Freedom to Music
Archive for April, 2009
Il Volo – Essere O Non Essere (1975) (@256)
24 Apr 2009
(Review from progarchives.com)
Having warmed up with their namesake debut album one year earlier – an album with lots of acoustic stuff and some subtle hints of symphonic progressive -, now Il Volo was prepared to create and record their magnum opus, “Essere o Non Essere? Essere! Essere! Essere!”.
The material contained in this album shows a band determined to explore new grounds, enhancing their progressive side while strongly adopting a fusion-esque approach, something that allowed to show their prowess and skill as instrumentalists. The focus is not in exhibitionism, but in expanding the basic musical motifs all along well crafted jams where each individual member of the ensemble interacts fluidly with the others. You can tell that there are two guitarists and two keyboardists in the fold, but none of them plays the game of competition; the jamming is enthusiastic and tireless, but never self-indulging in unnecessary excesses – all this produces a musical result that feels genuinely fresh, containing a complexity that is never showed off.
The sign of the band’s new era is clearly drawn in the first two tracks: both “Gente in Amore” and “Canto di Lavoro” even include some hints of Arabic- like harmonics in some exotic keyboard layers and percussive adornments, while Radius’ guitar leads and Olov’s demanding bass lines assume a prominent role in the band’s sound. The only sung number in the album (and not abundant lyrics) in ‘Essere’, the only piece that somewhat reminds us of the debut album’s straightforward romantic spirit; but it is the jazzy guitar and electric piano stuff, together with Dall’Aglio’s drumming labour, that keep the song well integrated with the album’s overall spirit.
The impressive “Alcune Scene” is the album’s highlight: here is the best jamming, the most captivating eerie synth layers, the most intricate time signatures, and the best ordained dialogues between the lead guitar and the Fender piano. The use of slow preludes and interludes that somewhere along the road give way to more upbeat sections is reiterated in the remaining two numbers, not as brilliantly, but with the same amount of class and skill. One of the most effective ingredients in the fast sections is the complementation between bass and clavinet, which provides an additional air of sensitivity to the rhythm section – once again, the musicians’ ability to function together as an ensemble where each piece works as an integral companion of the other proves crucial for the build-up of the band’s sound.
Few albums blend compositional skills, traditional symphonic structures and jazzy improvisation so effectively. It sure makes you wish they had stayed together for three or four more albums.
Line-up:
- Alberto Radius / guitar, vocals
- Vince Tempera / keyboards
- Gabriele Lorenzi / keyboards, vocals
- Bob Callero (Olov) / bass
- Gianni Dall’Aglio / drums, vocals
- Mario Lavezzi / guitar, vocals
Track List:
01. Gente In Amore – 5:04
02. Medio Oriente 249000 Tutto Compreso – 5:49
03. Essere – 4:01
04. Alcune Scene – 6:18
05. Svegliandomi Con Te Alle 6 Del Mattino – 5:20
06. Canti E Suoni – 4:25
Link in comments.
Il Volo – Il Volo (1974) (@256)
23 Apr 2009
(Review from progarchives.com)
Usually described as a “supergroup”, Il Volo was a studio band formed by very popular musicians all coming from famous bands: Alberto Radius and Gabriele Lorenzi from Formula Tre, Mario Lavezzi from FLORA FAUNA CEMENTO and Camaleonti, Bob Callero from Osage Tribe and Duello Madre, Gianni Dall’Aglio from Ribelli, along with composer Vince Tempera who also had his own band Pleasure Machine.
Il Volo’s first album is an easy to digest work for anyone. Aside from the Italian language singing, this album is more conventional progressive than others in the genre. Nice melodies, laid back vocals, smooth electric guitar solos, some acoustic guitars, and less weird keyboard. The percussion and bass are hard hitting and the sound quality is outstanding.
Unlike some of the more complex Italian albums, Il Volo may be a good starting point for newbies to the genre. If you’re looking for one to try out that isn’t too weird or wild, this album will deliver a solid rock experience and give you a little taste of the Italian scene.
Line-up:
- Vince Tempera / piano, electric piano, clavinet
- Alberto Radius / electric guitar, acoustic guitar, electtric sitar, vocals
- Roberto Callero / bass
- Mario Lavezzi / acoustic guitar, 12 string guitar, electric guitar, electric mandolin, vocals
- Gabrile Lorenzi / organ, moog
- Gianni Dall’Aglio / drums, percussion, vocals
Track List:
01. Come Una Zanzara – 4:29
02. La Mia Rivoluzione – 3:53
03. Il Calore Umano – 4:44
04. Il Canto Della Preistoria (Molecole) – 4:37
05. I Primi Respiri – 3:53
06. La Canzone Dei Nostro Tempo – 4:16
07. Sonno – 4:11
08. Sinfonia Delle Scarpe Da Tennis – 2:58
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Iron Butterfly – Sun And Steel (1976) (@256)
22 Apr 2009
(Review from progarchives.com)
This swansong from Iron Butterfly is an improvement over their previous.
The title and opening song is particularly well crafted: excellent vocals, fine melody with some superb instrumentation. Sun & Steal is one of their true progressive tracks in all their career. A highlight!
This album as a whole though is more of a hard-rocking affair; something typical for the date of release. Some strong and powerful tracks (Lightnin’) combined with some syrupy rock ballads like hard-rocking bands were keen to write (Beyond The Milky Way, Watch The World Going By).
A certain New York Dolls flavour is also noticeable during the rock’n'roll Free or Get It Out. But there will still be a heavy rock one for the nostalgic old fans (Scion).
The influence of the new keyboard player (Bill De Martinez) is clearly marked on the very good I’m Right, I’m Wrong: after a symphonic opening, he will develop a fine atmospheric play to get along with this traditional rock number. It is the second highlight from this enjoyable album.
The closing number is another fine song from this offering. A very performing rock ballad which holds a great guitar furry in the middle part. It is bizarrely called Scorching Beauty (title of their previous album).
From 1977 on, Lee Dorman took over the Iron Butterfly moniker and has led several lineups since then, occasionally playing gigs — yet to release a studio album as of April 2009.
Line-up:
- Erik Braunn / guitar, vocals
- Ron Bushy / drums, vocals
- Phil Kramer / bass, vocals
- Bill DeMartinez / keyboards, vocals
Track List:
01. Sun And Steel – 4:00
02. Lightnin’ – 3:02
03. Beyond The Milky Way – 3:38
04. Free – 2:41
05. Scion – 5:02
06. Get It Out – 2:53
07. I’m Right, I’m Wrong – 5:27
08. Watch The World Going By – 2:59
09. Scorching Beauty – 6:43
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Iron Butterfly – Scorching Beauty (1975) (@256)
21 Apr 2009
(Review from progarchives.com)
When Iron Butterfly broke up in 1971 after a brief but significant existence, it seemed the band was finished. In 1975 however, guitarist Eric Braunn and drummer Ron Bushy got a band together, using the Iron Butterfly name for obvious marketing reasons, and recorded two further albums for MCA records. “Scorching Beauty” was the first of these albums.
The album contains nine 3-5 minute songs which are reasonably diverse. It falls between the group’s heavy acid rock and mid-70s arena rock conventions.
The opening “1975 overture” is not particularly impressive musically aside from the chanted vocals and Celtic influences. “Hard Miseree” has a too familiar Hawkwind-style riff and a too brief organ. There are also a couple of songs resembling Three Dog Night, especially the insipid ballad “Searchin’ Circles” sails rather too close to TDN’s “Going in Circles”. Crosby, Stills & Nash like “Pearly Gates” is slightly more interesting with its alternating tempos, co-written by a certain Yes’ Jon Anderson. The closing “Before You Go” may be named as the album highlight with its excellent Hot Tuna like guitar work and drumming.
This album is for the hardcore Iron Butterfly fans who would like to take a look at a “spin-off” of the band in the mid-70s. Don’t expect a follow-up to the glorious days of the group’s late 60s period and you won’t be disappointed.
Line-up:
- Erik Braunn / guitar, vocals
- Ron Bushy / drums, vocals
- Phil Kramer / bass, vocals
- Howard Reitzes / keyboards, vocals
Track List:
01. 1975 Overture – 4:19
02. Hard Miseree – 3:42
03. High On A Mountain Top – 4:02
04. I Am Down – 5:22
05. People Of The World – 3:23
06. Searchin’ Circles – 4:38
07. Pearly Gates – 3:25
08. Lonely Hearts – 3:14
09. Before You Go – 5:35
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Iron Butterfly – Ball (1969) (@256)
20 Apr 2009
(Review from wikipedia)
After the enormous success of “In-A-Gadda-Da-Vida”, Iron Butterfly modified its acid-rock sound somewhat and experimented with shorter, more melodic compositions in their third album. The overall mood is also more soul oriented. The production and the overall sound quality are much better than on their two previous releases and the music is more polished.
The heavy psychedelia is always part of their sound and as such, the highlight of the album is the opener “In The Time Of Our Lives”. They keep on with the music that was so influential to Mark I (Purple). While being a heavy track, it is a middle tempo one with a fine melody sustained by languishing keyboards.
The band’s trademark heavy guitars are still evident on such tracks as “In the Time of Our Lives” and “It Must Be Love”. With “Real Fright” the band goes back to its garage root, rocking with basic psychedelia. “Belda-Beast” has a Doors flavor, mainly due to the organ sound and burlesque mood.
“Ball” was received with mixed reactions at its time, both due to the high expectations after the huge success of “In-A-Gadda-Da-Vida” and the more soul oriented sound.
Line-up:
- Doug Ingle / keyboards, vocals
- Erik Brann / vocals, guitar, bass guitar
- Ron Bushy / drums, guitar
- Lee Dorman / bass guitar, drums
Track List :
01. In The Time Of Our Lives – 4:52
02. Soul Experience – 2:53
03. Lonely Boy – 5:00
04. Real Fright – 2:45
05. In The Crowds – 2:13
06. It Must Be Love – 4:26
07. Her Favorite Style – 3:15
08. Filled With Fear – 3:47
09. Belda-Beast – 5:45
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Iman Califato Independiente – Camino Del Aquila (1980) (@256)
17 Apr 2009
(Review from progarchives.com)
‘Camino del Aguila’ is the band’s second and final offering, also their most inspired one. Following in the same vein than its predecessor – Flamenco oriented symph progressive, with lots of influences from Camel, 76-78 era Genesis and Return to Forever, the instrumental ensemble works fluidly in a well-oiled manner, and the level of performance is superb and full of ravaging finesse.
A new bass player entered the band, Urabno Moraes (from Uruguay), who delivers a prominent sound in his axe, not restricting it to a mere complement to Guerrero’s drumming, but also letting it come to the fore sometimes in order to supply additional melodic lines as a counterpoint to the guitar and synth solos. The remaining original members keep loyal to their own stylings: Guerrero and Mantero display theri jazzy sensibilities, while guitarrist Rodriguez recycles his influences (mostly Hackett and Latimer, but also some Frippian textures too) with Flamenco colours.
This second album also consists of 4 tracks, this time evenly distributed on both sides of the vinyl. The album opens with a mid-tempo rhythm delivering strong interplay with a Morish undertone between electric guitar and synthesizer and propulsive percussion. Then an exciting build-up from a sultry climate to a gradually more dynamic atmosphere with mindblowing work on a fat sounding synthesizer and fiery guitar with howling runs, supported by a lush string-ensemble sound, very compelling. “Maluquinha” follows, in a swinging rhythm again we can enjoy the Andalusian Carlos Santana, accompanied by exciting percussion and a fluent synthesizer solo.
The titletrack sounds very alternating with an awesome rhythm-section, great interplay between guitar and synthesizer (like Iceberg) and lots of interesting musical ideas, from a howling, Morish inspired guitar solo and a catchy rhythm with strong interplay between all musicians to guitar work in the vein of Steve Howe on Relayer (Yes) and a flashy synthesizer solo.
The album’s closing track is incarnated by the only sung track of the album, a delicate acoustic ballad entitled ‘Ninos’, a brief meditation on the passage of time: the delicate synth solos shine like sparkles from the last star you see in the sky before the arrival of dawn, and the eerie ambience of this track may remind the listener of Yes at its most intimate.
Line-up:
- Kiko Guerrero / drums, percussion
- Marcos Mantero / keyboards
- Urbano Moraes / bass, percussion, chorus
- Manuel Rodriguez / vocals, guitars
with
- Ruben Dantas / percussion (2)
- Dierdre Fallon / chorus (4)
Track List:
01. La Marcha De Los Enanitos – 10:36
02. Maluquinha – 6:37
03. Camino Del Aguila – 14:09
04. Ninos – 3:07
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Iman Califato Independiente – Iman Califato Independiente (1978) (@256)
16 Apr 2009
(Review from progarchives.com)
The Spanish progressive rock quartet Iman Califato Independiente has its origins at a convention, given by the meditation guru Maja-raj-ji, in the mid-70s. Like genuine hippies, the musicians lived together in a house in El Puerto and eventually they founded the band and in 1978 recorded this debut album.
Side A of the original vinyl is filled by the “Tarantos Del Califato Independiente” 20-minute epic track. The title points at a strong rhythm in the flamenco music. First a wonderful string- ensemble sound in a sultry atmosphere with twanging guitars and electric guitar play with a strong Morish undertone. Then lots of shifting moods with great guitar-synthesizer interplay (evoking Iceberg) and exciting soli on guitar and synthesizer, a piece with lots of percussion. The final part delivers a slow rhythm with a beautiful and very sensitive electric guitar solo, accompanied by a lush string-ensemble sound, goose bumps!
Side B opens with “Darshan”, Again those wonderful strings, followed by great interplay between guitar and synthesizer with the support of a very adventurous rhythm-section. Next a howling guitar solo and an accellaration with fat, pitchbend driven synthesizer flights and a duel between guitar and synthesizer in a captivating atmosphere.
“Cerro Alegre”‘s intro delivers fragile piano work and sensitive twanging classical guitar, then a swinging rhythm with sparkling piano and flamenco rhythm guitar. Halfway a fiery guitar joins, supported by a powerful bass and subdued harpsichord runs. Next a part with bluesy Fender Rhodes electric piano that gradually changes into an exciting interlude with a guitar solo that sounds like the Andalusian Carlos Santana (Caravanserai-era) and culminates in a swinging rhythm.
The fourth and the last track, “Cancion de la Oruga” is a beautiful piece that starts with dreamy twanging classical guitar, soaring keyboards and warm vocals, then a mid-tempo featuring fat synthesizer runs with a Morish undertone and propulsive percussion.
This is a very exciting fusion of flamenco, progressive and jazz-rock.
Line-up:
- Inaki Egana / bass and vocals
- Kiko Guerrero / drums
- Marcos mantero / keyboards
- Manuel Rodrigue / guitar
Track List:
01. Tarantos Del Califato Independiente – 20:28
02. Darshan – 8:33
03. Cerro Alegre – 7:38
04. Cancion De La Oruga – 5:35
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Judee Sill – Live In London (BBC Recordings 1972-1973) (@256)
15 Apr 2009
(Review from allmusic)
It’s wonderful to finally have an official release of the late Judee Sill’s recordings done for the BBC during 1972 and 1973. They have been bootlegged for years, passed from person to person among the — then few — faithful on ragged umpteenth-generation cassettes.
There is repetition in these recordings, especially the material from her debut album. And for whatever reason, the producers have broken up the actual concert sessions, interweaving them for what one presumes are aesthetic reasons. In other words, the songs recorded for the “BBC’s In Concert” (with Sill playing solo on guitar and piano) are interspersed with one cut from its program “In Session with Bob Harris” recorded two weeks later. The other cuts from the Harris sessions are intercut with another “In Concert” program recorded a year later. It doesn’t matter musically, but it may to those rather serious archivists who prefer to listen to things chronologically.
The set flows beautifully. The earlier version of “Enchanted Sky Machines” (it’s here twice, as are “Jesus Was a Cross Maker” and “The Kiss,” while “Down Where the Valleys Are Low” appears three times), with its gospel piano riffing, is utterly moving and delightful. Likewise, Sill’s guitar playing is far more sophisticated than is displayed on her studio offerings (check the 1973 version of “There Is a Rugged Road”). Subsequently, “The Kiss”, freshly written a bit before these concerts, makes its first recorded appearances here, before the “Heart Food” album was recorded. The vocal performances from 1973 tend not to be as strong — they are wispier, less authoritative, more tentative. But, as Sill comments in one introduction, she says she has a sore throat, which may be the reason. But in 1973, the sheer excitement of her first two appearances wasn’t missing — which does not mean the songs suffer; they are just more melancholy, which adds different twists to their meanings, especially on the final version of “The Kiss”. It’s heartbreaking. There is also a track here that includes a nearly five-minute interview with Harris, which does add to rather than subtract from the authority of this set of music.
This is about all of it now; there is very little left to issue as the story bleeds into pop history. Hopefully, the musical shelf that now exists will add weight and heft to the true and visionary contribution that Judee Sill brought to the entire Laurel Canyon scene of the early 70s.
Track List:
01. Jesus Was A Crossmaker – 3:49
02. Lady-O – 4:14
03. The Lamb Ran Away With The Crown – 3:57
04. Enchanted Sky Machines – 4:48
05. The Kiss – 4:21
06. Down Where The Valleys Are Low – 5:56
07. There’s A Rugged Road – 4:22
08. The Phoenix – 3:18
09. The Donor – 6:27
10. Soldier Of the Heart – 4:12
11. Interview – 4:42
12. Enchanted Sky Machines – 4:10
13. The Kiss – 3:58
14. Down Where The Valleys Are Low – 4:53
15. The Phoenix – 2:30
16. Jesus Was A Cross Maker – 3:26
17. The Kiss – 5:04
18. Down Where The Valleys Are Low – 4:16
Links in comments.
Judee Sill – Dreams Come True (1974) (@256)
13 Apr 2009
(Review from allmusic)
When singer/songwriter Judee Sill died at the age of 35, she had issued two albums under her own name. Her brand of folk music was enigmatic, full of light breeziness, nicely orchestrated (she wrote the charts herself), and drenched in a natural world mysticism that was more ethereal than the standard California fare of the early ’70s.
She had another one more or less in the can, recorded in 1974, but it was never finished or released. “Dreams Come True” is that lost third album, with the finished mix done in 2004, 30 years after the album was shelved. The album also bonus tracks in the form of demos and rehearsals, and a second disc entitled “Lost Songs”, recorded in Tommy Peltier’s home studio and in his living room, which includes nine unreleased tracks.
The musical — and production — quality on Dreams Come True is high, given that it was recorded in a professional studio. Sill had been fully in possession of her muse when making it. Sill and Art Johnson did the musical charts, and she and Marc McLure arranged the vocals. Those familiar with her first two offerings will find this to be deeper in the vein, fleshed out, more focused. Sill could write hooks as well as she could write words, and these tracks, particularly “That’s the Spirit”, “The Living End” and “Til Dreams Come True” are moving emotionally, while not being at all mopey. They are jaunty and full of a sun-drenched airiness that stood out, even when the subject matter — as spiritual as much of it was — was melancholy. Sill never beat a lyric of a tune over the head.
Disc two is, naturally, much rougher. This is for the fans, the hardcore devotees who feel there was never enough out there. Some of these tunes have appeared in various guises as bootlegs, but these versions are cleaner, though there are almost no credits for the other musicians on the sessions. “Dead Time Bummer Blues” is a fully realized outing, while “Sunny Side Up Luck” is barely a sketch. The stunner on the set is the acoustic home recording of “Emerald River Dance”. Its starkness and unpolished beauty are intoxicating, and give the listener a true portrait of the artist in an intimate environment.
This is a treasure box for Judee Sill fans.
Track List:
CD1
01. That’s The Spirit – 4:18
02. I’m Over – 3:38
03. Apocalypse Express – 2:48
04. The Living End – 3:01
05. Things Are Lookin’ Up – 3:17
06. The Good Ship Omega – 3:28
07. Last Resort – 2:33
08. Til Dreams Come True – 3:29
09. Living End (Studio Demo) – 4:08
10. I’m Over (Studio Demo) – 4:20
11. Til Dreams Come True (Instrumental) (Studio Demo) – 3:24
CD2
01. Dead Time Bummer Blues – 2:30
02. Sunny Side Up Luck – 5:06
03. Emerald River Dance – 3:10
04. Waterfall – 3:09
05. North County – 3:12
06. Farmer’s Daughter (The Chickens in the Garden) – 1:10
07. The Wreck of the FFV (Fast Flying Vestibule) – 3:13
08. Miles – 2:01
09. Oh Boy The Magician (Instrumental) – 5:10
Links in comments.
Judee Sill – Heart Food (1973) (@256)
13 Apr 2009
(Review from allmusic)
The second album of Judee Sill made proved to be her last.
A notoriously slow songwriter, this brief though enjoyable outing took its toll on Sill during its making, turning her back to her recently kicked heroin addiction and away from the desire to create more music. Instead of using an outside arranger for the strings (as she did on her previous album), Sill did all of the work herself. Her lack of formal training and the immense amount of orchestral overdubs certainly would have made such an outing a hardship for anyone.
The album doesn’t suffer much from its sometimes syrupy exterior, though — the songs are almost as strong as any of those from her debut. To wit, “Heart Food” suffers only in comparison to its predecessor; otherwise, it’s a stellar example of the kind of singer/songwriter fare the music industry was mining in the early 70s. The supporting cast of top studio musicians solidifies Sill’s unique brand country-flavored pop, which moves from introspective meanderings to loping rock, often within a single song.
Track List:
01. There’s A Rugged Road – 3:44
02. The Kiss – 4:36
03. The Pearl – 1:55
04. Down Where The Valleys Are Low – 3:52
05. The Vigilante – 3:50
06. Soldier Of The Heart – 3:34
07. The Phoenix – 2:37
08. When The Bridegroom Comes – 4:14
09. The Donor – 7:54
10. Jig – 1:03
11. The Desperado (Outtake) – 3:57
12. The Kiss (Solo Demo) – 4:12
13. Down Where The Valleys Are Low (Solo Demo) – 4:49
14. The Donor (Solo Demo) – 4:43
15. Soldier Of The Heart (Solo Demo) – 3:06
16. The Phoenix (Solo Demo) – 2:29
17. The Vigilante (Solo Demo) – 3:44
18. The Pearl (Solo Demo) – 1:58
19. There’s A Rugged Road (Solo Demo) – 3:42
20. The Donor (Alternate Mix) – 7:50
Links in comments.
Pavlov's Dog – Lost in America (1990) (@256)
12 Apr 2009
(Review from progarchives.com, allmusic)
After Pavlov’s Dog’s break-up in 1978, Surkamp and Rayburn re-formed the band briefly in the late 80s with an otherwise new lineup, releasing the album “Lost in America” in 1990.
“Lost in America” has little resemblance to what Pavlov’s Dog was about in the 70s. The album sounds streamlined, has the 80s AOR feel — with very faint traces of progressive. The violin has been replaced by a sax but these parts don’t add essential melodies to the songs.
What does resemble is the wonderful voice of David Surkamp. Although he sings in a lower tone than he use to, he is still a joy to listen to. The band retains their talent for writing emotional ballads like “You & I”, “Pantomine” or “Brown Eyes”.
This edition of the album has an abundance of bonus live tracks to accompany the original album.
Line-up:
- David Surkamp / voice, 6 & 12 string guitar
- Doug Rayburn / keyboards
- Michele Isam / voice, tenor, Alto & Soprano saxophones
- Robert Lloyd / bass guitar
- Frank Kriege / drums
Track List:
01. Lost in America – 3:59
02. a Hardly Innocent Mind – 4:49
03. Don’t Rain on Me – 3:47
04. Not by My Side – 3:06
05. Pantomime – 5:22
06. Breaking Ice – 4:34
07. You and I – 3:38
08. All Night – 3:22
09. As Lovers Do – 4:48
10. Brown Eyes – 5:42
11. Late November (Bonus Live 1990) – 3:20
12. You & I (Bonus Live 1990) – 4:17
13. Brown Eyes (Bonus Live 1990) – 5:44
14. Subway Sue (Bonus Live 1990 Unplugged) – 4:13
15. If We Never Meet Again (Bonus Live 2005) – 3:04
16. Angels Twilight Jump (Bonus Live 2005) – 6:22
17. Suzanne I Love You (Bonus Live 2006) – 4:30
18. Don’t Rain On Me (Bonus Live 2006 Unplugged) – 4:36
Links in comments.
Pavlov's Dog – Has Anyone Seen Sigfried (1977) (@256)
11 Apr 2009
I’m deleting the old “Third” album post, since this new release finally gives the treat the album deserves.
(Review from various internet sources)
Carver left the group after the tour for the second album, leading the band to provisionally title their third album “Whatever Became of Siegfried?”. The original planned cover art was a wonderful drawing of an overhead view of Sherlock Holmes (in classic deerstalker hat) and Watson being led down a foggy London street by an English pit bulldog that just happens to look exactly like the dog in the woodcut on Pampered Menial, which became the band’s logo. The cover of the album that was eventually released was a humorous black and white drawing of the group. The name “St. Louis Hounds” and the drawings of the band members on the album were borrowed from a comic strip about Pavlov’s Dog that ran in the magazine, New Musical Express, during the band’s heydey.
But due to poor sales of the first two albums, Columbia Records refused to release it, hastening the band’s split. Each member of the band received a 1/4″ reel-to-reel tape copy of the master to take home after the album was completed. Several members of the band bootlegged the third album on vinyl over the years (the most notable being the “St. Louis Hounds” version), and the worldwide bootleg CDs are bootlegs of these original vinyl bootlegs. The third album were finally released on CD by a German label called TRC in 1994 under the title Third. Finally in 2007, the album had an official release with its originally intended title and a differing track order than the “Third” release.
The curious title Has Anyone Here Seen Sigfried is a reference to original violin player Sigfried Carver, who left Pavlov`s Dog after the first album, and vanished not to be seen any more.
Even though “Has Anyone Here Seen Sigfried” was never really finished, the material’s actually more memorable than on its predecessor. It’s also slightly more mainstream, with tracks like Trafalger (nice spelling!) and Suicide sounding familiar on replaying. Rayburn’s Mellotron work is clustered around the middle of the album, with heavy strings, plus occasional choir and flutes on tracks 4-7, with maybe the best use being the string part on the lush, instrumental While You Were Out. Songs like “Only You” or “Jenny” breath the spirit of “Pampered Menial”.
The bonus tracks contain a rare and previously unreleased compilation of live and studiorecordings from 1974 to 1977.
Line-up:
- David Surkamp / vocals
- Douglas Rayburn / mellotron, piano
- Rick Stockton / bass
- Kirk Sarkisian / drums
- Tom Nickeson / keyboards, piano
- Steve Scorfina / guitar
- Sigfried Carver / violin (11-15)
Track List:
01. Only You – 4:33
02. Painted Ladies – 3:22
03. Falling In Love – 3:27
04. Today – 3:08
05. Trafalger – 3:10
06. I Love You Still – 4:04
07. Jenny – 4:07
08. It’s All For You – 3:50
09. Suicide – 2:04
10. While You Were Out – 2:38
11. Song Dance (Bonus) – 6:29
12. Of Once And Future Kings (Bonus) – 6:50
13. Natchez Trace (Bonus) – 4:18
14. A Little Better (Bonus) – 2:18
15. A Look In Your Eyes (Bonus) – 4:27
16. Julia (Bonus) – 2:55
17. She Came Shining (Bonus) – 4:37
18. Did You See Him Cry (Bonus) – 6:06
19. Theme From Subway Sue (Bonus) – 5:40
20. I Wait For You (Bonus) – 1:44
Links in comments.
Les Fleur De Lys – Reflections (1965-69) (@256)
10 Apr 2009
(Review from amazon, allmusic)
Although several of their singles are coveted by collectors of British 60s rock, Les Fleur de Lys remain obscure even by cultist standards. That’s partly because they never came close to getting a hit, but also because their furious pace of lineup changes makes their history very difficult to trace and also precluded any sense of consistent style or identity.
Fleur De Lys recorded some of the finest singles of the mid to late 1960s under their own moniker, while issuing other under numerous nom de disques, as well as acting as the backing band for female vocalist Sharon Tandy on a rip-roaring version of “Hold On”.
This album collects 24 tracks, containing all 14 tracks released by Fleur De Lys under their own name, beginning with their bang-up cover version of Pete Townshend’s “Circles”, which the Who recorded as “Instant Party”. Though the group had a constantly flowing membership, its most recorded incarnation contained lead guitarist Bryn Haworth, who supplies loads of tasty solos on this compilation, as well as future King Crimson bassist Gordon Haskell and future Jefferson Starship keyboard player Pete Sears. Also included is work by guitarist Phil Sawyer in his pre-Spencer Davis Group days. Early works were produced by future Led Zeppelin guitarist Jimmy Page.
The ties to future rock legends abound with Fleur De Lys, and it is a travesty that they did not reach a wider audience, as “Reflections” provides proof positive that these guys “had it”. Highlights are the two versions of “Hold On”, the previously mentioned cover of “Circles”, the rocking “One City Girl” and the band’s debut single “Moondreams”. No fan of guitar-driven psychedelic rock should be without this compilation.
Line-up:
- Frank Smith / guitar, vocals
- Gary Churchill / bass
- Alex Chamberlain / keyboards
- Keith Guster / drums
- Gordon Haskell / bass, vocals
- Pete Sears / keyboards
- Bryn Haworth / guitar
- Chris Andrews / vocals, rhythm guitar
Track List:
01. Circles – 3:06
02. Mud In Your Eye – 3:04
03. Gong With The Luminous Nose – 2:37
04. Sugar Love – 2:08
05. Hold On – 3:13
06. Prodigal Son – 2:01
07. One City Girl – 2:47
08. Daughter Of The Sun – 3:56
09. Tick Tock – 2:46
10. I Can See The Light – 3:01
11. Liar – 3:21
12. I Forgive You – 2:41
13. So Come On – 1:53
14. Hammerhead – 1:32
15. Stop Crossing The Bridge – 2:04
16. I Like What I’m Trying To Do – 2:17
17. Hold On – 3:31
18. Butchers And Bakers – 2:55
19. Wait For Me – 2:24
20. Reflections Of Charlie Brown – 4:16
21. Brick By Brick – 2:30
22. I’ve Been Trying – 2:45
23. Moondreams – 2:30
24. So Many Things – 2:18
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Emerson, Lake & Palmer – Live At The Isle Of Wight Festival (1970) (@256)
09 Apr 2009
(Review from progarchives.com, vintagerock.com)
The Isle of Wight Festival of 1970 was Emerson, Lake & Palmer’s second gig together and amidst all the chaos and gatecrashing ruckus, their appearance was considered top-notch.
At the time, the band did not have their extensive catalogue to select from, so there’s no “Karn Evil 9″ here for example. Indeed the focal point of this album is a full rendition of “Pictures at an Exhibition”, a piece which would later be released in live format as an official album.
The relative shortage of rehearsed material is evidenced by the inclusion of a piece by The Nice and a cover of the 1960′s single “Nutrocker” which is itself a classical interpretation. There are a couple of early versions of tracks which would appear on their first album, but clearly that album was still in development at the time.
The quality of both the sound and the performance here are remarkably good. There is a raw energy to pieces such as the opening “Barbarian” which would stay with the band for a few years at least. “Take a Pebble” is the only other song which would appear on an ELP studio album. As with “The Barbarian”, this version is pretty much the finished article, the smoother tones of the song offering the audience the chance to chill.
The rendition of “Pictures..” is also pretty much as it appeared on the later live album of that name, and thus represents an astonishingly ambitious work for such an early point in the band’s career. The early synth sounds may now come across as dated, but at the time they would have been highly original and somewhat exciting. The track concludes with the now legendary cannon fire, which (allegedly) destroyed half of the Isle of Wight.
The version of “Rondo” is heavily abbreviated, while “Nutrocker” is allowed to run on a bit longer. In order to pad out the album, a six minute interview is included, with the band looking back from more recent times.
Quite what the audience would have made of ELP is a matter for speculation. Bear in mind that this recording is taken from a music festival which featured a diverse range of artists. ELP’s blend of the classics, improvisations and progressive rock may have gone down well with those who were familiar with combos such as The Nice, but others must have been mystified by what they witnessed.
This is where it all began for ELP, it is akin to witnessing the birth of a new planet.
Line-up:
- Keith Emerson / keyboards
- Greg Lake / vocals, bass, electric & acoustic guitar
- Carl Palmer / drums, percussion
Track List:
01. The Barbarian – 5:05
02. Take A Pebble – 11:47
03. Pictures At An Exhibition – 35:49
04. Rondo – 4:12
05. Nutrocker – 4:49
06. Interview – 6:14
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Julius Victor – From the Nest (1970) (@256)
08 Apr 2009
(Review from alexgitlin.com)
Probably from New York, this short-lived outfit was obviously influenced by Iron Butterfly.
Their only album features prominent heavy organ, strong male vocals, tight rhythm section, and of course some hot lead guitar.
Line-up:
* Lawrence “Zea” Engstrom – Drums
* Jim Cutsinger – Bass
* Kimball Lee – Organ, Piano, Vocals
* Mark Schneider – Guitar
Track List:
01. Stubborn Kind of Woman – 3:39
02. Legend of the Indian Boy – 4:56
03. Black Knife – 3:55
04. Circus Lady – 4:49
05. Break Song! – 1:23
06. Judiann – 2:59
07. Fall of Days – 12:44
08. Slide Rule – 3:36
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Simon & Garfunkel – Live 1969 (@256)
07 Apr 2009
(Review from pitchfork.com)
Recorded at the duo’s peak, this document of their short 1969 tour proves they still took risks, still tried to innovate. Live 1969 collects performances from their six-city run, which culminated in a two-night engagement on their New York home turf. Along the way, they premiered new songs from their forthcoming album, which would be titled “Bridge Over Troubled Water” and would prove to be their swan song. Part of the pleasure of listening to “Live 1969″ is hearing early versions of “Why Don’t You Write Me” and “Song for the Asking” and imagining what it would have been like to hear them with fresh ears, well before they became lodged in the American music culture. As Art Garfunkel remarks, “This is also one of our new songs. It’s called ‘Bridge Over Troubled Water’”. Five and a half minutes later, the hall erupts in rapturous applause.
Another part of this album’s appeal is hearing Simon & Garfunkel’s backing band rip through numbers like “Mrs. Robinson” and even “The Boxer”. Having already played on their two previous albums, the ensemble– Joe Osborn on bass, drummer Hal Blaine, pianist Larry Knechtel, and Nashville picker Fred Carter Jr.– give these songs a spark of energy, loosening them up where the studio versions were tight and tasteful. When someone in the audience yells for more piano, Garfunkel replies, “The keyboard should be louder, huh? What label do you produce for?” That’s pretty dickish stage banter, but sure enough, a few songs later Knechtel’s more prominent piano puts extra bounce in “Why Don’t You Write Me?”, which here sounds like it should be a break-out hit.
In addition to offering proof that someone once yelled for “Richard Cory”, Live 1969 represents a turning point for Simon & Garfunkel. By this point they were all but broken up, with Garfunkel ready to try an acting career and Paul Simon destined for a more productive solo venture. They played some of their last live dates together on this tour, and wouldn’t play together again until their official reunion thirteen years later (unless you count their brief reunions on “Saturday Night Live” in the 1970s). The tension with which their partnership famously ended is nowhere apparent on Live 1969, although Simon seems to hang back while Garfunkel dominates, introducing the songs and running through Simon’s composition “Bridge Over Troubled Water” solo.
Ultimately, Live 1969 succeeds on the merits of its tracklist, which mixes hits like “Homeward Bound” and “The Sound of Silence” with lesser-known tracks like “For Emily, Wherever I May Find Her”, “Leaves That Are Green”, and the lone unreleased cover, “That Silver-Haired Daddy of Mine”, which had previously been covered by their heroes the Everly Brothers. Late on the album, the back-to-back sequencing of the quiet, self-consciously poetical “Sound of Silence” with the defiantly self-delusional “I Am a Rock” feels particularly inspired– two takes on loneliness whose contrast makes it possible to hear both songs somewhat afresh. In fact, that seems to be the primary and most compelling goal of this belated release: to let us hear these songs as if for the first time, as a means to reconsider the two men behind them.
Line-up:
* Paul Simon / acoustic guitar, vocals
* Arthur Garfunkel / vocals (harmony)
with
* Joe Osborn / bass
* Hal Blaine / drums, percussion
* Fred Carter Jr. / guitar
* Larry Knechtel / piano, keyboards
Track List:
01. Homeward Bound – 3:04
02. At the Zoo – 2:07
03. The 59th Street Bridge Song (Feelin’ Groovy) – 1:55
04. Song for the Asking – 2:28
05. For Emily, Whenever I May Find Her – 2:37
06. Scarborough Fair – 3:56
07. Mrs. Robinson – 4:44
08. The Boxer – 4:46
09. Why Don’t You Write Me – 2:56
10. So Long, Frank Lloyd Wright – 3:55
11. That Silver-Haired Daddy of Mine – 3:11
12. Bridge Over Troubled Water – 5:24
13. The Sound of Silence – 3:52
14. I Am a Rock – 3:36
15. Old Friends – 3:22
16. Leaves That Are Green – 3:23
17. Kathy’s Song – 3:53
Links in comments.
Keith Moon – Two Sides Of The Moon (1975) (@256)
06 Apr 2009
(Review from connollyco.com)
Moon the Loon slips from behind the set for a solo record, brings former inmate Ringo along for the ride, and the results are remarkably Ringo-esque in the best sense of the (non) word.
Albums by drummers usually follow one of three courses: the lame genre exercise, the middling pop/rock album and the misguided jazz-rock adventure. Two Sides of the Moon falls into the second category, a respectable rock record that honors its limitations (Moon’s voice) and works within those confines to produce a batch of good songs.
Rather than a knockoff of “Who” (except for a straight reading of “Kids Are Alright”), this sounds more like an Ian Hunter record. Moon has that sort of humble and slightly besotted voice, not off key so much as off center. He does a credible job in various settings: country (“One Night Stand”), rock (“Crazy Like A Fox”) and faux island music (“Naked Man”). If you’ve enjoyed Ringo and “Goodnight Vienna”, Two Sides of the Moon is worth exploring.
No doubt the whole thing was a party, but Moon stays on target most of the time, apparently serious about the idea of making a real record. It’s not an essential record but, considering how little could be expected from Moon as a solo artist, Two Sides can be surprising. Of course it’s silly in spots, yet it never stoops to the put-upon strangeness of a “Dogs Part Two”.
Two Sides of the Moon serves the Keith Moon legend as a charming anomaly, an indication that there was more to Moon than playing drums like a man possessed and wallowing in comic excess.
This edition of the album includes some good unreleased tracks, single versions and several raps between Ringo and Keith Moon that are mildly amusing.
Line-up:
- Keith Moon / vocal, drums, percussion, drum solo, cover concept
- Jesse Ed Davis / electric guitar, guitar
- Joe Walsh / guitar, ARP synthesizer, electric guitar, guitar solo
with
- Ringo Starr / announcer, drums, “rap”, album title
- Blair Aaronson / piano
- Steve Adamick / guitar (3)
- Nickey Barclay / piano (2)
- David Birkett / bass (4)
- Mike Condello / acoustic guitar (4)
- Dick Dale / “surf” guitar and solo (7)
- Cam Davis / drums (2)
- Spencer Davis / acoustic guitar (1)
- Steve Douglas / horns
- Skip Edwards / Fender Rhodes and steel guitar (4)
- Fanny / background vocals (2)
- Jay Ferguson / piano
- Miguel Ferrer / drums (3)
- Flo and Eddie (Mark Volman and Howard Kaylan) / background vocals
- David Foster / piano (6)
- James Gilstrap / background vocals, choir
- Robert Greenridge / steel drums (10)
- Ron Grinel / drums (6)
- Beau Guss / guitar solo (2)
- Jimmy Haskell / string arrangement and conducting
- James Haymer / guitar (3)
- Ron Hicklin, August Johnson, Greg Matta, Irma Routen, Andra Willis, Ira Hawkins, Gerald Garrett, Carolyn Willis / choir
- Jim Keltner / drums
- Bobby Keys / sax solo (8)
- Clydie King / background vocals, choir
- Danny Kootch / guitar, acoustic guitar
- Norman Kurban / organ, piano
- Dennis Larden / background vocals
- Paul Lenart / guitar (10)
- Sherlie Matthews / background vocals
- Mickey McGee / drums
- Jean Millington / bass (2)
- Ollie Mitchell / horns
- Rick Nelson / vocal (4)
- Harry Nilsson / vocal (10)
- Patti Quatro / guitar (2)
- Jimmie Randall / bass
- John Sebastian / guitar (3)
- Curly Smith / drums
- Al Staehely / acoustic guitar, guitar
- John Staehely / electric guitar
- Paul Stallworth / bass
- Julia Tillman / background vocals, choir
- Klauss Voorman / bass (10)
- Jay White / background vocals
- Lorna Willard / background vocals, choir
Track List:
01. Crazy Like A Fox – 2:09
02. Solid Gold – 2:48
03. Don’t Worry Baby – 3:32
04. One Night Stand – 3:37
05. The Kids Are Alright – 3:04
06. Move Over Ms. L – 3:11
07. Teenage Idol – 2:20
08. Back Door Sally – 2:34
09. In My Life – 2:44
10. Together – 3:03
11. Radio Spot (Bonus with Ringo Starr) – 1:03
12. I Don’t Suppose (Bonus) – 4:13
13. Naked Man (Bonus) – 3:21
14. Do Me Good (Bonus) – 2:49
15. Real Emotion (Bonus) – 2:59
16. Don’t Worry Baby (Bonus US Single) – 3:12
17. Teenage Idol (Bonus US Single) – 2:15
18. Together Rap (Bonus with Ringo Starr) – 2:00
Link in comments.
Maxophone – Maxophone (1975) (@256)
05 Apr 2009
(Review from progarchives.com, vintageprog.com)
Although less popular than other mainstream Italian prog rock groups, Maxophone achieved a late cult status among progressive rock fan because of their well crafted music, solid musical expertise and precisely cut arrangements.
A well coordinated six piece ensemble, Maxophone sits in the progressive rock arena covering the gap between the clattering edge of groups like King Crimson, the folky roots of Jethro Tull and the more elaborated Canterbury sound.
Maxophone has a twin-fold soul: half of the members had classic music background while the other half had a solid rock background. This weird combination appears clearly in some songs were very non-rock instruments, such as horn, clarinet, trumpet and vibraphone are used in very balanced way together with Fripp-esque guitars and electrical piano.
Similarities to Genesis can be drawn mainly because of the bassist Alberto Ravasini, who has a voice in the vein of Collins/Gabriel. There were of course plenty of saxophones and flutes among the wind instruments the band used, but the most distinctive is undoubtedly the French horn of Maurizio Bianchini that added a very majestic touch to many themes.
Maxophone’s sole album could very well be among the ten best Italian progressive rock records of all time.
“Life Can Be Like Music” is an impressive opener for the album, showing how the band easily could go from complex, upbeat progressive rock to lush symphonic passages, and then to old-fashioned swing jazz and even a short waltz! Beautiful details are scattered all over the complex arrangements, and the quality of the vocal melodies is very high during the entire record. “Six Against One” opens quite grandiose with Ravasini singing yet another superb melody over Sergio Lattuada’s powerful organ before kicking into one of the best instrumental parts on the record where guitarist Roberto Giuliani and the various wind instruments play perfectly along with each other. The track then goes into a part built around a quite typical symphonic progressive organ theme before it transforms into yet another upbeat and jazzy solo-section. It then slows down again to an utterly beautiful vocal part that lasts only for a short time, before the track then returns to the opening again. Symphonic progressive rock cannot under any circumstance be any better than this, even if there’s no mellotron here! The band’s love for Gentle Giant shines clearly through on “When We Were Young”, a beautifully atmospheric piece with lyrics that would have fitted right into “Three Friends”.
“Fase” is the only instrumental number here, and gets the honour of opening the second side. Just as you could expect, it’s a complex piece going from hard riffs to jazzy symphonic sections and to looser, more solo-oriented parts. “I Heard a Butterfly” is next to “When We Were Young” the least original song on the album, being a fairly typical Genesis-influenced tune, but never the less with the same very high level of quality that the band displayed everywhere else. “Live Together or Die” is on the other hand perhaps the most unique and original song on the record, melting big-band riffs with melodic, vocal-oriented symphonic progressive rock that goes into a spacey instrumental theme in the middle while still maintaining the main vocal melody(!) before ending in a fading gospel-choir.
Line-up:
- Maurizio Bianchini / horn, trumpet, percussion, vibraphone, backing vocals
- Roberto Giuliani / electric guitars, piano, backing vocals
- Sergio Lattuada / keyboards, backing vocals
- Sandro Lorenzetti / drums
- Alberto Ravasini / lead vocals, bass, acoustic guitar
- Leonardo Schiavone / clarinet, flute, alto & tenor saxes
Track List:
01. C’e Un Paese Al Mondo – 6:41
02. Fase – 7:06
03. Al Mancato Compleanno Di Una Farfalla – 5:53
04. Elzeviro – 6:49
05. Mercanti Di Pazzie – 5:23
06. Antiche Conclusioni Negre – 8:53
Link in comments.
Sakalli strikes back!
03 Apr 2009
I know it was very uncharacteristic of me to take off like this, after posting 2-3 albums every day for the past two years. Unfortunately my priorities had to shift and 24 hours wasn’t enough for me, I simply ran out of time.
I tried to make a comeback last month but was unsuccessful, partly due to aiming a little high. Well here I am again, giving it another shot.
I’m not sure I can run discographies for sometime but I’ll be sure to post at least one album every day (though I will complete the Wishbone Ash run). Baby steps, eh? :)
There are also tons of comments and e-mails I’ve not yet read or replied, I’ll look into those too, also making a retrospective post check.
Thanks for all your support and patience.