playing to each guest vocalist’s stregnths, complimenting their talents rather than overshadowing them.

Iommi’s stellar strategic solos (at times they achieve a Jimmy Page-like mysticism) and retro Sabbath stylings make Iommi a great listen for old-school metal-mongers.

Line-up:
- Tony Iommi / Guitar
with
- Ace (Martin Kent) / Additional Guitar (2)
- Phil Anselmo / Vocals (4)
- Kenny Aronoff / Drums (2)
- Ian Astbury / Vocals (7)
- Matt Cameron / Drums (4,7,8,10)
- Jimmy Copley / Drums (1,5)
- Billy Corgan / Bass (6), Vocals (6), Additional Guitar (6)
- Laurence Cottle / Bass (3,4,5,7,8,9)
- Dave Grohl / Drums (3), Vocals (3)
- Billy Idol / Vocals (10)
- Bob Marlette / Bass (2)
- Ozzy Osbourne / Vocals (9)
- Terry Phillips / Bass (1)
- Henry Rollins / Vocals (1)
- Ben Shepherd / Bass (10)
- Skin / Vocals (2)
- Pete Steele / Bass (8)
- Serj Tankian / Vocals (5)
- John Tempesta / Drums (2)
- Bill Ward / Drums (9)

Track List:
01. Laughing Man (In The Devil Mask) – 3:39
02. Meat – 4:53
03. Goodbye Lament – 4:50
04. Time is Mine – 4:55
05. Patterns – 4:20
06. Black Oblivion – 8:20
07. Flame On – 4:29
08. Just Say No To Love – 4:27
09. Who’s Fooling Who – 6:09
10. Into The Night – 5:01

Link in comments.

Bill Ward, Ozzy Osbourne, Tony Iommi

Univers Zero – Heatwave (1986) (@256)

07 Oct 2008

(Review from progarchives.com)

The fifth Univers Zero studio album was to be the last for 13 years.

The album gets off to a strong start with the title track, composed by Andy Kirk. This is on a par with the best of early Univers Zero, and there is some excellent soprano sax from Dirk Descheemacker. Two shoter pieces follow, both composed by Daniel Denis. Chinavox is an effective piece of chamber rock which has the atmosphere of Univers Zero’s earlier work but which isn’t particularly memorable, while Bruit Dans Les Murs is a piece dominated by electric keyboards that actually sounds closer to Present or even Henry Cow on Western Culture. Denis’ drumming is outstanding on this track, and it points the way forward to his solo album Sirius and the Ghosts.

The second half of the album is taken up with the 20 minutes long The Funeral Plain, another Andy Kirk composition. There are some highly effective passages, and the use of synthesisers and electronic effects is an early foretaste of the kind of music that Univers Zero would create when they reconvened in the late 90s.

Line-up:
- Michel Delory / guitar
- Daniel Denis / drums, percussion, voice
- Dirk Descheemaeker / clarinet, bass clarinet, soprano sax
- Christian Genet / bass, nailskake
- Patrick Hanappier / violin, viola
- Andy Kirk / piano, synthesizer, voice
- Jean-Luc Plouvier / piano, synthesizer, voice

Track List:
01. Heatwave – 8:37
02. Chinavox – 4:53
03. Bruit Dans Les Murs – 8:27
04. The Funeral Plain – 20:22

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Daniel Denis, Univers Zero

Bill Ward – Ward One: Along the Way (1990) (@256)

07 Oct 2008

(Review from amazon)

Just in case you never heard of him, Bill Ward is the original drummer for Black Sabbath. He originally left Sabbath after 1980′s Heaven and Hell album, but came back (very briefly) for the 1983 album ” Born Again “. After he left and rejoined and left Sabbath a few more times, nothing was heard from Ward again until this album came out at the beginning of 1990.

For his first solo album, Ward surrounded himself with a (mostly) all star cast. “Ward One” is a unique combination of Black Sabbath during their experimental “Sabotage” years, 80s heavy metal, Peter Gabriel and Pink Floyd. There are plenty of loud, jamming guitars and loud, pounding drums but also a great deal of sound effects and special effects voices and keyboards and synthesizers.

Ward himself takes lead vocal duties on most of the songs, and shares drumming duties with Eric Singer. His singing isn’t too bad either, though he uses a great deal of effects on his voice, either to add to the overall weirdness of the album or maybe because he wasn’t too confident in his own singing ability. Ozzy takes lead vocal duties on “Bombers Can Open Bomb Bays” and on “Jack’s Land”, while Jack Bruce sings (and co-writes) the very soothing, melodic and peaceful “Light Up The Candles”.

