Archive for March, 2010

(Review from allmusic, amazon)

Part of the first wave of solo projects to show up from the Moody Blues during their mid-’70s hiatus, Ray Thomas’ From Mighty Oaks is a beautifully produced.

Recorded on a grand scale, complete with orchestral passages that recall the grandest sections of the Moody Blues’ Days of Future Passed, it offers an extended showcase for Thomas’ singing, and a more personal canvas than his work with the group could ever have afforded him.

Highlights include the highly personal “Adam and I” (about his infant son), the mystical “I Wish We Could Fly,” and the ’60s-style rocker “High Above My Head” — are well worth hearing, and owning.

Apart from the obvious virtue of filling in the gaps in Thomas’ song bag, the album also gives Moody Blues fans a chance to hear the work of Nicky James (who also collaborated with Thomas on the songwriting here), who has always been close to the Moody Blues’ orbit going back to their Birmingham days, and also the contributions of Trapeze member John Jones during his stay at the Moodies’ Threshold Records.

Thomas’ own singing is husky and distinctive, it’s an expressive voice, and coupled with some good songs, he more than justifies the effort and the album.

Track List:
01. From Mighty Oaks – 3:43
02. Hey Mama Life – 5:37
03. Play It Again – 4:25
04. Rock-A-Bye Baby Blues – 3:31
05. High Above My Head – 3:31
06. Love Is The Key – 5:15
07. You Make Me Feel Alright – 5:02
08. Adam And I – 5:43
09. I Wish We Could Fly – 5:27

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Ray Thomas

Impuls – Impuls (1977) (@256)

30 Mar 2010

(Review from loukash.com)

The Czech band Impuls initially got together around 1971 as Jazz Nova with trombonist Jindrich Dostal, still with some focus on mainstream jazz. Some time later the revolving members changed both the group name and the sound after hearing the most recent records by Chick Corea, Herbie Hancock or the Mahavishnu Orchestra with compatriot Jan Hammer.

Impuls recorded their well known self-titled debut LP in 1977. By then they have refined their original blend of jazz, rock, latin, funk and Slavic melodies even further, making that album one of the jazz-rock masterpieces even in global context.

The group disbanded shortly thereafter, but each of the members eventually became a highly respected musician on his own on the European jazz scene.

Line-up:
- Zdenek Fiser / guitar
- Pavel Kostiuk / keyboards
- Michal Gera / trumpet
- Jaromir Helesic / drums
- Frantisek Uhlír / bass

Track List:
01. Horni Konec, Dolni Konec – 4:12
02. Eervanky – 4:53
03. Osmikraska – 5:53
04. V klidu a pohodi – 4:25
05. Sextant – 4:50
06. Cumulus – 5:09
07. Rico – 4:50
08. Povidlove hody – 5:32
09. Etveracki (Sly) – 9:09
10. Koi alove ticho (Crystal Silence) – 5:47
11. Kdo jinemu jamu kopa – 5:12
12. Babi leto – 6:19
13. Apendix – 6:27
14. Spirala – 6:19

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Graeme Edge Band – Paradise Ballroom (1977) (@256)

30 Mar 2010

(Review from allmusic)

Having been pushed to the periphery on his sophomore solo album, Kick Off Your Muddy Boots, Moody Blues drummer Graeme Edge wrestled back control for the follow-up, Paradise Ballroom. Edge insisted on co-writing all the tracks with Gurvitz (he had contributed only three on his debut), and promoted Paul Gurvitz to lead vocalist.

This resulted in a much more coherent set, and a far funkier one, throwing the spotlight directly onto the rhythm section, bolstered by guesting Traffic percussionist Rebop Kwaku Baah.

Of course, Gurvitz’s lead guitar still splays across the album, but so does a full horn section, as the set sashays around disco, reggae, Motown, funk, and soul, the upbeat songs counterbalanced by gorgeous, introspective numbers. The discofied adaptation of “Everybody Needs Somebody” is inspired, the breezy “In the Light of Night” a delight, and the funky title track a soul-filled extravaganza.

Line-up:
- Adrian Gurvitz / vocals, guitars
- Paul Gurvitz / bass, vocals
- Graeme Edge / drums

Track List:
01. Paradise Ballroom – 8:16
02. Human – 6:08
03. Everybosy Needs Somebody – 3:23
04. All in Fair – 5:06
05. Down, Down, Down – 5:55
06. In the Night of the Light – 3:08
07. Caroline – 5:57

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Graeme Edge

Emtidi – Saat (1972) (@256)

29 Mar 2010

(Review from progreviews.com, progarchives.com)

The album “Saat” has some vintage synths along with the basic folk instruments unlike it’s predecessor, and there are two longer suites here too, so Emtidi has evolved to a more progressive direction.

Much of the instrumental work here is soothing and relaxed, a sun-drenched counterpart to groups like Tangerine Dream. The drone at the start of “Touch the Sun” is reminiscent of that band’s Alpha Centauri, although it features moments of wistful release rather than perpetually building an anxious, hopeless tension. Some wilder Krautish moments show up on tracks like “Die Reise”, but for the most part chaos is minimal.

The duo sometimes eschews lyrics in favour of vocalisations, which work pretty well within the framework of the music. One good argument with sticking to vocalisations is “Walking in the Park”, featuring the incredible line, “Don’t sit on the grass, it’s too cold for your ass”. Holmes’ voice is somewhat reminiscent of Annie Haslam’s, although somewhat thinner. Hirschfeldt grabs lead vocals on the final track, in German, although he tends to speak them more than anything.

The idea of crossing Renaissance with Tangerine Dream and having them add some psychedelic acoustic material can be appealing.

