Archive for October, 2009

(Review from allmusic, amazon, repertoirerecords.com)

Tramline was a hard-rocking blues-based quartet, not too different from guitar-heavy outfits of the late 60s — a sound like 60 year old black guys from the Mississippi, though they were only 17 and from North Yorkshire. This exuberance of youth, a quality you can’t bottle, just about carries the band through.

Their debut has nine sizzling performances by the promising young group, including original material (like the interesting instrumental Mazurka) and driving covers of songs like Buffalo Springfield’s “Rock And Roll Woman” and the Howlin’ Wolf classic “Killing Floor”.

Line-up:
- John McCoy / Harmonica, Vocals
- Micky Moody / Guitar
- Terry Popple / Drums
- Terry Sidgwick / Bass, Vocals

Track List:
01. Harpoon Man – 4:05
02. National Blues – 3:25
03. Sorry Sorry – 9:01
04. Look Over Yonder Wall – 4:39
05. Rock And Roll Woman – 4:02
06. Somewhere Down The Line – 3:35
07. Mazurka – 2:45
08. Statesborough Blues – 3:37
09. Killing Floor – 4:50

Link in comments.

Micky Moody, Tramline

Catharsis – Et S'Aimer… Et Mourir (1977) (@256)

29 Oct 2009

(Review from progarchives.com)

Catharsis’ last album, Et S’Aimer El Mourir saw the reuniting of three original members (including Charlotte) with no later members appearing in the recording.

However their approach is now more jazzy, perhaps comparable to late 70s Camel or even Schicke, Fuhrs & Fröhling without their mellotrons.

Line-up:
- Yves de Roubaix / guitar, vocals
- Roland Bocquet / keyboards, vocals
- Charles Eddie / percussion, piano, bass
- Charlotte / vocals
- Patrick Moulia / vocals

Track List:
01. Dis Oui – 4:00
02. Et S’aimer – 2:36
03. Dza – 4:17
04. Vie – 5:50
05. Tia – 5:23
06. Et Mourir – 11:09

Link in comments.

Catharsis

Catharsis – Le Bolero du Veau des Dames (1976) (@256)

28 Oct 2009

(Review from progarchives.com)

In their first album of new material in three years (the previous album was composed of unreleased early recordings), Catharsis has forgotten a bit their psych roots and developed a stronger symphonic sound.

Although an organ-dominated sound, Catharsis’ music sounds a tad different than other bands, as Bocquet’s organ is a Farsifa, rather than the usual Hammond. Right from the first notes of Palace, you’ll see easily that you are in a very different kind of musical realm. Some tracks like Melba still have a Floydian streak, but most include a fair bit of very tasteful brand of symphonic rock between Camel and Genesis.

The highlight of the album is clearly the 10-mins title track, which spends all its duration throughout, changing through a myriad of moods and ambiances much like a better version of Camel (and even sometimes close to Caravan and Genesis) and French compatriots Carpe Diem. Also among the better tracks is Docteur Pleu, which has some delightful spacey sounds as well as some near-orgasmic breathing over a not-so steady beat, before breaking into a very Genesis-type of close.

Line-up:
- Roland Bocquet / organ, piano, vocal
- Charles Eddie / percussions, vibraphone
- Claude / guitar, sitar
- Michel / bass

Track List:
01. Palace – 5:38
02. Tango – 2:45
03. Docteur Pleu – 6:01
04. Styx – 3:07
05. Melba – 5:10
06. Le Bolero du Veau des Dames – 10:31

Link in comments.

Catharsis

Catharsis – Illuminations (1975) (@256)

27 Oct 2009

(Review from progarchives.com)

Illuminations contains the surplus recordings of their first album from June and November 1971.

The tracks are dark, lyrical, poetical, calm, dreamy-like musical journeys that are almost exclusively performed for a chamber ensemble. Acoustic instruments (percussions, flute…) dominate the content but there’s also a priority for vintage organic / synth waves and fragile, distinctive female voices.

The introduction track starts the melancholic “trip” with an unforgotten instrumental for acoustic percussions and ultra-introspective, ethereal organs, absolutely beautiful. “La mort des amants” is an other elegiac, celestial piece, played for acoustic guitars and lead by plaintive, meditative Charlotte vocals. “Ballade des pendus” features a strange, delicate and moody atmosphere, including a large variety of percussive effects and dark synth strings. “En revenant de la noce” is a great variation of ancient dancing music.

The musical variety is greater than their previous albums, ranging from the trancendental “Aube” via uncommon treatments of music from the 17th and 18th Century, to the childish “Mignonne Allons Voir”. Among these short pieces are some of Catharsis’ finest recordings.

This is a melodic, floating album made with invention and devoted to the combination of neo-classical chamber progressive music with psychedelic, visceral organic music.

Line-up:
- Patrik Moulia / guitars, percussion
- Charlie Eddi / drums, percussion
- Yves de Roubaix / bass, guitar
- Roland Bocquet / keyboards
- Allain Geoffroy / piano, charango
- Charlotte / vocals, percussion

Track List:
01. Aube – 3:43
02. La Mort Des Amants – 3:05
03. Ballade Des Pendus – 3:48
04. En Revenant De La Noce – 1:59
05. Mignonne Allons Voir Si La Rose… – 1:57
06. Le Canard Blanc – 2:30
07. Illuminations – 3:10
08. Poemes Du 17e Siecle – 2:06
09. Alchimie Du Verbe (2e Partie) – 6:34

Link in comments.

Catharsis

Catharsis – 32 Mars (1973) (@256)

26 Oct 2009

(Review from progarchives.com)

“32 Mars” is kind of an EP, clocking in at just 23 minutes; it is short even for French albums of the time.

The title track is included in a full and single version, in addition to the alternate versions of the title tracks of their two previous albums — “Masq” and “Les Chevrons”.

Starting with a cool organ playing a catchy tune, “32 Mars” grows to a full spectacle of psychedelic and experimental showmanship. From the entire band playing in a full fledged lineup to the solo piano playing and then to tribal percussion and other instruments (such as a wacky style sax), this has the full gamut of what this band was capable of – not only in terms of playing and instrumentation but also in being able to create varied psychedelic textures and soundscapes. It’s a great ride made up of smaller segments that make it up a varied whole. The goofiness shown in some parts of the tracks balances the more psychedelic and spacey parts, adding distinction to the sound.

Line-up:
- Yves de Roubaix / bass, guitar, vocals
- Charlie Eddie / drums, percussion
- Roland Bocquet / keyboards, vocals
- Patrick Mouila / vocals, guitar, percussion

Track List:
01. 32 Mars – 11:08
02. Masq – 4:15
03. Les Chevrons – 4:59
04. 32 Mars – 3:07

Link in comments.

Catharsis

Catharsis – Les Chevrons (1972) (@256)

25 Oct 2009

(Review from progarchives.com)

Three members quit the band before the recording of their second album, Les Chevrons. However their sound didn’t change much. There are more tracks and they are more compressed (giving way to more melodies) without spoiling the characteristic spontaneous feel of their charming music.

As usual it’s largely dominated by synth chords, lyrical female voices and acoustic instruments. “Les chevrons” is a vast catalogue of epic, short symphonic rock songs with folkish accents. All compositions sound really weird, sometimes catching with irony the sound of medieval ancient dancing music. However there’s nothing gothic, ambiences are colourful, luminous and turned to positive energies.

“Ouverture” is an eccentric acoustic medieval incursion with chorus, organs and percussions, featuring progressive harmonies & arrengements (a lot of variations and changing textures). An humorous epic introduction. “Rien” srarts with percussive parts and chanting organs in a very folkish style, pursued by heroic keyboards, church like organ for light melodies. “Solstice” is a bizarre composition for malefic keys & fantomatic female / male voices. “Les chevrons” once again starts with a grandiose church like organ imitation, then carries on a pseudo sinister symphonic composition altered by parodies.

This album delivers really strange atmospheres, with delirious, eccentric ingredients, crazy keyboards.

Line-up:
- Yves de Roubaix / bass, guitar, vocals
- Charlie Eddie / drums, percussion
- Roland Bocquet / keyboards, vocals
- Patrick Mouila / vocals, guitar, percussion

Track List:
01. Ouverture – 2:23
02. Rien – 5:20
03. Solstice – 3:14
04. Les Chevrons – 5:01
05. Sirius – 6:35
06. Chelum – 6:55
07. Les Chevrons (Bonus) – 2:39

Link in comments.

Catharsis

Hotfile mirroring in progress

24 Oct 2009

Probably as many of you have noticed, I’m giving another shot at Hotfile for the spot of a second file service provider other than Rapidshare since last week. Perhaps third time is the charm (previous attempts at shareonall.com and qshare.com weren’t long lived due to their inability to provide adequate service).

I mirror about 50 albums a day, posting links at the comments section of each album. In about a month, I expect most of the blog will be mirrored. If you were reluctant to crawl through the archives because of Rapidshare restrictions, now you might try Hotfile also.

Don’t forget to use a downloader software (like Jdownloader), to automatize the annoying aspects of free downloading like waiting periods, captcha, etc.

Catharsis – Masq (1971) (@256)

24 Oct 2009

5 comments

(Review from progarchives.com)

Catharsis is one of those French pioneering groups that forged ahead and paved the way for many of their compatriots. Their first album was recorded early spring 1971. The band was at the peak of their productivity at the time, the sessions apparently produced a lot more material put on tape than just this album (which surfaced in later releases).

The sound is a mixture of easily accessible tunes, strange wordless chanting, high hippie spirits, Arabian elements, strong percussion and a few avant-garde excursions. It has a very spontaneous feeling, as if the group was assembled for some kind of occult ritual using music to reach a higher consciousness.

Four long tracks on this debut album from a group that has their own distinctive sound, even though they were obviously Pink Floyd and Amon Düül II inspired, but with some more symphonic touches. Indeed outside the strange ethereal female vocals, courtesy from Charlotte, the group was a septet. Through a percussive and gradual start, the track develops into an interesting psych rock, over which Charlotte’s vocals (sometimes joined by the others) are soaring, then bizarre effects and percussion derail the progression of the title track and render its outcome unpredictable. We are going thru a few Bolero (Ravel) measures, than joined scats vocals, then an uncertain landing. Rising from that shaky ground and with baffling percussions and effects, 4 Art 6 develops slowly, remaining a bit irritatingly on low dynamics that when they finally come to acceptable level, there are some very weird (even a bit objectionable) vocals. Starting the flipside, Cantique is not about to change that with Charlotte’s scats taking on a mystical or liturgical note and if the male pagan chants coming just after, then superposed to Charlotte’s. Tunnel Exatique doesn’t drop the ball either.

Masq is certainly a charming album that does bear the era that saw it born, a rather enjoyable piece of symphonic psychedelia, but repeated listening could prove somewhat difficult if one is not entirely comfortable with female aerial scats.

Line-up:
- Roland Bocquet / organ, piano, glock, vocal
- Niles Brown / guitar, violin, clochettes, vocal
- Charlotte / vocal, violin, crecelle, clochettes, grelots
- Yves de Roubaix / guitar, vocal, crecelle
- Charles Eddie / percussion, tarabocca
- Allain Geoffroy / charango, piano, moulinette, vocal
- Patrick Moulia / guitar, tambourin, scie, guimbarde, crecelle, harmonica, vocal

Track List:
01. Masq – 6:16
02. 4 Art 6 – 8:43
03. Cantique – 6:58
04. Tunnel Exatique Part 1 – 7:18
05. Tunnel Exatique Part 2 – 2:41

Link in comments.

Catharsis

Morte Macabre – Symphonic Holocaust (1998) (@256)

23 Oct 2009

(Review from progarchives.com, progreviews.com)

“Morte Macabre” is a band that is formed by the members of two Swedish progressive bands: Landberk and Anekdoten. They recorded in their own progressive way some of the not very well known European horror soundtracks, and adding an epic of their own to form this all-instrumental album.

While guitar and keyboards show the darkness, tension and anxiety included in tracks, the album drowns in mellotron (all members are credited by the use of it, go figure). On some tracks, notably “Apoteosi del Mistero” and the stunning “Sequenza Ritmica e Tema”, the mellotron effectively states the melody in a grandiose and gothic manner.

The band must be congratulated for exhuming (if you’ll pardon the pun) some of the more obscure music of the 70s, and for giving it a 90s face. Perhaps that’s their greatest triumph, in fact: with the possible exception of “The Photosession”, none of the songs presented here sound in any way dated.

The album’s 18-minute title track, the only Morte Macabre-penned composition, exhibits almost hypnotic potential. Even upon repeated listening, I found my mind drifting — not dozing out of boredom, but drawn to some underworldly region by the music.

“Symphonic Holocaust” is a challenging album for all those progressive rockers out there, its extremely edgy, moody, punchy.

Line-up:
- Nicklas Berg / Mellotron, Fender Rhodes, Theremin, sampler, guitar, bass
- Stefan Dimle / bass, Mellotron, Moog
- Reine Fiske / guitars, Mellotron, violin, Fender Rhodes
- Peter Nordins / drums, percussion, Mellotron
with
- Yessica Lindkvist / voice
- Janne Hansson / waves

Track List:
01. Apoteosi Del Mistero – 4:20
02. Threats Of Stark Reality – 2:59
03. Sequenza Ritmica E Tema – 7:06
04. Lullaby – 8:05
05. Quiet Drops – 6:46
06. Opening Theme – 2:53
07. The Photosession – 7:14
08. Symphonic Holocaust – 17:51

Link in comments.

Asia Minor – Between Flesh And Divine (1981) (@256)

22 Oct 2009

(Review from progarchives.com)

Despite the rather moderate reception given to their first album, the group remained convinced of the originality and quality of their music and decided to record a new album. The idea was that a second album would help the group assert itself and increase their credibility with concert organizers.

The sound of this album is darker and more melancholic and a mellotron is added to the mix, although string-synths are more plentiful. Lead guitar and flute are still the major features in the instrumental passages, being in charge of the solos and the main melodic lines. Beltrami’s drumming is still as polished and energetic as on the band’s debut album, displaying his jazzy vein under the guise of a rock-oriented attitude. The Turkish roots from Setrak and Eril are are scarce compared to their debut, which is a pity, it’s part of the band’s charm.

The sound production is more refined, which makes every instrument show itself clearly amidst the band’s overall sound. The contrast between the strong passages and the soft ones is handled more naturally, which allows the band to go deeper into their Camel-esque explorations.

Highlights include the opener “Nightwind”, the band starting off sound deceptively like Ozric Tentacles, but that’s just for a few seconds, before you know what you’re listening to is symphonic progressive. Here you get some great guitar and flute work, and some atmospheric passages. ‘Northern Lights’ states a more pronunced atmosphere of introspection, generally speaking, while ‘Dedicace’ brings a solid dynamics that fuses the heritages of Pulsar, Focus and Pink Floyd in an “Asia Minor” sort of way.

Finally, ‘Dreadful Memories’ is nothing but a jam construed from a simple chord progression on guitar, with the bass and drums following, and an increasing number of keyboard layers subtly being summoned in: its abrupt ending makes it the perfect coda for the album.

It wouldn’t take long before the bloody blade of ‘musical differences’ beheaded Asia Minor’s career, while they were preparing material for a following album that was never to be.

Line-up:
- Eril Tekeli / guitars, flute
- Setrak Bakirel / voice, guitars, bass
- Lionel Beltrami / drums, percussion
- Robert Kempler / keyboards, bass

Track List:
01. Nightwind – 6:26
02. Northern Lights – 7:46
03. Boundless – 3:09
04. Dedicace – 6:12
05. Lost In A Dream Yell – 7:41
06. Dreadful Memories – 2:44

Link in comments.

Asia Minor, Turkish

Asia Minor – Crossing the Line (1979) (@256)

21 Oct 2009

(Review from progarchives.com)

Asia Minor is a solid symphonic ensemble formed by two Turkish musicians residing in France. They take a more unusual twist on the sound popularised by Camel, with a mostly instrumental rock, an eerie ambience with folk and ethnic influences, featuring much flute, guitar and keyboards.

Their debut was recorded in a time when the genre was starting to face a serious decline in terms of commercial attention and artistic relevance. All compositions are penned by the Turkish duo Bakirel/Tekeli.

The opening “Preface” is a patchwork of the rest of the album. Nice flute moments, strange vocals and complex tempo. The group shines best when the middle-eastern influences are most apparent, the best of these being “Landscape”, the oddly pronounced words only adding to the charm of this deliciously sinister tune. The shorter vocal tracks seems somewhat undeveloped, almost ideas that didn’t pan out, but the brief instrumental “Mystic Dance” lives up to its name, showcasing the woodwinds of Eril Tekeli.

Line-up:
- Eril Tekeli / flute, guitars, bass
- Setrak Bakirel / lead vocals, guitars, bass
- Lionel Beltrami / drums, percussion
- Nick Vicente / keyboards

Track List:
01. Preface – 4:23
02. Mahzun Gozler – 8:19
03. Mystic Dance – 1:45
04. Misfortune – 4:38
05. Landscape – 4:01
06. Visions – 5:43
07. Without Stir – 1:55
08. Hayal Dolu Gunler Icin – 4:46
09. Postface – 2:11

Link in comments.

Asia Minor, Turkish

Neuschwanstein – Battlement (1978) (@256)

20 Oct 2009

(Review from progarchives.com, progressiveworld.net)

From 1974 to 1978 the band would make a name for themselves in the Saarland region of Germany and France, opening many shows for the likes of Novalis and Lucifer’s Friend. By 1978 the band booked themselves into Scorpions producer Dieter Dierks studio, one of the finest in Germany to record the album which would become “Battlement”.

“Battlement” is a rather well-known album among progressive fans due to its striking similarities with early Genesis and the sublime spirit of Camel (heavy doses of wondrous flute). Singer Frederic Joos is an absolute dead-ringer for Peter Gabriel. In fact, most of the album sounds like music Genesis could have released in the late 70s if Peter Gabriel and Steve Hackett both had stayed in the band. Compared to early Genesis, Neuschwanstein’s instrumentation and recording capabilities were considerably higher, yet this German band got rather close to writing music that was equally as good as those early Genesis classics.

The seven very melodic and harmonic compositions on the album feature a warm sound, pleasant shifting moods, some sensational breaks and lush keyboards (piano, string-ensemble, Mellotron, Fender Rhodes electric piano, synthesizers and organ), beautiful flute, sensitive electric guitar, twanging acoustic guitar, a decent rhythm-section and good English vocals (including a charming German accent).

Line-up:
- Frederic Joos / vocals, acoustic guitars
- Thomas Neuroth / keyboards
- Klaus Mayer / flutes, synthesizers
- Roger Weiler / guitars
- Rainer Zimmer / bass, vocals
- Hans-Peter Schwarz / drums

Track List:
01. Loafer Jack – 4:48
02. Ice With Dwale – 6:26
03. Intruders And The Punishment – 7:39
04. Beyond The Bugle – 7:36
05. Battlement – 7:12
06. Midsummer Day (Bonus) – 7:45
07. Zartlicher Abschied – 6:16

Link in comments.

Neuschwanstein

Neuschwanstein – Alice In Wonderland (1974) (@256)

19 Oct 2009

(Review from progarchives.com, progressiveworld.net)

Neuschwanstein was a German band, the embryonic form of the band originally making their mark in a musical competition in Saarbrucken. The band won the competition with a progressive rock adaptation of Lewis Carroll’s Alice In Wonderland in 1974.

The opener is literally an intro that comprises brief atmospheres based on floating piano washes and eerie cymbals, until the instrumentation settles in for ‘The Gate to Wonderland’, lyrically structured across a prominent presence of bucolic ambiences provided by the playful flute lines and the elegant interventions on synth (orchestration and solo). It is mostly a second intro, and a “third intro” arrives with the slightly more mysterious ‘Pond of Tears’, which is where the synth layers become more relevant, and also there is a more noticeable presence of the guitar phrases alongside the ever haunting flute lines. The melodic display is definitely more ambitious than on the preceding track, but it still feels like a sequence of amalgamated snippets than a track with a power of its own.

Track 4 is the first piece in this concept that benefits from a proper development – it starts very lyrical, like a symphonic journey with heavily pastoral accents, but soon the piece reveals a colorful imagery of sound that alternates density and lightheartedness in an ultimately symphonic fashion. Influences from Camel, Novalis, Eloy and Focus’ introspective side seem to be very transparent here, with some touches of early 70s Jethro Tull. Regarding the sense of magic delivered through the global instrumentation, you can also tell that there are also coincidences with what Happy the Man were doing at the time on the other side of the Atlantic for their “Death’s Crown” project – it is no wonder, since this album’s tracklist and that Happy the Man project were both conceived as musical bases for visuals and theatrical deliveries.

‘Five O’Clock-Tea’ is segued to the last notes of the preceding track’s enthusiastic closing portion, bringing back a ceremonious note that works really well due to the clever architecture that ordains the various moods and motifs. This is the sort of grandeur that I wished earlier for tracks 2 and 3 – at this point, the musical ideas are becoming gradually more robust. After a brief sung section, the track shifts toward a sense of sheer, dramatic intensity without losing its melodic drive. The last section is a joyful imitation of cabaret-oriented jazz, which makes an efficient contrast against the solemn note that signals the start of the following track ‘The Marching of the Queen – Palace of Wonderland’. The band’s ability to create beautifully crafted melodic developments of motifs and the easily flowing transitions comes to its full fruition on this one – even though you won’t find as many dramatic shifts than on previous tracks, this one never gets boring or monotonous. The portions where the band gets to Celtic and Renaissance territories, the sonic beauty becomes irresistibly sublime.

‘The Court of the Animals’ starts with the mandatory narration over a piano sequence (electric and grand, simultaneously): some more amazingly beautiful melodies and textures get in, and then some exciting interludes bring warm Tullian airs. The closer ‘Alice’s Return’ wraps up the concept with a reprised motif.

Line-up:
- Thomas Neuroth / keyboards
- Klaus Mayer / flute, synthesizer
- Roger Weiler / guitars
- Frederic Joos / lead vocals, acoustic guitar
- Rainer Zimmer / bass, vocal
- Hans-Peter Schwarz / drums
- Hermann Rarebell / drums

Track List:
01. White Rabbit – 1:17
02. Gate to Wonderland – 2:13
03. Pond of Tears – 2:45
04. Old Father’s Song – 8:31
05. Five-O’Clock-Tea – 6:49
06. Palace of Wonderland – 12:05
07. The Court of the Animals – 5:01
08. Alice’s Return – 2:05

Link in comments.

Neuschwanstein

New Cactus Band – Son Of Cactus (1973) (@256)

18 Oct 2009

(Review from amazon, wikipedia)

After Cactus disbanded, Tim Bogert and Carmine Appice got together with Jeff Beck to form Beck, Bogert & Appice. Duane Hitchings decided to keep the Cactus name alive teaming up ex-Iron Butterfly Mike Pinera, as the “New Cactus Band”.

Highlights of their sole album include “It’s Getting Better” (a real upper of a song), “I Can’t Wait”, “Senseless Rebel” (boogie, boogie, and more good boogie), “Man is a Boy”, “Ragtime Suzy” (a real rock classic with great bluesy piano and rock guitar fills all over it) and that nasty, dark, sinister totally fine Blu-blu-blu-”Blue Gypsy Woman”.

Sound resembles not Cactus but more of the type of music Mike Pinera always made — simple bluesy hard rock from early 70s.

Line-up:
- Mike Pinera / guitar, vocals
- Roland Robinson / bass, vocals
- Duane Hitchings / keyboards, vocals
- Jerry Norris / drums
- Manuel Bertematti / drums

Track List:
01. It’s Getting Better – 3:50
02. I Can’t Wait – 3:25
03. Hook Line and Sinker – 3:53
04. It’s Just a Feelin’ – 4:10
05. Lady (Spend My Life with You) – 4:27
06. Ragtime Suzy – 2:46
07. Blue Gypsy Woman – 3:16
08. Senseless Rebel – 3:27
09. Man Is a Boy – 3:27
10. Hold on to My Love – 4:13
11. Daddy Ain’t Gone – 3:13

Link in comments.

Duane Hitchings, Mike Pinera

Egg – Civil Surface (1974) (@256)

17 Oct 2009

(Review from progarchives.com, progreviews.com, wikipedia)

In 1974, Dave Stewart, now signed with Virgin as a member of Hatfield and the North, also got a deal for Egg to record their unreleased material, which resulted in the farewell album Civil Surface.

Beginning with a metronome click, sped up drums, and organ fanfare, “Germ Patrol” is the sound of an Egg rehatched. The masterstroke on the album, however, is “Enneagram”. This track expertly synthesizes all of the Stravinsky ostinati, jazz chords, and space sounds that Egg had touched upon earlier in their career but hadn’t quite mastered. Shorter, but just as telling of things to come, is “Prelude”, filled out by the Northettes on vocals. Not everything is as revelatory as the previously mentioned tracks, but other tracks are enjoyable nonetheless and feature a sense of humor.

In addition to the keyboards of Dave Stewart here we have a wind quartet, various wind instrumental virtuosos, and a female vocal trio. The overall impact of this is to give the album a modern classical feel, with many pleasant sounds. The compositions are generally more fusion based, straying at times towards krautrock. There are at times strong hints of the wonderful work of early 70′s multi- instrumentalist Yoel Schwarcz and his work with Continuum. The complex counterpoint and tart harmonies on this album set the stage for the sound that would later be National Health’s trademark.

Line-up:
- Dave Stewart / organ, piano; bass (6)
- Clive Brooks / drums
- Mont Campbell / bass, voice, French horn and piano
with
- Jeremy Baines / Germophone & Bowle
- Lindsay Cooper / oboe, basson (1-6)
- Tim Hodgkinson / clarinet (1-6)
- Amanda Parsons / vocals (4)
- Ann Rosenthal / vocals (4)
- Barbara Gaskin / vocals (4)
- Steve Hillage / guitar (5)

Track List:
01. Germ Patrol – 8:31
02. Wind Quartet 1 – 2:25
03. Enneagram – 9:09
04. Prelude – 4:17
05. Wring Out the Ground Loosely Now – 8:10
06. Nearch – 3:27
07. Windquartet 2 – 4:44

Link in comments.

Dave Stewart, Egg, Lindsay Cooper, Tim Hodgkinson

Egg – Polite Force (1971) (@256)

16 Oct 2009

(Review from progarchives.com, wikipedia)

The Polite Force was Egg’s second album and represents a considerable advance on their debut, both in terms of composition and performance. Overall there’s a greater sense of focus, coupled with an attention to detail and a more solid structure both in the individual pieces and across the album as a whole.

As on their debut, side 1 consists of shorter pieces, though this time there are only three. “A Visit To Newport Hospital” has autobiographical lyrics about the band’s early days as Uriel and shows Mont Campbell’s flair for writing accessible, melodic songs in daunting time signatures. “Contrasong”, the shortest piece on the album, is a an extremely tight piece which alternates between 5/8 and 9/8 and features a punchy horn arrangement by Campbell. H0s ability to sing with such insouciance while playing finger breaking bass lines in such unusual rhythms is staggering, while the ability of the trio as a whole to make such complex music swing speaks volumes about the amount of musical talent they had. “Boilk” is a lengthy piece which veers in to the RIO/Avant prog territory that they had explored on parts of their first album. The incorporation of a theme by Bach gives a neat touch.

The second half of the album is taken up with the imaginatively titled Long Piece No.3, a side long Canterbury adventure. The four sections of the piece flow naturally into each other and each member of the trio gets a chance to shine without taking a flashy solo. As a whole it’s a finely nuanced piece of ensemble playing, writing and arranging which has great charm and sophistication. There’s nothing extraneous on this piece, and the trio play with a maturity and restraint.

Egg finished the year with an increased touring schedule, but in spite of accumulating enough material for a third album, were unable to secure another record deal, and called it a day in July 1972.

Line-up:
- Mont Campbell / bass, vocals, organ (5), Piano (5), French horn (6)
- Dave Stewart / Organ, Piano, tone generator (7)
- Clive Brooks / drums
with
- Henry Lowther / trumpet (2)
- Mike Davis / trumpet (2)
- Bob Downes / Tenor sax (2)
- Tony Roberts / Tenor sax (2)

Track List:
01. A Visit To Newport Hospital – 8:28
02. Contrasong – 4:25
03. Boilk (Incl. Bach: ‘Durch Adams Fall Ist Ganz Verderbt’) – 9:22
04. Long Piece No. 3: Part One – 5:08
05. Long Piece No. 3: Part Two – 7:38
06. Long Piece No. 3: Part Three – 5:03
07. Long Piece No. 3: Part Four – 2:51

Link in comments.

Dave Stewart, Egg

Egg – Egg (1970) (@256)

15 Oct 2009

(Review from progarchives.com)

Egg’s debut album is an astonishingly assured piece of work, especially when you realise that the three members of the band were all under 20 when it was released. They had emerged from the ashes of Uriel/Arzachel, a band that was formed at the City of London school. Keyboard player Dave Stewart was originally the guitarist, but switched to organ when he realised that the young Steve Hillage (for it was he) was a better player. Hillage then left for university, the remaining trio renamed themselves Egg and built up a solid reputation on the underground circuit. It’s an essential piece of the Canterbury scene jigsaw.

Like the early Soft Machine, Egg was an organ led trio with a particularly English sense of humour to go with the serious musical chops, although where Soft Machine’s work had a jazz flavour Egg were into quoting the classics.

The main composer was Mont Campbell, although the group shared the writing credits (Stewart later said that Campbell was responsible for 95% of Egg’s music). This album, like their follow up, had one side of shorter pieces and a side long instrumental.

The first half is a patchwork of short, eccentric songs and instrumentals. A particular highlight is a jazzy reading of Bach’s Fugue in D minor, which is similar to Jethro Tull’s Bouree. Mont Campbell’s voice has a similar timbre to Richard Sinclair’s and the lyrics have a similar tongue in cheek quality. That, plus Dave Stewart’s distinctive keyboard work, gives songs like While Growing My Hair a kind of proto Hatfield and the North feel.

The second half of the album is a rather more serious affair. The first movement features a very nifty quote from Hall of the Mountain King, while Blane moves into the kind of RIO/Avant progressive territory. The suite is almost exclusively dominated by organ, and a single tone organ at that.

There are many power trios playing rock music with a classical touch out there. Emerson, Lake & Palmer is the most obvious one to mention. Egg stand out from the rest though as they have a subtle and soft approach to the genre that is admirable compared to the pompeus and most of the time overblown symphonic approach of ELP.

Line-up:
- Dave Stewart / organ, piano, tone generator
- Mont Campbell / bass, vocals
- Clive Brook / drums

Track List:
01. Bulb – 0:09
02. While Growing My Hair – 4:02
03. I Will Be Absorbed – 5:11
04. Fugue In D Minor – 2:49
05. They Laughed When I Sat Down At The Piano… – 1:21
06. The Song Of McGillicudie The Pusillanimous (Or Don’t Worry James, Your Socks Are Hanging In The Coal Cellar With Thomas) – 5:09
07. Boilk – 1:04
08. Symphony No. 2 (Movement 1, Movement 2, Blane, Movement 4) – 20:40

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Dave Stewart, Egg

Arzachel – Arzachel (1969) (@256)

14 Oct 2009

(Review from progarchives.com)

This could be seen as the first Egg album, Arzachel (also known as Uriel) is essentially Egg + Steve Hillage. The band recorded this album in one afternoon, making it all the more remarkable. Boasting ethereal organ from Dave Stewart and the oh-so English vocals of both Mont Campbell and Steve Hillage, this album is a real treat.

The album starts off with the short and efficient “Garden of Earthly Delights”, a track driven by Stewart’s organ and alternating verses sung by Hillage and Campbell. It is an incredible track that gets things off to an energetic and decidedly English beginning. “Azathoth” brings things down a bit, featuring haunting church organ and distant vocals from Hillage. Moving at a slow, stately pace, one hardly expects the organ-noise, which erupts halfway through before falling back into its hymnal melody. “Queen St. Gang” is an understated instrumental which continues much in the vein of “Azathoth”, slowly churning along but progressing beautifully all the while. “Leg” is a bit less successful than the previous three tracks, delving into blues and away from the delicious psychedelia. It reminds of Jethro Tull circa 1968-69 with organ instead of guitar.

The album concludes with two lengthy jams, “Clean Innocent Fun” which is pretty good, though derivative. The second jam, the sixteen minute monster, “Metempsychosis” is in par with any 60s Pink Floyd instrumental in terms of madness. It slowly moves along, gaining momentum, and Hillage and Stewart in tandem are both ugly and hypnotic in this piece. It finally concludes with some distorted organ. Apparently the band watched the clock during the whole jam and only played until they had an album filled. The song is incredible however, but takes a few listens. True, experimental psychedelia at its most acid laced.

This is a good and energetic record. It shows just how talented these young kids were at the time, barely out of high school. Highly recommended to fans of psych, space, blues and canterbury, it hits all of the bases.

Line-up:
- Clive Brooks / drums
- Mont Campbell / bass, vocals
- Dave Stewart / organ
- Steve Hillage / guitar, vocals

Track List:
01. Garden of Earthly Delights – 2:45
02. Azathoth – 4:21
03. Queen St. Gang – 4:25
04. Leg – 5:40
05. Clean Innocent Fun – 10:23
06. Metempsychosis – 16:38

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Dave Stewart, Egg, Steve Hillage

Osage Tribe – Arrow Head (1972) (@256)

13 Oct 2009

(Review from italianprog.com, progarchives.com)

Osage Tribe were formed in 1971 by Franco Battiato, then working as pop singer, with his loyal drummer Cucciolo, guitarist Marco Zoccheddu who had just left Nuova Idea and bass guitarist Bob Callero. Battiato found a recording deal but soon left the band, just singing on their first single Un falco nel cielo (added as bonus tracks in English and Italian), before starting his solo career; the single is rather commercial and was also used for a popular TV quiz show at the time.

The remaining trio, based in Genova, a prolific city for many great bands, veered towards a more aggressive sound and released their only outing, Arrow Head, in 1972, a five tracks album that’s still regarded as one of the finest in its genre. Mainly hard rock based, but with strong progressive influences rather than solo parts with some jazzy influences.

The opening track Hajenhanhowa it starts as a psychedelic and “loaded” number, turns into some sort of world music song once the main and repetitive theme “Hajenhanhowa” starts. The contrast is quite a shock — a tribal song played by an Italian band. The title track is strongly on the heavy side. “Arrow Head” features a wild beat: drumming is absolutely impressive and the psychedelic atmosphere is not alien to this song either. The bass play is really amazing as well.

There are jazzy influences during the chaotic “Cerchio Di Luce”. This track sounds more as a jam session amongst friends than a structured progressive Italian song. “Osage Tribe” even more digs into the heavy rock territories during the longest track of this album: “Soffici Bianchi Veli” is heavy guitar mixed with a serious attraction for jamming. “Orizzonti Senza Fine” follows its footsteps and closes the album.

Line-up:
- Marco Zoccheddu / guitar, keyboards, harmonica, vocals
- Bob Callero / bass, vocals
- Ninzio “Cucciolo” Fava / drums, vocals
- Franco Battiato / vocals (6, 7)

Track List:
01. Hajenhanhowa – 9:38
02. Arrow Head – 5:16
03. Cerchio Di Luce – 7:19
04. Soffici Bianchi Veli – 9:40
05. Orizzonti Senza Fine – 8:21
06. Un Falco Nel Cielo (Bonus) – 2:58
07. Prehistoric Sound (Bonus) – 2:57

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Marco Zoccheddu

Nuova Idea – Clowns (1973) (@256)

12 Oct 2009

(Review from vintageprog.com, progarchives.com)

Their third album sees yet another guitarist change in the line-up. In “Clowns”, the particular (and disturbing, to some listeners) voice of the newcomer adds an original touch to a majestic instrumental background. At times the vocals sound harsh, overly emotional, typical of French bands (Mona Lisa-like) but majority of the vocals are in softer, Italian style (PFM-like).

The riff on the opening track will remind you a little of Gentle Giant’s “Prologue” and it is symphonic progressive of a kind most progressive rock fans will enjoy, just as the rest of the album. The songwriting and arrangements are great.
The title track has some very symphonic and grandiose parts which gets relived by the more aggressive vocal-parts. “Il Gardino Dei Sogni” and “Una Vita Nuova” are both tracks of melodic progressive at its best. Very strong melodies and themes.

The band split after the release of this album.

Line-up:
- Claudio Ghiglino / guitar, vocals
- Giorgio Usai / keyboards
- Enrico Casagni / bass, flute, vocals
- Paolo Siani / drums, vocals
- Ricky Belloni / guitar, vocals

Track List:
01. Clessidra – 5:28
02. Un’Isola – 8:04
03. Il Giardino Dei Sogni – 5:21
04. Clown – 10:42
05. Una Vita Nuova – 5:22

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Nuova Idea

Nuova Idea – Mr. E.Jones (1972) (@256)

11 Oct 2009

(Review from italianprog.com, italianprogrock.com)

The band’s second release is a concept album based on a clerk’s life, Mr. E.Jones, featuring a new guitarist. It tells about the terrible life of a typical office worker and the musical atmospheres show traces of it, blending stress moments and dreaming pauses.

With major mood and atmosphere swings, Nuova Idea takes us from hard edged acid-like keyboard driven progressive jams to soft caressing mellotron led tranquil moments. The album carries a real heavy 70′s feel with loads of dark keyboards and expressive vocals and guitars. The band makes a strong use of multivocal and falsetto parts not unlike New Trolls, but the instrumental parts are very well played. The lighter sections of the album reminds of early Camel at times.

Line-up:
- Claudio Ghiglino / guitar, vocals
- Giorgio Usai / keyboards
- Enrico Casagni / bass, flute, vocals
- Paolo Siani / drums, vocal
- Antonello Gabelli / guitar, vocals

Track List:
01. Svegliati Edgar – 3:45
02. Mr. E.Jones – 3:30
03. Viaggio Nel Mondo Dei Sogni – 5:31
04. Un’ora Del Tuo Tempo – 5:29
05. Fumo Di Una Sigaretta – 2:27
06. Illusione Da Poco – 9:09
07. Premio Di Una Vita – 7:12
08. Un Altro Giorno – 3:03

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Nuova Idea

Nuova Idea – In the Beginning (1971) (@256)

10 Oct 2009

(Review from italianprog.com)

The origins of the group lay in the 60s, after many concerts the name Nuova Idea was chosen in 1970 for their first single but the real success came in 1971 when the band played at the first Viareggio Pop Festival. A 20-minute long “Come, Come, Come” made it to the festival sampler.

Their first studio album, “In the Beginning” by their label with none of the musicians knowing about it.

It features an early psychedelic heavy 70s sound with predominant strong guitar riffs, rough vocals and few keyboards/flutes added here and there. The first side has the side-long “Come, Come, Come”, while on the other side there are four shorter songs in a more melodic style (three of these had already appeared on the band’s early singles).

After this debut album, guitarist Marco Zoccheddu, a leading figure in their concerts, left the band to form Osage Tribe.

Line-up:
- Marco Zoccheddu / guitar, vocals
- Claudio Ghiglino / guitar, vocals
- Giorgio Usai / keyboards
- Enrico Casagni / bass, flute, vocals
- Paolo Siani / drums, vocals

Track List:
01. Come,come,come… – 20:02
02. Realta – 4:08
03. La Mia Scelta – 3:39
04. Non Dire Niente…(Ho Gia Capito) – 4:19
05. Dolce Amore – 3:58

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Marco Zoccheddu, Nuova Idea

U.K – Live In Boston (1978) (@256)

09 Oct 2009

5 comments

(Review from progarchives.com)

Recorded live in Boston in 1978, this recording is finally available as a proper release after long been only found as a bootleg. The sound quality is good. It sounds as though no studio overdubs were punched in later. Each musician has his share of clams (mistakes) that are very apparent.

The tracks, a mix of those from the selftitled U.K. release and the follow up, Danger Money. Hearing Bruford and Holdsworth’s playing “Carrying No Cross”, “The Only Thing She Needs” and “Caesar’s Palace Blues” offers a slight variation from the studio project. There is some improvisation, obviously these takes offer a bit more air and spontaneity than on the future Bozzio propelled album. Wetton’s voice is good, cracking and a bit off here and there, but nothing to ruin the moment. Holdsworth’s jazzy underpinning in the softer lyrical opening to “Carrying No Cross” is enjoyable. He plays fills and lightning runs throughout. Wetton’s live bass action harkens back to King Crimsons glory days, even taking a solo 6 minutes in. Jobson sounds compelled to give Holdsworth a run at center stage as the piece moves forward, swelling and evolving with full band interplay. Holdsworth pulls off a stunning solo before breaking back into the vocal theme.

The “Thirty Years” intro is a beautiful clean picked guitar over synthesized sweet violin washes. Wetton attempts to be soft but struggles a bit with a few notes. The audio is very clear, narry any crowd noise, with Bruford’s cymbals filling space before the band leaps into a tight instrumental sections. Wetton fuzzes up his bass lines and Holdsy chords along before Jobson’s keys take control. Another smoking guitar solo before coming back down to another verse. Holdsworth solo out to Jobson’s “Presto Vivace” synth intro to “In the Dead of Night”. Holdsworth rips it up again, getting outside into a improvisation showcase. No shortage of fireworks here. Even little stumbles get you into the moment, rather than detracting.

The final track, “Caesar’s Palace Blues” is interestingly contrasted from the studio take with some fun trade-offs from Jobson and Holdsworth, sounding like they are totally digging the play. Jobson saws the hell out of his violin. This one appears to be fun and spontaneous.

Line-up:
- Allan Holdsworth / guitars
- Bill Bruford / drums
- Jon Wetton /bass guitar, vocals
- Eddie Jobson / keyboards, electric violin

Track List:
01. Alaska – 1:33
02. Time To Kill – 7:16
03. The Only Thing She Needs – 7:21
04. Carrying No Cross – 9:58
05. Thirty Years – 10:03
06. Presto Vivace / In the Dead of Night – 7:49
07. Caesar’s Palace Blues – 4:30

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Allan Holdsworth, Bill Bruford, Eddie Jobson, John Wetton, Live, U.K.

Tetragon – Nature (1971) (@256)

08 Oct 2009

(Review from progarchives.com)

In 1971 Schmieding decided to leave the trio Trikolon and concentrate on his daily job thus the remaining two musicians Rettberg and Schapper were looking for substitutes. At their school they found the talented guitarist Jurgen Jaehner and the drummer Achim Luhrmann and called their quartet Tetragon logically enough.

The band didn’t really have a predetermined musical style; they played different styles as they pleased, favouring blues (for its emotional impact), jazz and the classics (adapting a Bach fugue along the way).

Their only outing had been originally produced in a quite non-professional manner using a Revox A77 2-track tape recorder and seven microphones placed judiciously to best capture the sound of each instrument. The recording duty took place in an old farm which had been converted into a house by some friends of Luhrmann’s parents. Re-recording wasn’t possible and any imperfections had to be avoided in the ‘live’ taping conditions which inspired the band to great heights though. Schapper played organ and clavinet simultaneously, with one hand on each keyboard. Jurgen Jaehner meanwhile would switch to acoustic guitar immediately after an electric guitar solo.

Most of the tracks are all-instrumental, only the title song has some vocals. It’s in fact very well-done early progressive rock rooted in blues with jazzy and classical leanings.

As a bonus track to this issue of the album, a great jam-rockin’ live bonus track “Doors in Between” was added.

Line-up:
- Hendrik Schaper / organ, clavinet, cembalet, piano, vocals
- Jurgen Jaehner / ric acoustic guitar
- Rolf Rettberg / Bass
- Joachim Luhrmann / Drums

Track List:
01. Fugue – 15:59
02. Jokus – 0:21
03. Irgendwas – 6:01
04. A Short Story – 13:41
05. Nature – 7:44
06. Doors In Between (Bonus) – 14:15

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Hendrik Schaper, Rolf Rettberg

Trikolon – Cluster (1969) (@256)

07 Oct 2009

(Review from progarchives.com, waysidemusic.com)

Three school-friends formed in Osnabruck (Germany) as a trio and called it Trikolon respectively.

The band mainly played The Nice cover versions, but at times more in a manner closer to Dutch band Ekseption and as well some blues classics like “Spoonful” or “I’m a Man” in a Cream-like interpretation. These were mixed up with long improvisations and jazz influences of a Miles Davis type Schmieding used to be a huge fan of. They became a quite well-known (in their local area) live band.

This album was recorded live to a stereo tape — thus there’s a really raw feel to it. Only 150 copies were made at its initial release. The definite highlight is “Blue Rondo a la Turk”, really exciting with fireworks performed on organ, accompanied by racing drums.

Line-up:
- Hendrik Schaper / keyboards, trumpet, vocals
- Rolf Rettberg / bass
- Ralf Schmieding / drums

Track List:
01. In Search Of The Sun – 15:35
02. Trumpet For Example – 7:09
03. Hendrik’s Easy Groove – 10:56
04. Blue Rondo – 10:28
05. Fuge (Bonus) – 22:22

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Hendrik Schaper, Rolf Rettberg

Judas Priest – A Touch Of Evil (Live 2005-2008) (@256)

06 Oct 2009

(Review from amazon, popmatters.com)

Made of song recordings scattered across the Angel of Vengeance 2005 and Nostradamus 2008 tours this is not such much a complete live show rather a greatest live moments of those tours, a collection of live souvenirs if you will. Indeed the songs have not been connected to run as one show and all of these recordings are stellar as is the band performance in delivering them. It’s an interesting decision, one that might stick in the craw of those fusspots who would rather hear a complete show uninterrupted, but for all its various locales and fade-outs after tracks, this album turns out to be quite the revelation.

With four of the 11 tracks from the last two albums – Angel of Retribution and the vastly underrated Nostradamus – and seven cuts dipping deep into the back catalog — to some more obscure songs, there is an eclectic mix that generates powerful electricity. Avoiding concert staples (which are always present in live albums), this makes for a much-welcomed and refreshing song list.

“Judas Rising” and “Hellrider” are faithful, energetic renditions that mine the classic Priest sound of 1982-1984, while the two cuts from last year’s Nostradamus are much more revelatory — “Prophecy” deliciously theatrical and “Death” transformed into a powerful doom metal dirge.

The real treat, though, is the older material, on which the entire band sounds rejuvenated. 1977’s “Dissident Aggressor” is a pummeling rendition, the rhythm section of drummer Scott Travis and bassist Ian Hill anchoring the track with a formidable bottom end. Originally appearing on 1978’s influential Stained Class, the new version of the epic “Beyond the Realm of Death” is reinvented, Halford smartly avoiding trying to replicate the multi-octave screeches of the original, playing to his current strengths, his more mid-range delivery lending the song a more somber, less bombastic air. The more straightforward “Riding on the Wind”, from 1982′s Screaming For Vengeance, is great fun, Halford’s high-pitched snarl belying his age, Glenn Tipton and K.K. Downing trading leads as slickly as they’ve ever done. The lascivious “Eat Me Alive”, from 1984′s Defenders of the Faith, is dusted off and given a good spit and polish here, as is Painkiller’s “Between the Hammer and the Anvil”.

Interestingly, “A Touch of Evil Live” is limited to just an hour-long running time, and while it makes for a good, concise listen that’s never for a moment dull, fans will be wondering why such recently performed rarities as “Devil’s Child”, “Hell Patrol”, and “Rock Hard, Ride Free” were not included, but when we hear the band roar through the classic “Painkiller”, Halford turning in one of his most ferocious, maniacal vocal performances on record, it’s hard to complain.

Rarely do live albums drift away from the comfort zone of cranking out fan favorites while easily (lazily?) helping to fulfill the number of titles required in the contractual deal with the record company. Judas Priest breaks that mold.

Line-up:
* Rob Halford – vocals
* K. K. Downing – guitar
* Glenn Tipton – guitar
* Ian Hill – bass
* Scott Travis – drums

Track List:
01. Judas Rising – 4:23
02. Hellrider – 5:37
03. Between The Hammer & The Anvil – 4:34
04. Riding On The Wind – 3:28
05. Death – 7:52
06. Beyond The Realms Of Death – 6:51
07. Dissident Aggressor – 3:03
08. A Touch Of Evil – 6:10
09. Eat Me Alive – 4:35
10. Prophecy – 6:07
11. Painkiller – 7:12

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Glenn Tipton, Judas Priest, Live, Rob Halford

Sea Level – Ball Room (1980) (@256)

05 Oct 2009

(Info from wikipedia)

Adding percussionist Matt Greeley for their fifth and final album, the band released “Ball Room” on Arista Records. It is the heaviest of their five albums, leaning towards the trends set in the early 80s.

After dissolution of Sea Level, Chuck Leavell later emerged as a sought-after session musician and producer, eventually becoming a “permanent” session player touring with the Rolling Stones. Considered to have the “wrong image” as the Rolling Stones, while touring, he would most frequently be seated at keyboards, out of the main view of fans, and as a result, became dubbed “the sixth Rolling Stone”.

Line-up:
- Chuck Leavell / piano, Moog synthesizer, organ, clavinet, keyboards, percussion, vocals
- Lamar Williams / bass, vocals
- Jimmy Nalls / guitars, vocals
- Davis Causey / guitars
- Randall Bramblett / saxophones, piano, keyboards, vocals
- Joe English / drums, percussion, vocals
- Matt Greeley / percussion

Track List:
01. Wild Side – 4:10
02. School Teacher – 3:24
03. Comfort Range – 4:01
04. Anxiously Awaiting – 4:40
05. Struttin – 4:13
06. We Will Wait – 4:01
07. You Mean So Much To Me – 3:45
08. Don’t Want To Be Wrong – 4:14
09. Bandstand – 4:32

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Chuck Leavell, Lamar Williams, Sea Level

Sea Level – Long Walk On A Short Pier (1979) (@256)

04 Oct 2009

(Info from allmusic, wikipedia)

With the same line-up of their previous album, Sea Level recorded their fourth album in 1979.

Due to various complications between Sea Level and Capricorn Records, Long Walk on a Short Pier was never officially released in the U.S. at the time — it was only distributed as a promo before it was pulled from the schedule. Capricorn went out of business the same year. The album surfaced in other countries but for many years, it was one of the rarest albums in their catalog.

Track List:
01. Tear Down This Wall – 4:13
02. Canine Man – 4:15
03. My Love – 4:02
04. Just A Touch – 5:27
05. Thirsty – 3:51
06. A Two ‘N Two – 3:31
07. Morning Light – 2:46
08. Too Many Broken Hearts – 3:37
09. Twenty Miles From Nowhere – 3:03

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Chuck Leavell, Lamar Williams, Sea Level

Sea Level – On The Edge (1978) (@256)

03 Oct 2009

(Review from rollingstone.com, allmusic)

By the time Sea Level recorded its third album, On the Edge, percussionist Jai Johanny Johanson had left the Georgia combo to return to the Allman Brothers. Johanson’s departure didn’t have a major impact on the band. Ex-Wings drummer Joe English joins in.

There’s a healthy tension between Bramblett’s songs, which are basically in the Southern soul tradition (though their lyrics often reflect his studies in psychology and religion), and keyboard man Chuck Leavell’s fusion instrumentals. But the picture’s getting more complicated. The group’s original guitarist, Jimmy Nalls, who now shares guitar chores with Causey, contributes a kind of funk/fusion piece, “Fifty-Four”. Spurred by English’s fatback drumming and the solid bass work of Lamar Williams, the ensemble playing is exceptionally tasty and well integrated.

Track List:
01. Fifty-Four – 4:16
02. King Grand – 4:22
03. Living In A Dream – 4:34
04. A Lotta Colada – 3:46
05. This Could Be The Worst – 5:24
06. Uptown Downtown – 3:47
07. Electron Cold – 4:06
08. On The Wing – 5:06

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Chuck Leavell, Lamar Williams, Sea Level

Sea Level – Cats On The Coast (1978) (@256)

02 Oct 2009

(Review from allmusic)

After the release of their first album, the group expanded to a septet. Honing its distinctive marriage of rock, blues, and jazz through relentless touring, they returned to the studio to cut 1978′s Cats on the Coast.

The vocal offerings (which include “That’s Your Secret” and “Had to Fall”) are pleasant, and fusion instrumentals like “Storm Warning,” “Song for Amy,” and “Midnight Pass” should appeal to anyone who spent a lot of time listening to Return to Forever, Larry Coryell, or John McLaughlin in the 1970s.

Line-up:
- Chuck Leavell / Organ, Percussion, Keyboards, Vocals, Harmony Vocals
- Jaimoe Johnson / Conga, Drums, Percussion
- Lamar Williams / Bass, Vocals
- Jimmy Nalls / Guitars
- Davis Causey / Guitars
- Randall Bramblett / Piano, Keyboards, Saxophone, Vocals
- George Weaver / Percussion

Track List:
01. That’s Your Secret – 5:16
02. It Hurts To Want It So Bad – 3:39
03. Storm Warning – 5:26
04. Had To Fall – 4:14
05. Midnight Pass – 6:39
06. Every Little Thing – 4:50
07. Cats On The Coast – 5:44
08. Song For Amy – 1:47

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Chuck Leavell, Jaimoe Johnson, Lamar Williams, Sea Level

Sea Level – Sea Level (1977) (@256)

01 Oct 2009