The album ends on an unintentionally funny note with Bill Ward whistling and the saying “Goodbye! “. A very strange ending for a very unique album.

Line-up:
- Bill Ward / drums, vocals, keyboards
with
- Jack Bruce / bass, vocals
- Ozzy Osbourne / vocals (3,7)
- Lorraine Perry / vocals
- Eric Singer / drums
- Leonice / drums
- Marco Mendoza / bass
- Gordon Copley / bass
- Bob Daisley / bass
- Lee Faulkner / bass
- Rue Phillips / guitar
- Keith Lynch / guitar
- Zakk Wylde / guitar
- Malcolm Bruce / guitar, keyboards
- Lanny Cordola / guitar
- Richard Ward / guitar
- Jimmy Yeager / keyboards
- Mike Rodgers / keyboards

Track List:
01. Shooting Gallery (Mobile)
02. Short Stories
03. Bombers (Can Open Bomb Bays)
04. Pink Clouds an Island
05. Light up the Candles (Let There Be Peace Tonight)
06. Snakes and Ladders
07. Jack’s Land
08. Living Naked
09. Music for a Raw Nerve Ending
10. Tall Stories
11. Sweep
12. Along the Way

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Bill Ward, Bob Daisley, Jack Bruce, Ozzy Osbourne

Univers Zero – Crawling Wind (EP 1979-84) (@320)

06 Oct 2008

(Review from progreviews.com, progarchives.com)

“Crawling Wind” was originally released in 1983 as a limited edition, japanese only 12″ EP by Eastern Works. This rare 3-track EP has been re-mastered with the addition of previously unreleased studio and live material.

Daniel Denis’ “Toujours plus a l’Est” is an excellent composition that easily matches the consistently high quality of the band’s other studio works from that era. The piece is uncharacteristically brightly colored, obviously taking a breather from the darkness and brooding that defined their previous three albums, though still with the dashes of Eastern European flavor and uncluttered, rhythmic precision that gives it that unmistakable Univers Zero identity.

Before we get too comfortable, however, Andy Kirk’s “Before the Heat” is more characteristic of the macabre atmosphere indigenous to the band’s earlier albums and reputation, with plucked strings and chasmal reverberations. This mood is reinforced by the live improvisation “Central Belgium in the Dark”, recorded in 1982.

The bonus additional tracks feature “Influences”, a Kirk-penned studio recording from 1982; “Triomphe Des Mouches” recorded live in Hannover in 1984 and “Complainte” recorded live in Belgium in 1979.

“Crawling Wind” is somewhat of an uneven EP, and certainly the massive interest in it was due in part to its obscurity and rarity. It is a must-have for those who can’t get enough of this band’s peak period. Not the best place to start, but certainly not be ignored either.

Line-up:
- Daniel Denis / drums, percussion, voice, violin, harmonium
- Dirk Descheemaeker / clarinet
- Andy Kirk / piano, organ, synth, voice, viola, music box, percussion, harmonium, radio
- Guy Segers / bass, voice, violin, invisible talk, flies talk
- Alan Ward / violin
- Christian Genet / bass
- André Mergenthaler / cello
- Jean-Luc Plouvier / keyboards
- Michel Berckmans / oboe, bassoon
- Patrick Hanappier / viola
- Roger Trigaux / guitar

Track List:
01. Toujours plus a l’est (5:29)
02. Before The Heat (4:03)
03. Central Belgium In The Dark (Live) (9:50)
04. Influences (Bonus) (7:36)
05. Triomphe Des Mouches (Bonus Live) (9:51)
06. Complainte (Bonus Live) (5:28)

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Daniel Denis, Michel Berckmans, Roger Trigaux, Univers Zero

Hot Tuna – Burgers (1972) (@256)

06 Oct 2008

(Review from allmusic, wikipedia)

Begun as an acoustic spin-off of the Jefferson Airplane, Hot Tuna eventually became the full-time focus of founding members Jack Casady and Jorma Kaukonen, emerging as a popular touring act of the 1970s.

“Burgers” is the third album by Hot Tuna. It marked a crucial transition for the group. Until then, Hot Tuna had been viewed as a busman’s holiday for Jefferson Airplane lead guitarist Jorma Kaukonen and bassist Jack Casady. Their first album was an acoustic set of folk-blues standards recorded in a coffeehouse, their second an electric version of the same with a violinist and a drummer.

“Burgers” sounds more like a full-fledged work than a satellite effort. It was Hot Tuna’s first studio album (the previous two being live albums) and Kaukonen wrote the bulk of the material, not all of it in the folk-blues style that had been the group’s métier. “Sea Child,” for example, employed his familiar acid rock sound and would have fit seamlessly onto an Airplane album. And “Water Song,” one of his most accomplished instrumentals, had a crystalline acoustic guitar part that really suggested the sound of rippling water.