Line-up:
- Maik Hirschfeldt / vocals, guitars, bass, synthesizer, flute, cymbals, vibraphone, Muzzle drums
- Dolly Holmes / vocals, organs, electric piano, piano, Mellotron, electric spinet
with
- Dieter Dierks / percussions, bass, Mellotron

Track List:
01. Walkin’ In The Park – 6:38
02. Traume – 3:25
03. Touch The Sun – 12:04
04. Love Time Rain – 2:54
05. Saat – 4:16
06. Die Reise – 10:16

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Emtidi

Graeme Edge Band – Kick Off Your Muddy Boots (1975) (@256)

29 Mar 2010

(Review from rateyourmusic.com)

Having enjoyed worldwide successes through the early and mid-1970s, the individual Moody Blues had no problems finding support to release a host of outside projects. Longtime drummer Graeme Edge was no different, striking out in pursuit of solo success with the release of 1975′s “Kick Off Your Muddy Boots”.

Released by The Moody’s’ own Threshold label, the album was credited to The Graeme Edge Band, but in many respects it stood as an Adrian Gurvitz project. In addition to co-producing the album with Edge, Gurvitz handled most of the lead vocals, provided lead guitar, and wrote about half of the material. He has a voice that might not sound out of place in “The Band”, kind of throaty and Southern.

The album bursts with intensity and features much musical variety. From “Bareback Rider” to “Something We’d Like to Say” (written by Graeme Edge) each song makes a strong, punchy point. “The Tunnel” is a typically intense Gurvitz instrumental. Graeme’s songs hold their own with Adrian’s, an encouraging sign. “Shotgun on the 4.42″ is an instantly memorable western saga, with some stunning unison work on acoustic and electric guitars.

Line-up:
- Adrian Gurvitz / vocals, guitars
- Paul Gurvitz / bass, vocals
- Mickey Gallagher / keyboards
- Graeme Edge / drums

Track List:
01. Bareback Rider – 5:15
02. In Dreams – 5:12
03. Lost In Space – 4:40
04. Have You Ever Wondered – 5:08
05. My Life Is Not Wasted – 2:59
06. The Tunnel – 2:10
07. Gew Janna Woman – 4:16
08. Shotgun – 4:11
09. Somethin’ We’d Like To Say – 3:31
10. We Like To Do It – 4:05

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Graeme Edge

Emtidi – Emtidi (1971) (@256)

28 Mar 2010

(Review from progarchives.com, progreviews.com)

Emtidi was a German duo stuck somewhere between the cosmic and psychedelic movements stylistically. Despite having only two members a full sound is provided, as Maik Hirschfeldt provides guitars, flute, some keyboards and vocals while Dolly Holmes is charged with lead vocals and most of the keyboard work.

Their music can best be described as folk music with a progressive tinge. Hirschfeldt provided twelve-string guitar tapestries often times reminiscent of Anthony Phillips. Holmes’ keyboard arsenal included acoustic and electric piano, spinet, Hammond, and mellotron, and her passages on these are laced with delicate Baroque-era stylings. The two both shared vocal duties, with Dolly usually taking lead. No drums, bass or electric instruments.

Their selftitled debut album’s first side contains fragile naive acid folk. This Teutonic pastoral music contains a certain dose of emotional, introspect, delicate expressions.

The flip side of the record is also mostly instrumental, including a very pleasant acoustic guitar solo on “Birds on a Graveyard”, and a sort of folk freak-out bouzouki-and-flute extended play called “Flutepiece” that makes it clearly apparent these two were tripping and recording at the same time. It was 1970 after all.

Line-up:
- Maik Hirschfeldt / 7 & 12-string acoustic guitar, flute, vocals
- Dolly Holmes / 6-string acoustic guitar, bouzouki, kazoo, vocals

Track List:
01. Lookin’ For People – 3:58
02. Shadow On Your Face – 3:59
03. Long Long Journey – 2:31
04. No Turn Back – 2:01
05. Space Age – 4:18
06. Let The Joint Go Round – 5:00
07. Yvonne’s Dream – 2:39
08. Birds On Agraveyard – 3:30
09. Flutepiece – 7:19

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Emtidi

John Lodge – Natural Avenue (1977) (@256)

28 Mar 2010

(Review from amazon, allmusic)

Moody Blues’ esteemed guitarist John Lodge’s 1977 solo effort, “Natural Avenue” is filled with emotional, songs, harmonies and melodies. True to Moody tradition, every song to a certain extent has that ethereal, orchestral flair to it. He enjoys an inspirational, jamming tune that can flash his electric prowess, as on the locomotive title track.

Highlights include “Carry Me”, “Rainbow”, “Say You Love Me”, the summer atmosphere in “Summer Breeze”, not to forget the breath-taking ballad “Who Could Change”.

Track List:
01. Intro To Children Of Rock’n'roll – 1:06
02. Natural Avenue – 3:56
03. Summer Breeze – 5:21
04. Carry Me – 5:42
05. Who Could Change – 6:04
06. Broken Dreams, Hard Road – 4:32
07. Piece Of My Heart – 3:56
08. Rainbow – 3:52
09. Say You Love Me – 6:25
10. Children Of Rock ‘n’ Roll – 4:30
11. Street Cafe (Bonus) – 4:03

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John Lodge

Ozric Tentacles – YumYum Tree (2009) (@256)

27 Mar 2010

8 comments

(Review from progarchives.com)

Ozric Tentacles’ umpteenth album is yet another faithful album that the fans can buy safely as it fits the usual safety zone. Coming with a superbly drawn cartoon fantasy artwork, YumYum Tree is just what the doctor ordered if you’re in the mood for spacey twirly travels in the aural stratosphere. Their music is never offensive, often very danceable, always happy/joyous, with traces of reggae, heavenly flutes; Gong-like space twirls.

The opening track starts things off great, serving as a sort of encapsulation of the Ozric’s music in one crisp package. The styles morph and blend throughout, and the listener will doubtless find themselves being energized by Ed Wynne’s guitar only to be submerssed in an airy cloud of synth and soundscape. The title track’s composition is especially strong, sustaining its length with creative transitions and energy. “YumYum Tree” rocks, grooves, drifts, splooshes, meditates, spirals all at once, and is satisfying with everything it attempts.

Ozric fans will be immediately satisfied, and new comers will doubtless enjoy the sonic journey offered by this release.

Line-up:
- Ed Wynne / guitars, synthesizers, programming
- Brandi Wynne / keyboards, airy areas
- Vinny Shillito / bass
- Roy / drums
with
- Joie Hinton / synthesizers (4, 8)
- Merv Pepler / percussion (4, 8)
- Dom / darbuka (6)

Track List:
01. Magick Valley – 6:42
02. Oddweird – 6:14
03. Mooncalf – 7:41
04. Oolong Oolong – 5:54
05. YumYum Tree – 9:07
06. Plant Music – 5:28
07. Nakuru – 5:39
08. San Pedro – 6:21

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Ozric Tentacles

Justin Hayward – Songwriter (1977) (@256)

27 Mar 2010

(Review from allmusic)

Hayward has always been at his best as a mystical/romantic, and Songwriter is the solo album that best displays these qualities around a relatively lean sound.

From the gentle, lullaby-like “Raised on Love” to the ethereal mystical “Nostradamus,” the album is a beguiling collection of material, more personal than his work with the Moody Blues.

The material is richly scored, yet lean enough to seem like chamber music next to the Moody Blues’ rock symphonies.

Track List:
01. Tightrope – 4:51
02. Songwriter [Part 1] – 3:32
03. Songwriter [Part 2] – 2:33
04. Country Girl – 4:02
05. One Lonely Room – 5:17
06. Lay It On Me – 2:55
07. Stage Door – 5:11
08. Raised On Love – 3:12
09. Doin’ Time – 4:22
10. Nostradamus – 6:33
11. Marie – 3:45
12. Learning The Game – 2:15

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Justin Hayward

Ozric Tentacles – Spice Doubt (Live 1998) (@256)

26 Mar 2010

I’ve added the audio album of “Live at the Pongmasters Ball” to the post that initially only had the video of the concert.

(Review from dprp.net, cduniverse.com)

This live album contains the recording of the band’s performance in the Cyclops Studios in the Bay area in June 1998. The show was simultaneously broadcasted on the Internet.

“Spice Doubt” is a word play on ‘spaced out’ and its subtitle ‘A Gig in the Ether’ is a pun on the track “Agog in the Ether” from “Pungent Effulgent”.

The set list is a nice collection of some of the best work of the Ozrics played live. Although the emphasis lies on their previous studio album “Curious Corn” with three songs (Oolite Grove, Oddentity and Papyrus), theres also material from Pungent Effulgent (Dissolution), Erpland (Eternal Wheel), Strangeitude (Sploosh), Arborescence (Myriapod) and Become the Other (Cat DNA and Ahu Belahu). The album features both the more ‘rock orientated’ material as well as the sequencer/electronics stuff. There’s not a lot of flute on this album and there’s none of the reggae tunes of Ozric Tentacles.

The opener “Cat DNA” emerges off the top, the band extending the original take with a swampy introduction before hurtling off into the cosmos. “Sploosh!” is everybody’s favorite quicksand jam-its sequencers boiling to the undertow of a motorik beat. The remaining agenda lavishes the band’s trademark humoresque touches, frenzied drumming, and sounds wrenched from a parallel universe.

Because of the nice mixture, as well as the marvellous live performance, it can be a nice introduction for listeners who are not familiar with the Ozrics yet.

Line-up:
- Ed Wynne / guitars, synths, mists
- Seaweed (Christoper Lenox-Smith) / synths, strands
- John Egan / flutes
- Rad (Conrad Prince) / drums, spiders
- Zia Geelani / bass, spongeba

Track List:
01. Cat DNA – 8:11
02. Eternal Wheel – 9:31
03. Sploosh! – 7:04
04. Ahu Belahu – 2:46
05. Papyrus – 6:30
06. Oolite Grove & Citadel Jam – 10:28
07. Oddentity – 7:22
08. Dissolution – 10:08
09. Myriapod – 5:48
10. Spice Doubt – 9:43

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Live, Ozric Tentacles

Justin Hayward & John Lodge – Blue Jays (1975) (@256)

26 Mar 2010

(Review from amazon, rollingstone.com)

At least in terms of sound, Justin Hayward and John Lodge, guitarist and bass player, respectively, with the currently inactive Moody Blues, have created in Blue Jays the ultimate Moody Blues album. It is the same sound that established the Moodies’ mass popularity in 1968 with “Days of Future Passed”: basic rock instrumentation heavily overlaid with Mellotron or string orchestra, and vocals treated as instruments in the Wagnerian manner.

On the other hand since the talents of Mike Pinder, Ray Thomas and Graeme Edge are missing, it’s still not quite the same.

The duo’s voices alone could have carried any of these songs. The songs are well performed, giving musical credence even to the weakest of lyrics on this album. Conversely, when the lyrics match well with the music and either or both of their voices, the songs are unstoppable.

As a bonus, this edition of the album includes Justin Hayward’s solo song “Blue Guitar”. The tone of this song fits well with the rest of the album.

Track List:
01. This Morning – 6:01
02. Remember Me, My Friend – 5:32
03. My Brother – 3:32
04. You – 4:39
05. Night Winter Years – 3:41
06. Saved By The Music – 6:13
07. I Dreamed Last Night – 4:32
08. Who Are You Now – 2:33
09. Maybe – 5:41
10. When You Wake Up – 5:28
11. Blue Guitar (Bonus) – 3:37

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John Lodge, Justin Hayward

8 Days In April – Hamburg Scene (1972) (@256)

25 Mar 2010

(Review from progarchives.com)

Despite its close relation with Frumpy, which is a progressive rock dream ensemble; this is a pretty unknown and uncommon band. It fits quite well, on the other hand, the scene of (hard) rock – having, in this case, the German authentic spark with several general and minimal influences – a musical scene which is rarely recognized or valued outside the obscure margins of its period.

8 Days In April’s music is perfect for the taste in interesting or laid-back rock, since the album is also a mix of artistic and energized play, plus it’s close to a collection meritous item, up in progressive rock’s classic, hard or eclectic mentions.

The project was at first solo music practiced by Jean Jacques Kravetz, long-time keyboardist and rock in Frumpy. Eventually though, “8 Days In April” became a band of four core members and two special guests. Udo Lindenberg was second in importance next to Kravetz, writing and singing the vocals, plus composing much of the music. Steffi Stephan, playing bass, and Thomas Kretzschmer, playing guitars (with, sometimes, an astonishing freshness), joined the musicianship.

The piece “I’d Like To Be A Child Again”, though presumptively the most shining piece in the album, is mainly arranged by vocalist Inga Rumpf, also notorious in some of Frumpy’s experiences. Originally called “Kravetz” (given the promoter), the band finally adopted the name “8 Days In April” and their 1972 album was tag-titled “Hamburg Scene”. Both names can be considered suggestive, since the ensemble recorded in Hamburg, and the album was, most likely, an 8 days rock work.

The Hamburg Scene smashes a lot of hard classic rock mints, but also has a progressive rock definite taste. Close to being purely (and purifying) instrumental, much of the music’s contrasts evolve from lyrical and euphonic passages to striking and overly produced climaxes. “8 Days In April” clearly play a blending rock of artistic and popular forms, with smaller influences of fuzzy rhythms, jazzy branding or complex emotions and frets.

The entire concept, project and music relief of “8 Days In April” is definitely of a bit spontaneous kind, nevertheless its improvisation is worthwhile, since it’s a good and recommend progressive rock band, up the rarity shelve.

Line-up:
- Udo Lindenberg / vocals, drums, percussion
- Jean-Jacques Kravetz / organ, piano, synthesizer, percussion
- Steffi Stephan / bass
- Thomas Kretzschmer / guitar
- Inga Rumpf / vocals
- Roger Hook / 12 string guitar

Track List:
01. I’d Like To Be A Child Again – 9:32
02. Ann Toomuch – 7:42
03. Routes – 7:26
04. When The Dream Is Over – 3:15
05. Master Of Time – 9:48

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Moody Blues – Caught Live +5 (1969) (@256)

25 Mar 2010

(Review from allmusic, wikipedia)

Caught Live + 5 is a 1977 Moody Blues double album consisting of a December 12, 1969 live show at the Royal Albert Hall and five previously unreleased studio recordings from the same time period.

The unofficial word among fans is that several of the group members were under the influence of controlled substances during the show and were, thus, less sharp than they might otherwise have been, though you’d never know it from the results here.

The 1969 Royal Albert Hall show sounds a lot better on this CD edition than it did on the LP, with a closeness that was never evident before — Justin Hayward’s guitar and Mike Pinder’s various Mellotrons, in particular, sound really crisp, and all of the singing comes out with more detail as well.

Their repertory at this time came primarily from “Days of Future Passed”, “In Search of the Lost Chord” and “On the Threshold of a Dream”, plus “Gypsy”, the one number from “To Our Children’s Children’s Children” — their then new album — that they actually performed live; the latter is also the opening number, and Hayward’s guitar work is most impressive, whether he’s playing the melody in the opening, or crunching out chords on the break.

“The Sunset” from Days of Future Passed, is a showcase for Pinder’s Mellotrons, the keyboard player slowly weaving lush Arabesques and misteriosos while Hayward strums out muted chords, Graeme Edge’s drums impersonate the sound of a tabla and Ray Thomas’ flute hovers above it all with its lilting phrases. “Dr. Livingston, I Presume” lightens the tone with a more witty, whimsical side of psychedelia that still allows Pinder a chance to show off the Mellotron’s range and Hayward a surprisingly hard-rocking solo — one audience member, in particular, seems taken with it all, punctuating the crescendos with shrieks of appreciation that don’t detract a bit from the listening.

Edge’s nimble playing is most impressive on “Peak Hour,” a frenetically paced number off of Days of Future Passed, and the other highlights of the set include the hits “Tuesday Afternoon” and “Nights in White Satin,” and the closing suite from On the Threshold of a Dream, which works well despite Pinder’s being limited to just two keyboards — one scarcely misses the grand piano, and the opening sequence, “Are You Sitting Comfortably,” gives Thomas’ flute its best showcase.

The group is tight throughout, both in their playing and singing, and the show ends on a hard-rocking note with “Legend of a Mind” and “Ride My See-Saw” — and the former is a great vehicle for John Lodge’s bass work.

As for the studio cuts, they’re salvaged from failed album sessions in 1967 and 1968, and they’re not bad songs — “Gimme a Little Something” has a great opening verse, guitar part, and chorus, even if it doesn’t quite hold together perfectly as a song, and “King and Queen” and “What Am I Doing Here” both have hauntingly beautiful melodies. But they’re also not quite up to the standard of what the group released during that period, and work best in a historical, archival context, which is how they were issued.

Line-up:
- Justin Hayward / guitars, vocals
- John Lodge / bass guitar, vocals
- Michael Pinder / keyboards, vocals
- Ray Thomas / harmonica, flute, vocals
- Graeme Edge / drums, percussion

Track List:
01. Gypsy – 4:03
02. The Sunset – 4:33
03. Dr. Livingstone, I Presume – 3:23
04. Never Comes The Day – 5:39
05. Peak Hour – 5:13
06. Tuesday Afternoon – 4:51
07. Are You Sitting Comfortably – 4:21
08. The Dream – 0:58
09. Have You Heard Part 1 – 1:22
10. The Voyage – 3:37
11. Have You Heard Part 2 – 2:33
12. Nights In White Satin – 5:55
13. Legend Of A Mind – 7:05
14. Ride My See-Saw – 4:30
15. Gimme A Little Somethin’ (Bonus Studio) – 3:13
16. Please Think About It (Bonus Studio) – 3:44
17. Long Summer Days (Bonus Studio) – 3:12
18. King And Queen (Bonus Studio) – 3:55
19. What Am I Doing Here (Bonus Studio) – 3:33

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Graeme Edge, John Lodge, Justin Hayward, Live, Mike Pinder, Moody Blues, Ray Thomas

Mama Lion – Give It Everything I’ve Got (1973) (@256)

24 Mar 2010

6 comments

(Review from amazon)

Mama Lion’s second album is a natural follow-up to their debut. Carey’s bluesy interpretations are quite effective.

Some of the songs show influences from jazz as well (“Life Is Just A Four Letter Word”). It only adds something extra to the many facets of Mama Lion.

Highlights include the title track, “Mama Never Told Me,” “Crazy Place” and “Saved”.

Line-up:
- Lynn Carey / vocals
- Neil Merryweather / bass, acoustic guitar, backing vocals
- Alan Hurtz / guitars
- Coffi Hall / drums, percussion
- Jim Howard / Hammond-organ, piano, synthesizer
- Ed Mikenas / bowed bass
- Bob Rose / 12-string guitar

Track List:
01. Give It Everything I’ve Got – 2:43
02. I Wanna Be Your Woman – 2:30
03. Life Is Just A Four Letter Word – 2:38
04. Mama Never Told Me – 3:16
05. Crazy Place – 5:39
06. Dark Garden – 4:11
07. From Bad To Worse – 4:28
08. I’m Tired – 2:59
09. Criffins – 2:58
10. Saved – 3:06

Link in comments.

Mama Lion

Moody Blues – Live At The Isle Of Wight Festival 1970 (@256)

24 Mar 2010

(Review from amazon, about.com)

British art-rock pioneers the Moody Blues are captured in concert at their peak here, in a performance from the momentous Isle of Wight festival.

The Moodies were a hugely talented live band, no small feat considering the circumstances: the complexity of both their vocal harmonies and their instrumentation, and the fact that the electronic gadgetry they pioneered was still in its infancy, and demanded first-take perfection when performing live.

In spite of the challenges of pulling off complicated music in front of 600,000 people, the band seems relaxed and comfortable in this performance. Even when the vocals get a little out of sync at one point, they shake it off with a laugh and a quick one-liner and keep moving.

Proving that there was a powerful live unit beneath those big orchestral arrangements, the album displays several sides of the band’s musical personality. From the psychedelic pop of “Legend of a Mind” to the proto-prog epic “Nights in White Satin” and the concise rocker “Question”, this is a multifaceted sound in full flight, buoyed by keysman Mike Pinder’s distinctive Mellotron work.

Line-up:
- Justin Hayward / vocals, guitar
- Ray Thomas / vocals, flute
- Mike Pinder / mellotron
- John Lodge / bass
- Graeme Edge / drums

Track List:
01. Gypsy – 3:16
02. The Sunset – 3:59
03. Tuesday Afternoon – 4:18
04. Minstrel’s Song – 4:25
05. Never Comes The Day – 4:45
06. Tortoise And The Hare – 3:29
07. Question – 5:44
08. Melancholy Man – 5:32
09. Are You Sitting Comfortably – 3:45
10. The Dream – 1:41
11. Have You Heard (Parts 1 And 2) – 7:56
12. Nights In White Satin – 5:00
13. Legend Of A Mind – 6:37
14. Ride My See Saw – 3:36

Link in comments.

Graeme Edge, John Lodge, Justin Hayward, Live, Mike Pinder, Moody Blues, Ray Thomas

Mama Lion – Preserve Wildlife (1972) (@256)

23 Mar 2010

(Review from amazon)

Mama Lion was a blues/rock quintet formed in the early seventies.

Most of the songs were written as a collaboration between Merryweather and Carey, with a few covers thrown in for good. Not all the songs are “radio friendly” if you know what I mean. But sexual inuendo apart, there’s still something in the music and singing. Gaxiola is a great guitar player and you can tell that Jim Howard was classically trained by listening to the piano-intro on “Mr. Invitation”.

Lynn Carey has often been compared with Janis Joplin, but her vocal style could just as easily be compared to Kathi McDonald. She sings with a lower pitch and a voice that sometimes resembles those of old-time blues singers.

The album was also famous for its cover with Lynn Carey appearing with her blouse open and breast exposed, pretending to nurse a lion cub.

Highlights include “Be Bad With Me”, “Ain’t To Proud To Beg”, “Candy Man”, “Mr. Invitation”, “Can’t Find My Way Home” and “Cry”.

Line-up:
- Neil Merryweather / bass, vocals
- Lynn (Catherine) Carey / vocals
- Jim Howard / keyboards, vocals
- Coffi Hall / drums, percussion
- Rick Gaxiola / guitar

Track List:
01. Ain’t No Sunshine – 3:09
02. Be Bad With Me – 2:44
03. Ain’t Too Proud To Beg – 3:33
04. Wildcat – 3:06
05. Candy Man – 3:31
06. Mr. Invitation – 4:46
07. Sister,Sister(She Better Than A Man) – 2:33
08. Can’t Find My Way Home – 3:57
09. It’s Only A Dream – 2:50
10. Cry – 3:40

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Mama Lion

Matching Mole – Smoke Signals (Live 1972) (@256)

23 Mar 2010

(Review from progarchives.com)

‘Smoke Signals’ was recorded in spring 1972 during an European tour mainly in Belgium and France. As these tapes were not planned for release the sound quality is just acceptable.

Most tracks appearing here were written by Dave Mc Rae and Phil Miller and would be recorded later for ‘The Little Red Record’. Dave Sinclair who started the tournee with the band had left and was replaced by keyboarder Dave Mc Rae who had already guested on the first record and brought with him some fine tunes like ‘March Ides’ and ‘Smoke Signal’ presented here for the first time in a rough version.

The band introduction by Wyatt, launches into ‘March Ides’.The theme is played by Phil Miller, who is soloing then over an ostinato bass line, followed by a drum solo. The second theme is ‘Smoke Signal’ (here re-named ‘Smoke Rings), maybe the most beautiful ‘Matching Mole’ theme by Dave Mc Rae. The theme is then followed by a longer improvisation until the re-exposure.

The next theme “Nan True’s Hole” was written by Phil Miller, who plays a repeated riff over which Dave Mc Rae plays an improvisation followed by another drum solo. ‘Brandy As In Benji’ follows the same structure of expostion solo, followed by a heavily distorted e-piano solo, that launches again into the ‘March Ides’ theme, followed by ‘Instant Pussy’ the only Robert Wyatt composition from the first record, with treated vocals by Robert and an e-piano improvisation.

The ‘Smoke Signal’ appears again, followed by another improvisation and a bass solo and finally the band launches into ‘Lything and gracing’ a Phil Miller composition, that would appear only as a Hatfield leftover on ‘Afters’.

The live sound of the band is for the most part instrumental fusion that point at which directions all future Canterbury related bands will go at. One might consider that Hatfield and the North, Gilgamesh, National Health are direct descendants from these live sounds provided on these archival tapes.

Line-up:
- Phil Miller / guitar
- Bill MacCormick / bass
- Dave McRae / electric piano
- Robert Wyatt / drums, vocals

Track List:
01. Intro – 0:44
02. March Ides I – 4:22
03. Smoke Rings – 7:51
04. Nan True’s Hole – 6:00
05. Brandy As In Benji – 4:22
06. Electric Piano solo – 1:11
07. March Ides II – 4:56
08. Instant Pussy – 2:52
09. Smoke Signal – 6:59
10. Lything & Gracing – 11:53

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Live, Matching Mole, Phil Miller, Robert Wyatt

Hero – Hero (1973) (@256)

22 Mar 2010

(Review from progarchives.com)

This group from the progressive rock movement of Italy, left for Germany after their formation. They took up residency in Munich where they recorded their only album.

Their sound is like mixing Sabbath riffs with Jan Dukes de Grey, Traffic pacing, and some Morrison darkness in the lyrics.

The 9-minute standout track “Clapping and Smiling” is really quite a departure from the earlier tracks, featuring a lovely piano and folksy acoustic guitar for the first third. Then things again get powerful with hard vocals, Bill Ward style drumming and guitar that begs to be played loud. That final third of the song slows down again and gets pretty spacey and reminds of a little Syd Barrett were he fronting a hard rock band.

The album closes with a nice acoustic piece called “Buzzard” which serves to smooth out the previous sonic assaults and talk us in off the ledge. The final lyrical line is: “My pain will serve to be something.”

Massimo Pravato was killed in a car accident before the album was even released, causing “Hero” to disintegrate.

Line-up:
- Robert Deller / keyboards, vocals
- Massimo Pravato / guitar, bass
- Umberto Maschio / drums

Track List:
01. Merry Go Round – 4:24
02. Crumbs of a Day – 4:42
03. Sunday Best – 5:59
04. Seminar – 3:17
05. Childrens Game – 5:02
06. Knock – 4:52
07. Clapping and Smiling – 9:06
08. Dew-Drops – 7:05
09. Buzzard – 1:47

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Matching Mole – March (Live 1972) (@256)

22 Mar 2010

(Review from bbc.co.uk, progarchives.com)

By the time this album was recorded (March 1972, a month after Sinclair’s departure) the band were playing continuous sets with much room for collective improvisation amid the more arranged pieces. “March” captures both the uncertainties and glories of this method beautifully.

The material is drawn mainly from their eponymous first album, with guitarist Phil Miller’s rifferamas “Part of the Dance” and “Lything and Gracing” in full effect. Despite their progressive tricksiness, the Mole’s renderings of them are faintly haphazard, teetering on the brink of destruction then turning away at the last nanosecond. Wyatt’s extraordinary drumming comes across as a wired concoction of Tony Williams and Keith Moon; he and bassist Bill MacCormick sometimes appear to be operating in seperate time zones.

The sublime “Instant Pussy” features Robert’s trademark cosmic scatting, though without the usual echo (‘Where’s the sheets of sound?’ he repeats as the engineer desperately searches for the right buttons and fails to find them). Another vocal gem is “No Alf Measures”, Wyatt’s lovely arrangement of an early Kevin Ayers tune. Their cover of Caravan number Waterloo Lilly is surprising and vocal-less.

Miller’s distinctive playing has a keening, bluesy quality that sits nicely with his nibbled distortojazz stylings. His and MacCormick’s playing is kept in check by McCrae’s measured, shimmering electric piano.

So powerful, so thrilling, and so vital and lively their play should be.

Line-up:
- Bill MacCormick / bass
- Dave McRae / electric piano
- Phil Miller / guitar
- Robert Wyatt / drums, vocals

Track List:
01. March – 4:49
02. Instant Pussy – 4:53
03. Smoke Signals – 6:20
04. Part Of The Dance – 9:54
05. No Alf Measures – 5:44
06. Lything And Gracing – 11:36
07. Waterloo Lilly – 4:21

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Live, Matching Mole, Phil Miller, Robert Wyatt

Ladies W.C. – Ladies W.C. (1969) (@256)

21 Mar 2010

(Review from allmusic, myspace.com)

Venezuelan band Ladies WC’s sole album, like that of many one-offs from the Latin American late-’60s rock scene, is caught somewhere between moments of individual flair and amiable imitation of obvious favorites. Their love of Paul Butterfield, early Steve Miller, Cream is instantly recognizable.

The 10 songs here represent, for the most part, prime acid rock. Recorded in 1969, it feels like it, with wah and fuzz represented in spades. Scott’s vocals are strong and clear, with that high-end wail you can hear in so many Nuggets-era bands. Showing some of their blues heritage, they pull out the harmonica for emphasis on a number of songs, with “Put That In Your Pipe and Smoke It” a particularly good example of Scott’s skill there.

The 34 minutes range from “I Can’t See Straight” and its harmonica and guitar lead to the vocal harmonies of “And Everywhere I See The Shadow of That Life,” with a break featuring some truly blazing psych lead guitar. In general, actually, this album belongs to Casta’s lead guitar displays. From brittle, high-end twangs to watery wah and, best of all, totally space-bound fiery fuzz, he makes me wish the band had recorded more albums.

A few of the songs veer from the blues-centered rock. “To Walk On Water” is really a pop song, slow and more orchestrated than most of the others here. The vocals are more in a crooner style than the usual rock feel, but it still works. “The Time Of Hope Is Gone” feels somewhat more calculated, very much of its time. With organ and ending with a portentous spoken-word section, it’s a reasonable attempt at overtly mystical psychedelia.

The studio work throughout the album contains a number of nice touches, as they toss in sound effects to liven things up. From the opening toilet flush to a baby crying, they were clearly having fun with it.

Definitely a good find, Ladies W.C. can stand with many of the psych stars of the time. The original album only received a pressing of 4,000 in 1969 — it’s still one of the more enjoyable albums to get a digital revival.

Line-up:
- Steve Scott / bass, vocals, harmonica
- Adib Casta / lead guitar, organ
- Jaime Seijas / rhythm guitar
- Mario Seijas / drums

Track List:
01. People – 2:41
02. I Can’t See Straight – 3:20
03. To Walk On Water – 3:26
04. Heavens Comming Up – 4:22
05. And Everywhere I See Shadow Of That Life – 3:25
06. Searching For Meeting Place – 2:49
07. Put That In Your Pipe And Smoke It – 3:11
08. The Time Of Hope Is Gone – 2:35
09. Blues – 2:53
10. I Am Gonna Be – 5:48

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Matching Mole – On the Radio 1972-1973 (@256)

21 Mar 2010

6 comments

(Review from progarchives.com)

Over the year Matching Mole were together, they managed four BBC sessions but only one of them had been issued as “BBC in Concert” in 1992. This “On the Radio” album contains all four sessions (including the “BBC in Concert” session) with a good sound quality. The sessions aren’t chronologically ordered (the Jan 72 session is even broken up in two parts).

The first session we are subjected to is the April 1972 one, where all three tracks are meddled into a 20-mins — the band already has some tracks down for their second album. Indeed “Marchides” and “Smoke Signals” were only works-in-progress and both sound much different than in their future studio version (including a drum solo in the former); and are sandwiching “Instant Pussy” where Wyatt explodes his scat voice into echo effects.

Up next is the Jan 1972 session, broken up by the March 1972 session, with the delicious “Part Of The Dance” (with Sinclair still in the line-up and McRae in as well), with their first album just about to be released. The Miller-penned “Part of the Dance” song features both an Hammond organ and a Fender Rhodes, and even though the sound quality is a bit approximate, this is one of the album’s highlights. The two March session tracks (Sinclair was gone by then) are much clearer sounding, especially the Ayers cover “No ‘alf Measures” and the never studio-encapsulated “Lithing and Gracing” track, an exciting Miller, McRae & Wyatt composition. Rounding up the unreleased tracks is an extended version of “Immediate Kitten”, where Sinclair’s organ charms into the superb intro, then going fuzz into the body of the song. An extended and excellent workout that confirms that Matching Mole’s best moments were with both Sinclair and McRae in the band.

The second part of the album is an In Concert feature from late July 1972, just as their second album was almost finished; less than three months away from the group’s demise. This “session starts on the best Wyatt scat vocals ever with Instant Pussy, he yodels away madly in their best-ever version of this track. The next three tracks have been already featured in this archival release but are presented in much different versions and you’d have to be a chiefmasterconoisseur to guess blindly where “Lithing And Gracing” track begins. It sees Matching Mole in full madness roaring and “Marchides” sees McRae’s Fender Rhodes take a solid intro, before the group blinds us with their dexterity and virtuosity a bit further down the track. “Part Of The Dance” is again much livelier in this version than either the radio or studio version. Here, it is the pinnacle of Matching Mole’s short career, with Phil Miller shinning throughout the 6 minutes of the track. Absolutely essential stuff, with the closer ode to Benj (a roadie) melted in as a finale for the track.

Line-up:
- Robert Wyatt / drums, vocals
- Phil Miller / guitar
- Dave MacRae / e-piano.
- Bill MacCormick / bass
- Dave Sinclair / organ

Track List:
01. March Ides + Instant Pussy + Smoke Signal – 20:33
02. Part Of The Dance – 7:56
03. No ‘alf Measures – 6:49
04. Lithing And Gracing – 7:18
05. Immediate Kitten – 9:59
06. Instant Pussy – 5:47
07. Lithing And Gracing – 4:49
08. Marchides – 6:49
09. Part Of The Dance – 6:32
10. Brandy As In Benj – 1:16

Link in comments.

Dave Sinclair, Live, Matching Mole, Phil Miller, Robert Wyatt

Atomic Rooster – Live at the Marquee (1980) (@256)

20 Mar 2010

(Review from allmusic)

Recorded, as the title makes plain, at London’s Marquee club in 1980, this is an uncompromising portrait of Atomic Rooster at their comeback peak. With the core duo of John du Cann and Vincent Crane recently reunited with classic-era drummer Paul Hammond, this scintillating recording captures the band bathing in the respect and adoration of an entire new generation of fans.

From the set list, “Tomorrow Night” and “Devil’s Answer” in particular draw serious applause. Other Rooster classics, “Death Walks Behind You”, “Gershatser” and “Seven Streets” are similarly well-received, while more recent material slides effortlessly in alongside the oldies.

The result is a far stronger album than devotees of Atomic Rooster’s first incarnation might be expecting, and a far fresher one than their vintage status would have suggested.

The sound quality isn’t great but given the lack of the classic Atomic Rooster live recordings, it can be worth the compromise.

Line-up:
- Vincent Crane / keyboards, organ
- John Du Cann / guitar, vocals
- Paul Hammond / drums

Track List:
01. They Took Control Of You – 7:15
02. Death Walks Behind You – 6:40
03. Watch Out! – 4:48
04. Tomorrow Night – 6:29
05. Seven Streets – 8:37
06. Gershatser – 10:04
07. I Can’t Take No More – 8:51
08. In The Shadows – 11:24
09. Devil’s Answer – 5:58
10. Do You Know Who’s Looking For You – 4:40

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Atomic Rooster, John Du Cann, Paul Hammond

Matching Mole – Little Red Record (1972) (@256)

20 Mar 2010

(Review from progarchives.com)

Less than seven months after recording their debut album, having toured constantly recording a few radio sessions throughout Europe, Matching Mole entered the studios in July 1972 for their second (and last) album that was produced by Robert Fripp.

Starting on one of the most surprising track that Wyatt ever recorded, “Drink Our Politics Away” is a strange semi-operatic over some McRae keyboards and Eno synth layer. Directly and abruptly segueing into “Marchides”, the group takes its vengeance with a wild and torrid 100mph jazz-rock that veers a bit dissonant in its middle section, before coming back more relaxed. Some exceptionally inventive drumming from Wyatt on this track that had received much previous rehearsal since it was concert standard, but everyone contributes greatly. Again segueing straight into “Nan True’s Hole”, Robert develops some very strange gossipy vocals with him, wifie Alfie and friendly model Julie just yapping away over Wyatt’s jaw-dropping drumming and a Frippian guitar solo, courtesy of Phil Miller; the whole thing falling into “Righteous Rhumba” without really noticing much a change. Closing on the wild “Brandy as in Benj”, with McRae on a rare organ part at the start and Miller’s brilliant solo.

Being shutout throughout the first half of the album, McCormick scores “Gloria Gloom” as the flipside opens with the second centrepiece, which starts nightmarishly percussive and hauntingly spooky with Eno’s VCS-3 deranging many listeners and remaining dissonant through a few minutes, until chattering gossipy vocals take the track slowly into the middle section where Wyatt singing his heart out until Eno’s Martenot-like synth layers take us back to earth. After the popish “God Song” (sticking out like a sore thumb), “Flora Fidgit” where McRae’s el piano steals the show. The closing Smoke Signal is the third highlight, a slow developing ambient cosmic piece with Wyatt’s astounding drumming, and slowly dying in death throes.

Although Matching Mole’s last studio album is generally not as reputed as its debut album, it’s certainly as good as it, with this one being more of a group effort.

Line-up:
- Robert Wyatt / drums, mouth
- Phil Miller / guitars
- Dave McRae / grand piano, electric piano, Hammond organ
- Bill MaCormick / bass
with
- Brian Eno / synthesizers

Track List:
01. Starting In The Middle Of The Day We Can Drink Our Politics Away – 2:31
02. Marchides – 8:25
03. Nan True’s Hole – 3:36
04. Righteous Rhumba – 2:50
05. Brandy As In Benj – 4:24
06. Gloria Gloom – 8:06
07. God Song – 2:59
08. Flora Fidgit – 3:27
09. Smoke Signal – 6:38

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Matching Mole, Phil Miller, Robert Wyatt

Atomic Rooster – Live And Raw (1970-71) (@256)

19 Mar 2010

(Review from allmusic)

Sometimes you can judge a book by its cover. Live and Raw: 1970-1971 is indeed live and it is indeed raw. Very raw — nose-bleeding, flesh-tearing, ear-achingly raw.

No matter that the two live performances within were broadcast live on the BBC and should, therefore, exist in pristine quality somewhere on earth, this is the view from the other side of the dial, with a tiny mono microphone pressed up against a little transistor radio capturing the only known live recordings of the earliest classic Atomic Rooster lineups: 1970′s John du Cann/Vincent Crane/Carl Palmer lineup and the 1971 incarnation that saw Paul Hammond replace Palmer.

Four songs apiece testify to the monumental power of both lineups, as they used their allotted air time to their ultimate advantage. With half an hour of airtime at their disposal on each occasion, the trio unleashed gargantuan versions of “Friday the 13th,” “Gershatser,” and “VUG” and a positively demonic version of “Tomorrow Night.”

Indeed, if you can overlook the fuzzy sound and booming bass, the dirty distortion and the hazy waviness, Live and Raw steps ahead of even the band’s first two albums as a lurid illustration of Atomic Rooster at the peak of its pecking powers.

Line-up:
- Vincent Crane / keyboards, organ
- John Du Cann / guitar
- Carl Palmer / drums (1-4)
- Paul Hammond / drums (5-8)

Track List:
01. Friday The 13th – 6:36
02. Gershatser – 8:16
03. Winter – 6:34
04. Shabaloo – 6:55
05. Sleeping For Years – 6:16
06. V.U.G. – 3:50
07. Tomorrow Night – 6:37
08. I Can’t Take No More – 12:07

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Atomic Rooster, Carl Palmer, John Du Cann, Paul Hammond

Matching Mole – Matching Mole (1972) (@256)

19 Mar 2010

(Review from progarchives.com)

With his first solo album under his belt, