Freedom to Music
Archive for August, 2009
Hatfield and the North – Hatwise Choice (1973-75) (@256)
31 Aug 2009
(Review from progarchives.com)
This album could be seen as a BBC sessions album and as a major release.
All material from BBC tapes (roughly 2/3 of the stuff) is of excellent sound quality, and among the rest, most of it is also. Only a few imperfections appear here and there. A lot of this stuff appears officialy for the first time, so much so that this album could almost be considered as a lost album.
The quality of the songwriting and musicianship is up to par with those historical two albums. Some sessions are previous to their debut album, but most of the tracks appear to have been written between the eponymous debut and The Rotters Club.
So all Canterbury freaks can dive in with no second thoughts, this is pure 100% Canterbury juice made from fresh fruits.
Line-up:
- Richard Sinclair / bass, vocals
- Phil Miller / guitars
- Pip Pyle / drums, percussion
- Dave Stewart / keyboards, tone generator
Track List:
01. Absolutely Wholesome (John Peel Show 1974) – 3:16
02. La Barbe est La Barbe (Top Gear 1974) – 6:51
03. Sober Song (Top Gear 1974) – 2:59
04. Hatitude Hatitude (John Peel Show 1974) – 3:13
05. Strand of the Green (John Peel Show 1974) – 1:02
06. Hotel Luna (John Peel Show 1974) – 3:34
07. The Lonely Bubbling Song (John Peel Show 1974) – 1:20
08. Stay Jung and Beautiful (John Peel Show 1974) – 0:56
09. Dave Intro (Live – London 1975) – 1:55
10. Take Your Pick (Live – London 1975) – 8:09
11. Son Of Plate Smashing Dog (Live – Emmen 1974) – 1:16
12. Thanks Mont! (Live – Emmen 1974) – 2:27
13. Amsterdamage 11/19 (Live – Amsterdam 1974) – 6:20
14. May The Farce Be With You (Live – Paris 1973) – 0:39
15. Finesse is for Fairies (Sounds Of The 70s 1973) – 1:28
16. Ethanol Nurse (Sounds Of The 70s 1973) – 2:56
17. Writhing and Grimacing (Sounds Of The 70s 1973) – 3:42
18. For Robert (Top Gear 1973) – 2:09
19. Blane over Paris (Live – Paris 1973) – 6:20
20. Laundry Soup (Top Gear 1974) – 0:57
21. Effing Mad Aincha (Live – Rotterdam 1973) – 2:58
22. Top Gear Commercial (Top Gear 1974) – 1:22
23. K Licks (Demo – Summer 1973) – 2:58
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Atlantic Bridge – Atlantic Bridge (1970) (@256)
30 Aug 2009
(Review from forcedexposure.com, allmusic.com)
An early British fusion band, Atlantic Bridge put out a self-titled instrumental album in 1970. Atlantic Bridge’s sole, self-titled LP is respectable but somewhat middling early fusion, though as a 1970 release, it’s more cutting-edge than it would have been had it come out a few years later, when their brand of fusion was pretty common.
Jimmy Phillips’ sax playing is certainly the most striking and fiery aspect of their approach, owing a good deal to the free jazz of John Coltrane and the like. Daryl Runswick also creates some interesting passages with bowed bass. Mike McNaught’s electric keyboard provides the most rock-oriented flavor. The covers of “MacArthur Park”, “Something” and “Dear Prudence” stretch those songs into considerably different shapes.
This edition of the album adds two songs from their 1971 EP as bonus tracks. “I Can’t Lie to You” is quite a departure from the rest of their work, as it features soul-rock vocals by several female singers.
Line-up:
- Mike McNaught – piano, keyboards
- Jimmy Phillips – flute, sax
- Darryl Runswick – bass, cello
- Michael Travis / drums, percussion
Track List:
01. McArthur Park – 10:42
02. Dreams – 7:00
03. Rosecrans Boulevard – 5:49
04. Something – 6:28
05. Dear Predence – 7:53
06. Chilwood Room (Exit Walt) – 6:43
07. Hillery Dickson (Bonus) – 2:32
08. I Can’t Lie To You (Bonus) – 3:18
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Marillion – Live From Loreley (1987) (@256)
29 Aug 2009
(Review from progarchives.com)
By the time this show was recorded on the Clutching At Straws tour, this era of Marillion was nearing it’s ultimate conclusion. Separation between Fish and the rest of the band was causing turmoil, and Marillion was pretty much divided. Nonetheless, Marillion’s Live At Loreley is still a valuable addition in anyone’s collection.
Fish manages to captivate the crowd like he always seems to do. The older material is a collective fan favorite, with “Script For A Jester’s Tear” being the obvious highlight. A very telling and poignant moment is during the Misplaced Childhood suite when Fish approaches Rothery, puts his arms around him and sings, “It’s getting late, for scribbling and scratching on the paper. Something’s gonna give under this pressure. And the cracks are already beginning to show.” It’s almost as if he’s sending Rothery a message during this part of the song. Still, the tenderness of “Kayleigh” on through the triumphant “Heart Of Lothian” is a great moment during this performance.
Another highlight is the painful “Sugar Mice”, and one of Rothery’s more powerful solos. This song is wrought with pain that it makes the listener ache. That solo just never gets old.
The disease that was ripping this band apart towards the end of 80′s is obvious. There’s hardly any interaction between Fish and the others, and they pretty much ceased to be a band. That being said, it’s still crucial to have amongst your Marillion collection to witness the closing of one era, and the beginning of another.
Line-up:
- Fish / lead vocals
- Steve Rothery / guitars
- Mark Kelly / keyboards
- Pete Trewavas / bass, backing vocals
- Ian Mosley / drums
Track List:
01. Slainte Mhath – 5:24
02. Assassing – 6:38
03. Script For A Jester’s Tear – 9:39
04. Sugar Mice – 5:55
05. Hotel Hobbies – 3:54
06. Warm Wet Circles – 5:57
07. That Time Of The Night – 4:31
08. Kayleigh – 4:30
09. Lavender – 8:14
10. Heart Of Lothian – 6:28
11. The Last Straw – 6:31
12. Incommunicado – 6:59
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Junior's Eyes – Battersea Power Station (1967-69) (@256)
28 Aug 2009
(Review from allmusic)
Formed in London in 1968, Junior’s Eyes was led by ex-Tickle singer/guitarist Mick Wayne. The group’s initial performance found them opening for Traffic and they quickly became staples on the London club circuit attracting a fan base.
1969 saw the band debuting with a series of three nifty singles. Though the singles didn’t do much commercially, the record company went ahead and financed an album. Released in late 1969, the band’s self-titled debut LP teamed them with Tony Visconti in the producer role. Unlike his work with The Hullabaloos and Tickle, this time out the set was quite diverse though there was also a clear blues-rock base to much of the material. Wayne was responsible for all five songs including the side-long, multi-part title suite.
Mick Wayne undoubtedly tried hard to be significant and progressive with his songs on Junior’s Eyes’ sole album. There are meter changes, skilled psychedelic hard rock guitar riffs, and moods both whimsical and cynical throughout. Although the predominant vibe was bluesy psychedelic-progressive, there are also quieter, more acoustic interludes.
Divided into seven separate segments, ‘Battersear Power Station’ had it’s moments, but came off as a series of disjointed songs that had been somewhat haphazardly stitched together. Powered by Wayne’s excellent lead guitar (check out his chops on ‘Imagination’), the set bounced along between outright pop (‘My Ship’), English music hall (‘Miss Lizzy’), conventional rock (‘So Embarrassed’), and occasional stabs at lite-psych (‘Playtime’).
Wayne saw the album as a concept piece. In an interview, he described the album as “to do with numerology, to do with Tibetan Book of the Dead. It was to do with layers of conscience and consciousness starting with total war and with total peace”.
This edition of the album include the non-LP singles, four demos and Wayne’s Tickle single as bonus tracks.
Line-up:
- Mick Wayne / guitar, vocals
- Tim Renwick / guitar
- Graham Kelly / vocals
- Steve Chapman / drums
- John (Honk) Lodge / bass
Track List:
LP Side One (Battersea Power Station)
01. Total Power – 1:11
02. Circus Days – 3:42
03. Imagination – 6:08
04. My Ship – 2:46
05. Miss Lizzie – 2:53
06. So Embarrassed – 3:17
07. Freak In – 1:49
LP Side Two
08. Playtime – 3:53
09. I’m Drowning – 1:23
10. White Light – 6:37
11. By The Tree – 5:02
12. Mr. Golden Trumpet Player (Bonus Single) – 2:24
13. Blake Snake (Bonus Single) – 2:38
14. Woman Love (Bonus Single) – 2:39
15. Star Child (Bonus Single) – 3:57
16. Sink Or Swim (Bonus Single) – 3:24
17. Circus Days (Bonus Single) – 2:56
18. White Light (Bonus Demo) – 5:14
19. By The Tree (Bonus Demo) – 3:51
20. Imagination (Bonus Demo) – 3:46
21. Playtime (Bonus Demo) – 3:57
22. Subway (Smokey Pokey World) (Bonus Tickle Single) – 2:39
23. Good Evening (Bonus Tickle Single) – 2:34
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Rare Bird – Born Again (1974) (@256)
27 Aug 2009
(Review from Z. Nathanson, progarchives.com)
In 1974, Rare Bird released its fifth studio album. The musicianship is again of a high standard, and there are some good songs if you like a well performed Americanised sound combining southern boogie and soft rock. Funky elements exist in many songs, though the main focus is on rock music.
The beginning track, “Body and Soul”, is an upbeat acoustic electric piano number, bringing Fleetwood Mac’s Rumors era into mind. What the song is about even though life is hard through stormy weather, you still have your own choices with your soul no matter what the cost depending how you control the situation. Also, they bring their eerie sounds to the core with the organ to pay homage with an almost tribute to As Your Mind Flies By on Peace of Mind which is their tribute to their song, I’m Thinking as an emotional ballad with Kaffinetti’s organ setting the scenery of the piece.
The acoustic “Redman” has some characterization between Steve Gould and the harmonizing background vocals while “Harlem” sounds almost like a lost Elton John song from Empty Sky. Almost as if Christine McVie of Fleetwood Mac could have been a part of Rare Bird, the electric piano and the Moog synthesizer comes in the picture again as an elegant soul tone on “All That I Need” that provides a love story.
Meanwhile, “Lonely Street” is motivated by slick guitar chords, warm bass lines, and a dark tone on the keyboards which almost the song is telling about the streets of San Francisco, California and is almost a Todd Rundgren song and the final number, “Last Tango in Belulah” which starts off as a Fusion Medieval number in 4/4 time signature and then becomes a smooth jazz ballad about living in the streets to do one more tango for a beautiful night in the fictional town of Belulah. While the bonus tracks Don’t Be Afraid sounds very Steely Danish from the Aja sessions and Passin’ Through becomes a mourning ballad.
Born Again proved to be Rare Bird’s swansong, the band parted ways after the release of the album.
Line-up:
- Kevin Lamb / organ, vocals, harmony vocals
- Steve Gould / bass, guitar, piano (electric), saxophone, vocals, overdubs
- Dave Kaffinetti / synthesizer, piano, keyboards, organ, clavinet, harmony vocals
- Fred Kelly / percussion, drums, vocals, harmony vocals
- Andy Rae / bass, guitar
- Peter Rice / percussion
Track List:
01. Body And Soul – 3:09
02. Life For Each Other – 2:55
03. Diamonds – 4:08
04. Reaching You – 3:31
05. All That I Need – 3:56
06. Redman – 3:42
07. Peace Of Mind – 5:25
08. Harlem – 3:23
09. Lonely Street – 3:13
10. Last Tango In Beulah – 6:29
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Rare Bird – Somebody's Watching (1973) (@256)
26 Aug 2009
(Review from progarchives.com)
Following the American-funk-progressive rock of their previous album, “Somebody’s Watching” works well with some good musicianship and song writing.
Much of the music on side one is quite funky, with similarities at times to Steely Dan. Side two is more relaxed, with an America (the band) sound to “High in the morning”, a pleasant country rock ballad. The closing track “Dollars”, which includes an extract from “A few dollars more” is a lengthy guitar led freeform jam.
The music is rich and full of good musicianship with John Wetton, Nic Potter and Paul Holland making guest appearances throughout the album.
Line-up:
- Steve Gould / bass, guitar, saxophone, vocals
- Dave Kaffinetti / organ, synthesizer, piano, keyboards, clavinet
- Fred Kelly / percussion, drums, vocals
- Kevin Lamb / vocals
- John Wetton / bass
- Paul Korda / vocals
- Nicky James / vocals
- Nic Potter / bass
- Sammy Abu / percussion, conga
- Andy Curtis / guitar
- Paul Holland / percussion, conga
- Al Matthews / conga
Track List:
01. Somebody’s Watching – 5:21
02. Third Time Around – 4:56
03. Turn Your Head – 4:36
04. More And More – 4:02
05. Hard Time – 3:05
06. Who Is The Hero – 3:37
07. High In The Morning – 3:29
08. Dollars – 8:39
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Rare Bird – Epic Forest (1972) (@256)
16 Aug 2009
(Review from vintageprog.com, progarchives.com)
Both Graham Field and Mark Ashton left the band after the masterpiece “As Your Mind Flies By”. The remaining members Gould and Kaffinetti was then joined by two guitarists, a new drummer and two players on percussion.
The band’s third album is so different from previous albums by the band, that a name change could have been appropriate. While the previous two albums by Rare Bird were closer to Procol Harum in spirit, “Epic Forest” is closer to Wishbone Ash! It has a wider sound with piano (both electric and regular) and organ (Hammond and Farfisa). The keyboard work is hardly very flashy, but the pianos and organs really make the sound a bit richer and fuller.
The song writing, however, takes on a distinct American feel on most of the tracks. Sometimes they are close to Crosby, Stills & Nash. This is especially apparent on the song “Hey Man” which is pure American folk rock. The first three songs can be deceptive though, the nine minute title track offers some nice progressive touches in terms of tempo changes and instrumental work out.
The flip side kicks in with “Turning the Lights Out” , an excellent rocker with a strong bass line and some catchy riffs, about the ending of a relationship. The next song “Her Darkest Hour” is a beautifully gloomy ballad, laden with acoustic guitars, one of the best tracks on the album about guilt – very atmospheric, the mood continues with “Fears of the Night”, a very slow moody song followed by “Turn It All Around”, a slow intro builds to a very strong riff in the chorus. “Title No.1 Again (Birdman)” , a jazzy American funk-style jam.
If you listen to the album with a clear mind, and don’t dislike the idea of mixing American folk and psychedelic flavoured rock, you might enjoy this one too. But if you expect another “As Your Mind Flies By”, you better stay away.
Line-up:
- Steve Gould / guitars, percussion, vocals
- Dave Kaffinetti / Hammond & Farfisa organs, electric piano, percussion
- Andy “Ced” Curtis / guitars, piano, percussion, vocals
- Paul Holland / percussion
- Paul Karas / bass, percussion, backing vocals
- Fred Kelly / drums, percussion, congas
- Nic Potter / percussion
Track List:
01. Baby Listen – 3:24
02. Hey Man – 5:52
03. House In The City – 4:24
04. Epic Forest – 9:11
05. Turning The Lights Out – 4:38
06. Her Darkest Hour – 3:32
07. Fears Of The Night – 3:17
08. Turn It All Around – 4:43
09. Title No.1 Again (Birdman) – 6:05
10. Roadside Welcome (Bonus) – 4:20
11. Four Grey Walls (Bonus) – 3:54
12. You’re Lost (Bonus) – 10:07
Link in comments.
Rare Bird – Rare Bird (1969) (@256)
15 Aug 2009
(Review from progarchives.com, vintageprog.com, wikipedia)
The history of Rare Bird began when Graham Field placed an advertisement for a pianist in a musical periodical. In August 1969, they finally found the ideal rhythm section in Steve Gould and Mark Ashton. Five weeks later, they were in the studio recording their debut album.
The band relied heavily on keyboards as both Kafinetti and Field played together, the former on piano and synthesizers and the latter on organ – much like Procol Harum only without lead guitar!
Their debut-album has a transitional sound from the psychedelic 60s to the more pure progressive-sound of the 70s.
The longest and best tracks are “Iceberg”, the dramatic “Beautiful Scarlet” and the sinister “God of War”. The rest of the album follows a more simplified structure, although “Melanie” is a good example of early pop-progressive. Not to forget the hit-single “Sympathy”, which introduced the band to wider audiences.
Rare Bird are a rare find, innovative, original, deeply musical. They’re on their own.
Line-up:
- Mike Ashton / drums, lead & backing vocals
- Graham Field / Hammond organ
- Steve Gould / bass, rhythm guitar, vocals
- Dave Kaffinetti / electric piano, synthesizers
Track List:
01. Beautiful Scarlet – 5:43
02. Sympathy – 2:44
03. Nature’s Fruit – 2:33
04. Bird On a Wing – 4:16
05. God of War – 5:31
06. Iceberg – 6:53
07. Times – 3:22
08. You Went Away – 4:40
09. Melanie – 3:29
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Running Man – Running Man (1972) (@256)
14 Aug 2009
(Review from allmusic)
Ray Russell has had quite the glittering career. Setting off at age 15 with the John Berry Seven, would lend his talents on-stage and/or in the studio to a plethora of performers. Amidst this busy career, Russell also put together the odd band, like the Running Man, whose sole, eponymous album was released with little fanfare in 1972.
Even at the proggy heights of 1972, this album made little attempt at accessibility or commercial appeal with its eclectic sound. “Higher and Higher” bristles with the sound of Space Oddity-era Bowie, before swooping into the synthscapes of the ’80s. “Another”, too, is far ahead of its time, a power ballad that slides into almost ELP-like pomposity, then dramatically alters course down an upbeat, jazzy byway. “Hope Place”, in utter contrast, rings of late-’60s experimentation, with the funky bassline colliding with proggy guitar, while Windo’s sax screams overhead — think Cream in a particularly pugnacious mood. The title track, too, is Cream-flavored, with a thundering slab of a riff that pummels its way across the grooves, its chant-along chorus suggesting this was meant to be the group’s anthem. “Look and Turn” turns to R&B, but in extreme fashion, with Russell’s searing guitar lead and pumping bassline the focus. “Spirit” is a soulful howler, its agitating bassline and screaming guitar further rent by Greed’s shout-to-the-rafters vocals.
Defying easy description, “Running Man” is deliberately unfocused, defiantly experimental, and in its own dizzying way, a grandiloquent excursion into the deepest recesses of early-’70s rock.
Line-up:
- Ray Russell / guitar, bass
- Gary Windo / sax
- Alan Greed / vocals, keyboards
- Harry Beckett / trumpet, flugelhorn
- Alan Rushton / drums
Track List:
01. Higher & Higher – 1:37
02. Hope Place – 5:44
03. Nicholas – 1:38
04. Another – 10:11
05. Find Yourself – 2:50
06. Look & Turn – 3:25
07. If You Like – 2:32
08. Spirit – 7:51
09. Children – 1:46
10. Running Man – 3:16
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Mahogany Rush – Mahogany Rush IV (1976) (@256)
12 Aug 2009
Request of aidana.
(Review from amazon)
Mahogany Rush relocated to America in 1976.
Their fourth album, aptly named “IV”, proved to be their funkiest record. There’s a strong funk influence on many of the songs, such as the popular “Jive”. But there is more than just funk, there’s a lot of variation, including a soft number, progressive/fusion noodlings, and the hard driving rock of “Sexie Little Annie”. “Dragonfly” is still performed live today, after more than 20 years.
Line-up:
- Frank Marino / Guitar, Keyboards, Vocals, Mellotron
- Jimmy Ayoub / Percussion, Drums
- Paul Harwood / Bass
Track List:
01. I’m Going Away – 4:08
02. Man At The Back Door – 3:44
03. The Answer – 4:37
04. Jive Baby – 3:29
05. It’s Begun To Rain – 6:29
06. Dragonfly – 5:06
07. Little Sexy Annie – 3:25
08. Moonwalk – 5:49
09. IV … (the Emperor) – 7:19
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Providence – Ever Sense The Dawn (1972) (@256)
11 Aug 2009
(Review from wikipedia, progarchives.com)
Hailing from Idaho and then Portland, Providence drew heavily on the combined power of Bob Barriatua’s bass and Tim Tompkins’ cello, the two instruments combining to create a rock edge that could be quite intense. Layered on top of that were Tompkins’ viola and Cockey’s violin. Guzie’s guitar work was often treated as a lyrical embellishment more than the blistering leads of his rock contemporaries of the period. Lead singer and main writer Bartholomew Bishop’s keyboards centered around piano, organ and harpsichord, rather than the Moog, ARP and other synthesizers then in common use among groups exploring a mixture of rock and classical influences. Because of their string trio, the group did not use the popular Mellotron, giving Providence a sound that was quite organic and more complex than that created by the Mellotron. The lack of a drummer distinguished them even more.
Their lone released album was produced by longtime Moody Blues producer Tony Clarke, and the band’s music, particularly the vocals, reveal the strong influence of that band. The band recorded original compositions that featured languid string arrangements, sometimes psychedelic guitar as well as acoustic, and a bass that pretty much comprised the rhythm section for the band. Their lyrics ranged from fantasy to nature to hippy philosophy, and tended toward naively-positive themes.
The band hung on for a couple more years after this album’s release but fractured around 1975 in the wake of the mysterious and suspect disappearance of their second album’s master tapes from the studio where they had just finished recording it.
Line-up:
- Bob Barriatua / bass, vocals
- Bartholomew Bishop / organ, keyboards, vocals
- Jim Cockney / violin, vocals
- Jim Corkey / violin, glockenspiel, vocals
- Andy Guzie / guitar, vocals
- Tom Tompkins / percussion, violin, cello, viola
Track List:
01. Prelude (To Light Your Journey) – 0:52
02. Mountain – 4:01
03. Lady – 2:47
04. Sketch Number Two – 0:34
05. The Stream – 3:01
06. If We Were Wise – 4:00
07. Fantasy Fugue – 2:58
08. Smile – 3:18
09. Sketch Number Three0:55
10. Neptunes Door – 2:57
11. Island Of Light – 3:25
12. Behold: A Solar Sonnet – 4:02
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Kiss – Hotter Than Hell (1974) (@256)
10 Aug 2009
(Review from allmusic, amazon)
Although Kiss’ self-titled debut performed respectably on the charts, it was not the blockbuster they had hoped for. With the album fading on the charts in the summer of 1974, Kiss was summoned back into the studio to work on a follow-up.
Their second album, “Hotter Than Hell” is another quintessential Kiss release. Many of the songs have been forgotten over the years (few have been featured in concert after the 70s), but there are still more than a few gems to be found. It’s unclear if the members of Kiss were having problems with their personal relationships at the time, but it’s a common thread that runs through the songs. The plodding “Got to Choose” and the rapid-fire “Parasite” deal with love gone bad; the title track is about unobtainable love, while “Goin’ Blind” is a disturbing tale of a 93-year-old having an affair with a 16-year-old. Also included are the early favorites “Let Me Go, Rock ‘n’ Roll”, “Watchin’ You”, “Comin’ Home” and “Strange Ways” which contains one of Ace Frehley’s best guitar solos.
First-time listeners to this album might actually think something is wrong with their copy due to the heavy fuzz and booming echo. All involved parties thought that the first Kiss record didn’t sound as “heavy” as they actually did live, so efforts were made to strengthen their sound for their second release and “Hotter than Hell” sounds like no other Kiss record! It’s dark, boomy, a sort of “if Phil Spector did heavy metal” wall of sound.
Even though Hotter Than Hell actually fared worse on the charts than the debut, it has become a revered album among Kiss fans over the years — and rightfully so.
Line-up:
* Paul Stanley – rhythm guitar, lead vocals
* Gene Simmons – bass guitar, lead vocals
* Ace Frehley – lead guitar
* Peter Criss – drums, percussion, vocals
Track List:
01. Got To Choose – 3:54
02. Parasite – 3:04
03. Goin’ Blind – 3:36
04. Hotter Than Hell – 3:31
05. Let Me Go, Rock ‘n’ Roll – 2:15
06. All The Way – 3:18
07. Watchin’ You – 3:45
08. Mainline – 3:52
09. Comin’ Home – 2:39
10. Strange Ways – 3:19
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Mogul Thrash – Mogul Thrash (1970) (@256)
09 Aug 2009
(Review from progarchives.com)
After Litherland came out of that Colosseum, clearly he had not enough of that style of music as this album is quite similar to the first two album, rather a bit more hard-rocking, also a bit brassier but with no keyboards bar Brian Auger’s contribution on one track on top of his production work – aside of the sound engineer being Eddy Offord (of Yes fame).
From the first notes of “Something Sad” (leading to superb bass works from Wetton) to the end of What’s this I hear , we deal with a speeded-up Colosseum jazz-rock with loads of energy. A superb and greatly expanded rendition of the Colosseum track “Elegy” follows. The 12 min “Going North, Going West” is the center piece of the album with searing guitar leads divinely underlined by brass lines, over a superb bass hook.
The St-Peter track is somewhat sticking out of the rest of the album, but it was also the B-side of the Sleeping In The Kitchen single that is featured as a bonus track on this edition of the album.
Line-up:
- James Litherland / guitars and vocals
- John Wetton / bass and vocals
- Bill Harrisson / drums
- Malcolm Duncan / Tenor saxophone
- Michael Rosen / trumpet, Mellophone and guitar
- Roger Ball / Alto, Baritone and soprano saxes
with
- Brian Auger / piano (5)
Track List:
01. Something Sad – 7:32
02. Elegy – 9:37
03. Dreams of Glass and Sand – 5:09
04. Going North, Going West – 12:06
05. St. Peter – 3:39
06. What’s This I Hear – 7:17
07. Sleeping In The Kitchen (Bonus) – 2:45
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David Surkamp – Dancing On The Edge Of the Teacup (2007) (@256)
08 Aug 2009
(Review from revelationz.net)
Solo album from the voice of Pavlov’s Dog, David Surkamp, ‘Dancing On The Edge Of A Teacup’, Surkamp is ably supported by longtime friend Billy Costello on drums and keys and by his wife Sara on bass.
As ever, Surkamp’s music is unclassifiable. It soars through the pigeon holes, stopping momentarily at a select few, then moves on. There’s a clear connection to the sixties throughout. On the face of it, opener, ‘Looking For My Shadow’ is an energetic, melodic progressive rock workout. But it’s as much an ode to Grace Slick, vocalist with the legendary Jefferson Airplane, an artist who gave Surkamp much encouragement at the start of his career. Surkamp emphasises the salute by lyrically echoing the ‘Airplane’s druggy / Alice In Wonderland hit, ‘White Rabbit’.
The beautiful ‘Hard Again’ has a lilting melody, massed female bgvs and a huge Spector like wall of sound. Similarly, ‘Highlife Bunting’ is an acoustic stroll through a slender melody into a sweet chorus. The song’s folky, dreamy feel is given bite by a cutting electric guitar solo. It becomes clear that Surkamp now favours huge musical landscapes, into which he paints his snapshots of life, few of them well defined but all of them alluring and a joy to experience.
Surkamp’s wife, Sara, is an expressive vocalist. Her husky, sultry voice is just right for “Wrong”s mysterious lyrics and big production. Inevitably, David joins in, but she could have handled the song on her own. It would have been a welcome counterpoint.
The clanging, chiming ‘Losing My Piano’ gets close to being album standout. There’s a heavy sense of foreboding hanging over this song — a darkly hued, stream of consciousness song, articulating a fear of losing someone’s love.
The album’s 37 minutes seems paltry in the CD age but it’s better than a longer one with fillers.
Line-up:
- David Surkamp / Dulcimer, Guitar, Banjo, Bass, Keyboards, Vocals
- Sara Surkamp / Bass, Percussion, Keyboards, Vocals
- Billy Costello / Drums, Percussion
Track List:
01. Looking For My Shadow – 3:30
02. Hard Again – 3:46
03. Losing My Piano – 6:15
04. Highlife Hunting – 4:32
05. Wrong – 4:33
06. Ghost Barres – 7:13
07. Life In Imperfect Times – 3:36
08. One Of These Days – 3:24
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Dirty Tricks – Hit & Run (1977) (@256)
05 Aug 2009
(Review from metal-invader.com)
All good things come to an end and much to hard rock lovers’ dismay all over the world this was meant to be the swan song for this hard working, hard rocking band. Andy Bierne replaced, John Lee behind the drum stool, by the time this album was released in 1977.
The band deliver their hot blooded hard rock with heavy blues overtones with gusto, featuring “Gambler” and “Walkin’ Tall”.
Added to this edition are two bonus tracks recorded live in late 1976 at Randy’s Rodeo Club in San Antonio, Texas.
Line-up:
- Johnny Fraser-Binnie / Guitar, Keyboards
- Terry Horbury / Bass
- Kenny Stewart / Vocals
- Andy Bierne / drums
Track List:
01. Hit And Run – 3:13
02. Get Out On The Street – 5:53
03. The Gambler – 5:24
04. Road To Deriabah – 4:15
05. I’ve Had These Dreams Before – 6:21
06. Walkin’ Tall – 3:52
07. Last Night Of Freedom – 3:55
08. Lost In The Past – 4:38
09. You Reallly Got Me (Live In San Antonio 1976) – 3:41
10. Get Out On The Street (Live In San Antonio 1976) – 6:53
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Dirty Tricks – Nightman (1976) (@256)
02 Aug 2009
(Review from metal-invader.com)
Hot on the heels of their 1975 eponymous debut, 1976′s “Night Man” is a worthy successor to the band’s debut album.
Night Man starts strong with the riff heavy, weekend party action of the thumping six-minute title track. The English quartet go light, with the Queen inspired mellow strains of “Now You’re Gone”. The boys get back to the hard edge with the Deep Purple-ish “Play Dirty”. The lumbering “You Got My Soul” carries a hint of Black Sabbath sound.
The band by this time had started making headlines in the US with their enthusiastic and potent hard rock band and on the strength of the “Night Man” there were shows booked in America.
As bonus, a selection of tracks from this trip are included here, along with a single b-side and two US re-recordings of tracks from the “Dirty Tricks” debut album. The hard work and spirited live performances of the band brought them to the echelon of their contemporaries and established them as on of the best live bands in the circuit. The epic vocals of Kenny Stewart, the amazing guitar work of soon-to-be Rogue Male Johnny Fraser-Binnie and the impeccable rhythm section of bassist Terry Horbury and drummer John Lee played hard and aimed high…
Line-up:
- John Lee / Drums
- Johnny Fraser-Binnie / Guitar, Keyboards
- Terry Horbury / Bass
- Kenny Stewart / Vocals
Track List:
01. Night Man – 6:02
02. Weekend Raver – 4:49
03. Armageddon (Song For A Rainbow) – 4:25
04. Fun Brigade – 4:29
05. Play Dirty – 4:51
06. Now You’re Gone – 4:13
07. You Got My Soul – 4:35
08. Black Diamond – 5:40
09. Too Much Wine (US Version) – 5:17
10. Wait Till Saturday (US Version) – 5:29
11. Wait Till Saturday (Cincinnati 1976) – 5:49
12. Too Much Wine (Cincinnati 1976) – 6:58
13. You Got My Soul (Cincinnati 1976) – 8:36
14. Hire Car (Cincinnati 1976) – 4:28
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Dirty Tricks – Dirty Tricks (1975) (@256)
01 Aug 2009
(Review from metal-invader.com)
Dirty Tricks made its San Antonio debut at a Southside bar known as Randy’s Rodeo late in 1974, to rave reviews. It was there that they debuted songs from the upcoming album and finished the crowd off with an explosive version of the Kinks’ “You Really Got Me”, a year before Van Halen released their first album with that same song.
Quite an achievement it is, a fantastic mix of 70s hard rock with tinges of blues and the occasional rockier moment – making them sound like forerunners for the NWOBHM phenomenon. The guitar playing is immaculate, courtesy of John Fraser-Binnie and Kenny Stewart’s distinctive vocals really set this band apart from their contemporaries.
This album cultivated quite an audience when it was originally released back in 1975. “Dirty Tricks” is classic British rock at its best.
Added to this classic debut, a single and a clutch of live tracks recorded in London in 1975.
Line-up:
- John Lee / Drums
- Johnny Fraser-Binnie / Guitar, Keyboards
- Terry Horbury / Bass
- Kenny Stewart / Vocals
Track List:
01. Wait Till Saturday – 5:18
02. Back Off Evil – 6:40
03. Sunshine Day – 4:10
04. If You Believe In Me – 2:25
05. Too Much Wine – 5:07
06. Call Me Up For Love – 2:51
07. Marcella – 3:59
08. High Life – 7:46
09. I’m Gonna Get Me A Gun (Bonus) – 2:56
10. Hire Car (Bonus) – 3:56
11. Back Off Evil (Bonus Live) – 7:33
12. Call Me Up For Love (Bonus Live) – 3:30
13. The High Life (Live) – 7:50
14. Play Dirty (Bonus Live) – 5:01
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