On the material that did recall the earlier albums, Hot Tuna split the difference between its acoustic and electric selves, sometimes, as on “True Religion”, beginning in folky fingerpicking style only to add a rock band sound after the introduction. The result was more restrained than the second album, but not as free as the first, with the drums imposing steady rhythms that often kept Casady from soloing as much, though Creach’s violin made for plenty of improvisation within the basic blues structures.

With this album Hot Tuna had evolved its own sound and music, and seemed less a diversion than its members’ new top priority.

Line-up:
* Jorma Kaukonen – guitars, lead vocals
* Jack Casady – bass, vocals, eyebrow
* Papa John Creach – violin, vocals
* Sammy Piazza – drums, tympani, other percussion, vocals
with
* Nick Buck – organ, piano (1,5)
* Richmond Talbott – vocals, slide guitar (3)
* David Crosby – vocals (2)

Track List:
01. True Religion – 4:42
02. Highway Song – 3:14
03. 99 Year Blues – 3:58
04. Sea Child – 5:00
05. Keep On Truckin’ – 3:40
06. Water Song – 5:17
07. Ode for Billy Dean – 4:49
08. Let Us Get Together Right Down Here – 3:27
09. Sunny Day Strut – 3:14

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David Crosby, Jack Casady, Jorma Kaukonen

Univers Zero – Ceux Du Dehors (1981) (@256)

06 Oct 2008

(Review from progarchives.com, progreviews.com)

Third album from this stunning but sombre group and one of the highest rated from fans and often cited as THE album.

The 12-min+ Dense is a fiery “introduction” with Mellotrons layers underlined a strong harmonium, woodwinds and violin under the heavy duty Segers/Denis rhythm section. The middle section is rather quieter, but not any less worrisome, but Berckmans oboe draws wonders. Following this monster track is the no-less impressive (but very oppressive;-) La Corne, which is downright macabre with a few out of this world vocals and its church organ. We are definitely more in the classical music than in the rock spectrum with this track. Closing the first side is an almost danceable and considerably lighter Bonjour Chez Vous. Gothic is the word to describe this oeuvre.

The second side opens on the almost 13-min Kirk-penned Combat, with its war-like march beats, its calm before the battle, its battlesounds and full blown grandeur. “La Musique d’Erich Zann” is probably the oddest track on the album. It consists mostly of scraping and grinding noises that build up to a fever pitch, and then suddenly snap and return to their original quiet tone. “La Tete du Corbeau” is another quiet, brooding piece, but not nearly as “weird” as the previous track. A glorious first version of “Triomphe Des Mouches” makes the link with the following studio album.

Line-up:
- Michel Berckmans / bassoon, oboe, English horn
- Daniel Denis / drums, percussion
- Patrick Hanappier / viola, violin
- Andy Kirk / harmonium, organ, piano, mellotron
- Guy Segers / bass
with:
- Jean Debefve / hurdy-gurdy
- Jean-Luc Aime / violin
- Ilona Chale / voice
- Thierry Zaboitzeff / cello

Track List:
01. Dense – 12:26
02. La Corne Du Bois Des Pendus – 8:42
03. Bonjour Chez Vous – 3:52
04. Combat – 12:53
05. La Musique D’erich Zann – 3:29
06. La Tete Du Corbeau – 3:11
07. Triomphe Des Mouches – 5:36

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Daniel Denis, Michel Berckmans, Univers Zero

Black Sabbath – In Concert, Live In Worcester (1983) (@256)

05 Oct 2008

(Info from progarchives.com)

This live album is a recent surprise from King Biscuit Flower Hour archives. Recorded on November 04, 1983, this is probably the best quality live recording of the era, featuring Ian Gillan as vocalist.

It is interesting to hear him interpreting songs from Ozzy and Dio eras. There’s even a cover of “Smoke on the Water” thrown in to sweeten the deal.

The line-up also includes Bev Bevan of ELO on drums (though, don’t worry, there are no ELO influences), because Bill Ward could not tour with the band due to health problems.

Line-up:
- Tony Iommi / lead guitar
- Geezer Butler / bass
- Ian Gillan / vocals
- Bev Bevan / drums
- Geoff Nicholls / keyboards

Track List:
01. Children Of The Grave (4:54)
02. Hot Line (4:40)
03. War Pigs (7:21)
04. Iron Man (8:33)
05. Zero The Hero (7:49)
06. Heaven And Hell (8:35)
07. Guitar Solo (8:41)
08. Digital Bitch (3:17)
09. Black Sabbath (7:18)
10. Smoke On The Water (5:15)
11. Paranoid (3:21)

Links in comments.

Bev Bevan, Black Sabbath, Geezer Butler, Ian Gillan, Tony Iommi

Heaven and Hell – Live From Radio City Music Hall (2007) (@256)

05 Oct 2008

(Review from wikipedia, allmusic)

Heaven and Hell is a musical collaboration featuring Black Sabbath members Tony Iommi and Geezer Butler along with former members Ronnie James Dio and Vinny Appice. Because of the projected continuation of Black Sabbath’s original lineup (Iommi, Butler, Osbourne and Ward) and the 2006 induction of the original lineup into the Rock and Roll Hall of Fame, Iommi (owner of the Black Sabbath name) decided to call the touring group Heaven and Hell. The moniker was taken from the first Dio-fronted Black Sabbath recording, Heaven and Hell.

The four members of Heaven and Hell recorded and toured together as Black Sabbath from 1980-1982 and again from 1991-1992. In 2006, while the foursome reunited to record new songs and then decided to embark on a 2007-2008 tour. This live album was recorded at the legendary Radio City Music Hall during that tour.

The spirit of this live album is very much in the vein of the “Reunion” live album with Ozzy nearly a decade ago. A monstrous set list covering all aspects of the Dio-era with two newly written songs.

Even though some of this material is over 25 years old, it works phenomenally well in the context of this band. The pairing of Butler and Iommi is utterly captivating — always has been, probably always will be. The noise they make together is wonderfully musical, and at times just devastatingly heavy. Butler’s trademark bass throb, all fuzzy and dark, is the perfect foil for the riff-laden, slow to midtempo rock riffing of Iommi. Appice is a consummate big rock drummer, basic and powerful when the need arises, but he’s taken a few nods from John Bonham and Keith Moon as well; his fills are colorful and dynamic, and project the tunes forward underscoring every big riff, chorus, and post-line wail from Dio. And Dio… it’s hard to believe this guy’s actually 65 years old in the time of this recording. He is one of rock & roll’s great frontmen. He’s versatile, can project and wail on top of that boisterous trio.

So they run the course of their recordings together and it’s wildly obvious from the end of “E5150/After All (The Dead)” that these old guys are having a good time. They play like they mean it, they understand after all this time what a rock show is supposed to be (not what it is any longer), and they give it to the faithful in overdrive. There is crisp fresh energy here and the execution is nearly flawless.

Iommi’s wah-wah guitar solo in “Lady Evil” is just plain nasty. “The Devil Cried”, one of the new cuts, is among the best in the bunch. Beginning with a growling open-chord guitar riff and a sub-basement bass pummel, it gets the crowd into fist-pumping mode and, if the tape is accurate, keeps them there — yes, even through the drum solo.

At the end nothing but pure godless rawk power and orgiastic volume excess that somehow don’t seem as menacing as they do rousing, as the freewheeling closer, “Neon Knights”, finally fades.

“Heaven & Hell” are not a guilty pleasure; the band is a riot of the greatest aspects of stadium rock power and glory.

Line-up:
* Ronnie James Dio – vocals
* Tony Iommi – guitar
* Geezer Butler – bass
* Vinny Appice – drums
with
* Scott Warren – keyboards

Track List:
CD1
01. 5150 – After All (The Dead) – 8:30
02. The Mob Rules – 4:04
03. Children Of The Sea – 6:52
04. Lady Evil – 5:20
05. I – 6:27
06. The Sign Of The Southern Cross – 9:06
07. Voodoo – 7:42
08. The Devil Cried – 11:29
CD2
01. Computer God – 6:41
02. Falling Off The Edge Of The World – 5:45
03. Shadow Of The Wind – 6:05
04. Die Young – 7:44
05. Heaven And Hell – 15:15
06. Lonely Is The Word – 6:48
07. Neon Knights – 7:58

Links in comments.

Bill Ward, Black Sabbath, Geezer Butler, Heaven & Hell, Live, Ronnie James Dio, Tony Iommi

Marsupilami – Arena (1971) (@256)

04 Oct 2008

(Review from vintageprog.com)

Marsupilami followed up their excellent debut with this ambitious concept album about the extremely brutal and sadistic culture of ancient Rome.

The band added a new member on flute and saxophone. Keyboardist Leary Hasson also expanded his set of equipment to include mellotron and electric piano beside the organ and piano, something that made their sound even better. Producer Peter Bardens (of later Camel) also contributed with some percussion.

The opener “Prelude to the Arena” opens with some vibrating organ sounds that leads right into a surprisingly heavy part with screaming and partly narrative vocals from Hasson, followed by wild drumming and guitar. But it quickly slows down to a melodic and harmonic part before a beautiful theme played on flute appears, and here we also hear the first tones of the holy mellotron. The song then goes into a fast and catchy vocal part followed by a solo on el-piano and finally ends with the opening riff again. This is classic 70′s progressive rock at its best, and the high standard lasts for the rest of the album.

“Peace of Rome” is stuffed with themes that varies from mellow and beautiful to faster and more disharmonic stuff. The most complex track is undoubtedly the 13-minute “The Arena”. The lyrics on the record are naturally full of gladiators, violence, fights in the arena, martyrs and evil emperors, and the band manages to capture all this drama very well in the music. The 11-minute “Time Shadows” starts with some echoing narration that sounds exactly like what Michael Moorcock would do on Hawkwind’s superb “Warrior on the Edge of Time” four years later. After that, the track goes into a jam where new member Mandy Reidelbanch is allowed to stretch out on saxophone. This is very efficiently followed by some themes from “Peace of Rome” and “The Arena”. The album closes with “Spring” that is based around a nice melody on flute, but also features lots of chanting vocals and long duels between the two female flutists in the band.

Marsupilami would unfortunately broke up after “Arena”, but they left behind two obscure classics of 70s progressive rock.

Line-up:
- Mike Fouracre / drums, timpani, percussion
- Fred Hasson / lead vocals, percussion, harmonica
- Leary Hasson / piano, mellotron, tubular bells
- Richard Hicks / bass
- Dave Laverock / electric, acoustic, bowed guitars, percussion, vocals
- Jessica Stanley-Clarke / flute, saxophone, vocals

Track List:
01. Prelude To Arena – 5:21
02. Peace At Home – 6:58
03. Arena – 12:55
04. Time Shadows – 11:14
05. Spring – 9:14

Link in comments.

Marsupilami

Marsupilami – Marsupilami (1970) (@256)

04 Oct 2008

(Review from vintageprog.com)

Marsupilami were next to Gryphon the best band on Transatlantic. They played progressive rock with impressively advanced song structures for its time. With the exception of Genesis, King Crimson, Gentle Giant and some others, few bands surpassed Marsupilami when it came to complexity in 1970 (Yes hadn’t even figured out how to write 10-minute long epics yet).

The 11-minute instrumental “Ad Initio Ab Finem (The Opera)” is a striking example of their sound and style. The arrangements are full of organ, guitar and melodic flute. The themes, melodies and riffs are creative and inspired, just like the playing.

There are lots of interesting details and unexpected twists in all of the 5 long tracks on the album.

The closer “Facilis Descencus Averni” (both tracks on side 2 had Latin titles) starts with a theme that is repeated by the flute afterwards, but now played intentionally out of tune. The drummer often had a quite intense and furious style of playing, just check parts of the opener “Dorian Deep” and the swinging and upbeat instrumental passages of “Born to be Free”. There is also some occasional use of harmonica here. “And the Eagle Chased the Dove to its Ruin” is the most vocal oriented song on the record, but still maintains the complex song structures that dominates the other tracks on this strong and convincing debut.

Line-up:
- Mike Fouracre / percussion
- Fred Hasson / vocals, harmonica, bongos
- Leary Hasson / organ
- Richard Hicks / bass
- Dave Laverock / acoustic and bowed guitars, vocals

Track List:
01. Dorian Deep – 7:40
02. Born To Be Free – 5:45
03. And The Eagle Chased To Dove To It’s Ruin – 6:38
04. Ab Initio Ad Finem (The Opera) – 10:54
05. Facilis Descensus Averni – 9:37

Link in comments.

Marsupilami

Black Sabbath – Reunion (Live 1998) (@256)

03 Oct 2008

(Review from progarchives.com)

In late 1997, the original line-up of the band reunited. The recordings of the first two shows of the reunion tour at the Birmingham NEC, were released as this double live album “Reunion”. Along with live versions of tracks such as “Paranoid”, “N.I.B.”, “Black Sabbath” and “Iron Man”, it also features two new studio tracks – “Selling My Soul” and “Psycho Man”.

The band seem to be quite in a good shape for this reunion. The crowd is totally united with the band. Enthusisast and wild. Ozzy is very good in his leading role, exhorting the crowd with his typical coarse language throughout the set.

The impressive thing about this live release is not only the setlist, which is probably the best an early Sabbath fan could dream of but also the rendition of all these numbers. The feeling is really superb and obviously the band has a great pleasure to be on stage again in their original line-up and probably perform their repertoire like never before. In a completely different style and to releate this live album with one most of you know, it’s spirit can be compared to “Keys To Ascension” from “Yes”.

Naturally most of this double live album is made of songs from their first three albums. And that’s what the audience was exactly expecting. Four songs from their debut album : “Black Sabbath”, “The Wizzard”, “Behind the Wall of Sleep” and “N.I.B.”. The bulk of songs comes from “Paranoďd” of course. No less than five songs. The title track as encore as well as two of the best heavy metal songs ever written : “War Pigs” and “Iron Man”. Super mighty versions of these two incredible songs. But let’s not forget “Electric Funeral” and “Fairies”.

From “Master Of Reality” five songs as well of which the delicate “Orchid”. Completely lost into this ocean of pure, super heavy metal. But one of the many great versions here is a completely demential version of “Spiral Architect”. Phenomenally heavy although the original studio version was even featuring some strings. Nothing as such here, just a wild interpretation. Only “Snowblind” from “Volume Four” sits on this live album.

For the tracklist. For the atmosphere. For the renditions. For the nostalgia. Don’t miss it.

Line-up:
- Ozzy Osbourne / Vocals
- Tony Iommi / Guitar
- Geezer Butler / Bass
- Bill Ward / Drums

Track List:
CD1
01. War Pigs – 8:27
02. Behind the Wall of Sleep – 4:06
03. N.I.B – 6:44
04. Fairies Wear Boots – 6:19
05. Electric Funeral – 5:01
06. Sweet Leaf – 5:07
07. Spiral Architect – 5:40
08. Into the Void – 6:31
09. Snowblind – 6:07
CD2
01. Sabbath Bloody Sabbath – 4:36
02. Orchid – Lord of this World – 7:06
03. Dirty Women – 6:29
04. Black Sabbath – 7:29
05. Iron Man – 8:20
06. Children of the Grave – 6:30
07. Paranoid – 4:29
08. Psycho Man – 5:19
09. Selling My Soul – 3:09

Link in comments.

Bill Ward, Black Sabbath, Geezer Butler, Live, Ozzy Osbourne, Tony Iommi

Lightshine – Feeling (1976) (@256)

03 Oct 2008

(Review from progarchives.com)

Lightshine is a very unknown but great band, formed in Emmerich. They played very trippy and beautiful music pieces, in the style of Amon Duul II, Eloy, with a little touch of Led Zeppelin, Genesis and Pink Floyd.

In 1973, they released their sole album, Feeling. It features great epic floating long pieces, mostly dominated by electric floating guitar and alternates relaxing and catchy passages.

The album opens with “Sword of the Sky”, a very trippy beatiful song which makes immediately the listener fly in space. The guitar sound resembles to the Zep’s “No Quarter”. Then the song becomes more energic to let appear a surprising but very good flute solo in the vein of Jethro Tull.

“Lory” is a reprise of Grieg’s “In the Hall of the Mountain King” with spacey guitar and rock vocals. After comes “Nightmare”, a feeric symphonic prog song features pure krautrock sounds, with many changements and sometimes reminiscent of Eloy.

“King and Queen” is the second long piece of the album. This tune is sad, enchanting, and transports you to the middle-age. The album ends with the title track, a very relaxing song with smooth vocals.

Line-up:
- Joe / guitar, vocals
- Ulli / guitar, flute, vocals
- Olli / synthesizer
- Wolfgang / bass
- Egon / drums

Track List:
01. Sword In The Sky – 4:49
02. Lory – 5:28
03. Nightmare – 10:29
04. King And Queen – 13:39
05. Feeling – 7:34

Link in comments.

Garybaldi – Astrolabio (1973) (@256)

03 Oct 2008

(Review from progarchives.com)

With their second album, Garybaldi confirm the direction they had taken with the sidelong suite from their debut album. A very short track list as only two of them lasting each their own vinyl side.

Mother Of Lost Causes starts off as a very spacey-sounding exploration, but soon develops superbly what they had promised with the Moretto Da Brescia pinnacle of Nuda. Simply superb double-tracked guitar wailing somehow reminding more of Robin Trower (another Hendrix-ey connection) and very abruptly ended by an almost sonar- echoed repeating key that is reminiscent of a great Argent track.

The second track is recorded live and is kick-arse rock’n roll (sometimes sounding a bit like Hendrix’s Voodoo Chile played by Trower) and some wild KB-guitars (Purple-like) call and response. This track is not quite as progressive as the previous one, but shows another facet (improvising) of the group.

A great album, this lengthy solo feast is never over-indulgent or gratuitous heroics and in its genre is a textbook example of its own.

Line-up:
- Bambi Fossatti / guitars, vocals
- Angelo Traverso / bass
- Maurizio Cassinelli / drums, vocals
- Lio Marchi / keyboards

Track List:
01. Madre di cose Perdute – 20:28
02. Sette? – 21:25

Link in comments.

Bambi Fossati, Garybaldi, Maurizio Cassinelli

Black Sabbath – Forbidden (1995) (@256)

03 Oct 2008

(Review from metal-archives.com, wikipedia)

Following Butler’s departure, Iommi reinstated former members Neil Murray on bass, and Cozy Powell on drums, effectively reuniting the Tyr lineup. The band enlisted Body Count guitarist Ernie C to produce the new album. The resulting album, “Forbidden” received end of some rather harsh criticism, mostly due to its extremely rough production and complete departure from the more melodic sound present on the previous Tony Martin era releases.

Stylistically this album is a combination of the Deep Purple inspired attentiveness to melodic and catchy hooks that has been present throughout the Tony Martin era, and some of the creepy sounding elements that can be found “Born Again” and some of the earlier Ozzy Osboure era material. “Illusion of Power” is probably the spookiest sounding of the lot, containing a dissonant main riff that is comparable to “Disturbing the Priest” as well as the title track to the Eternal Idol release. Ice-T’s spoken narration is actually quite fitting and complements the song well. “Rusty Angels” is much lighter sounding up-tempo song; the main riff sounds like it could have been used on the “Seventh Star” release.

Things really pick up a notch with “Get a Grip”, which has a main riff that is heavily reminiscent of “Zero the Hero”, not to mention some exceptional lead breaks that take me back to the glory days of the Dio era. This one also has a great speed section for the closing with Cozy Powell going steady on the double bass drum. “Shaking off the Chains” is our token groove song for this release, having a repetitive yet fun very set of verses and refrains. Groove can be quite fun when it’s kept in moderation, and thankfully Black Sabbath understood this better than the pioneers of the 90s groove style that would write entire albums of the stuff.
“I Won’t Cry For You” sounds the most like the material on the Headless Cross album. It’s not quite as riveting as “When Death Calls”, but it qualifies as a new classic for the Tony Martin years. “Kiss of Death” is the token epic and has a soft guitar intro reminiscent of “Nightwing”, although Tony Iommi doesn’t go nuts and let it all loose the way he did on that masterpiece. “Guilty as Hell” and the title track are both mid-tempo songs with sections similar to such memorable riff monsters as “Jerusalem”, “Kill in the Spirit World” and “Call of the Wild”. “Sick and Tired” is more of a blues driven number and has a good amount in common with Headless Cross b-side “Cloak and Dagger”.

“Forbidden” proved to be the last studio album under the “Black Sabbath” moniker. Iommi put the band on hiatus after the album’s tour, eventually disbanding the line-up in 1997.

Line-up:
- Tony Martin – vocals
- Tony Iommi – guitars
- Neil Murray – bass
- Cozy Powell – drums
- Geoff Nicholls – keyboards
with
- Ice T – vocals (1)

Track List:
01. The Illusion Of Power – 4:54
02. Get A Grip – 3:59
03. Can’t Get Close Enough – 4:28
04. Shaking Off The Chains – 4:04
05. I Won’t Cry For You – 4:48
06. Guilty As Hell – 3:28
07. Sick & Tired – 3:31
08. Rusty Angels – 5:00
09. Forbidden – 3:49
10. Kiss Of Death – 6:09

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Black Sabbath, Cozy Powell, Neil Murray, Tony Iommi

Garybaldi – Nuda (1972) (@256)

02 Oct 2008

(Review from progarchives.com)

Italian quartet Garybaldi’s first album opens with a track close to Hendrix’s fire track with the exception of keyboard work. Similarly the second track lays heavily in its introduction to “And The Gods Made Love” and veering towards the psychedelic “Mermaid I Shall Be” track both from Electric Ladyland.

With the February 26, 1700 track, we now enter the world of Garybaldi and a definitely more Italian feel to it even if the afore-mentioned influences (“The Wind Cries Mary”) are still present, this is really one of their artistic peak, with all the drama a proghead could wish for and superb piano/organ duo to go along.

The sidelong suite of the second side is clearly the highlight of the album, with lengthy instrumental guitar passages but perfectly supported by Traverso’s bass, and the regularly changes in keyboards from Marchi. Here again the Hendrix influences are present but very much more discreet and the group approaches perfection mixing classical prog and fuzzy and Wah-Wah guitars. If one the first vinyl side, the vocals (sung in Italian) had Hendrixy tinges, with this track, they take on a much more Italian delivery and this is what they do best.

Also notable is the astounding and complex artwork by future Italian comix superstar Guido Crepax.

Line-up:
- Bambi Fossatti / guitars, vocals
- Angelo Traverso / bass
- Maurizio Cassinelli / drums, vocals
- Lio Marchi / keyboards

Track List:
01. Maya Desnuda – 6:08
02. Decomposizione,Preludio e Pace – 1:55
03. 26 Febbraio 1700 – 7:17
04. L’ultima Graziosa – 5:19
05. Moretto da Brescia-Goffredo – 6:15
06. Il Giardino del Re – 9:16
07. Dolce come sei tu – 5:19

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Bambi Fossati, Garybaldi, Maurizio Cassinelli

Gift – Blue Apple (1974) (@256)

02 Oct 2008

(Review from rateyourmusic.com, planetmellotron.com)

Helmut Treichel left in 1973 and was replaced with Dieter Atterer.

Blue Apple, Gift’s second and last album, reaches further than their fuzzy, trippy debut, attempting more progressive flourishes with the addition of keyboards. Frei’s mellotron is apparent from the off, with a ‘Tron flute melody running through the title track, and strings on the other credited tracks.

The music is typical mid-70s mix of lighter and heavier rock, with a noticeable blues base and rampaging organs and guitars are all over. The high speed Purple/Heep-ish “Everything’s Alright” is even complete with Speed King-style classical organ intro.

Line-up:
- Uwe Patzke / bass, vocals
- Rainer Baur / guitar
- Hermann Lange / drums, percussion
- Dieter Frei / organ, piano, moog, mellotron, vocals

Track List:
01. Blue Apple – 4:16
02. Rock Scene – 3:49
03. Don’t Waste Your Time – 4:05
04. Psalm – 4:00
05. Everything’s Alright – 4:35
06. Got To Find A Way – 6:44
07. Reflections – Part 1 – 3:20
08. Reflections – Part 2 – 3:50
09. Left The Past Behind – 6:01

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Gift

Black Sabbath – Cross Purposes Live (1995) (@256)

01 Oct 2008

(Review from amazon, rateyourmusic.com)

Comprising material from all three main formations of Sabbath, this live album puts to bed the one remaining problem Sabbath had – a live album covering the Martin era. Recorded at Hammersmith Apollo, London, April 13th, 1994 during the tour of the “Cross Purposes” album; this album is the only live album the band featuring Tony Martin.

The album includes songs off the latest Sabbath installment, as well as a couple of tunes from The Headless Cross, as well as the obligatory Dio and Ozzy era songs. Even though the majority of the fans believe he is no match for the Ozzy tracks, he gives them a shot and does so brilliantly, his voice complements them making songs like Paranoid and Iron Man highlight tracks as he oozes enthusiasiam in attempt to get the crowd screaming for more.

Tony Martin is definitely no wild man like Ozzy, but his melodic approach is what makes this live album interesting.

Line-up:
- Tony Iommi / Guitar
- Geezer Butler / Bass
- Geoff Nicholls / Keyboards
- Tony Martin / Vocals
- Bobby Rondinelli / Drums

Track List:
01. Time Machine
02. Children of the Grave
03. I Witness
04. Into the Void
05. Black Sabbath
06. Psychophobia
07. The Wizard
08. Cross of Thorns
09. Symptom of the Universe
10. Drum Solo
11. Headless Cross
12. Paranoid
13. Iron Man
14. Sabbath Bloody Sabbath

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Black Sabbath, Bobby Rondinelli, Geezer Butler, Tony Iommi

Gift – Gift (1972) (@256)

01 Oct 2008

(Review from rateyourmusic.com, Crack in the Cosmic Egg)

Originating in Augsberg circa 1969 as a school band named Phallus Dei, after ill-fated attempts to get a record contract they changed their name to Gift and adopted a straighter hard-rock style.

Their selftitled debut album is comprised eight songs with no flutes, no woodwinds and no keyboards, just plain hard guitar riffs, to be compared to Hairy Chapter. Thick, acidic guitars, hard charging riffs. “Game Of Skill”, “Drugs” and especially “Bad Vibrations” all feature great, aggressive feels and sounds.

Line-up:
- Uwe Patzke / bass, vocals
- Rainer Baur / guitar
- Helmut Treichel / vocals
- Hermann Lange / drums, percussion

Track List:
01. Drugs – 5:20
02. You’ll Never Be Accepted – 6:42
03. Groupie – 3:17
04. Time Machine – 3:16
05. Game Of Skill – 5:34
06. Don’t Hurry – 5:12
07. Your Life – 4:39
08. Bad Vibrations – 3:38

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Gift

Jody Grind – Far Canal (1970) (@256)

01 Oct 2008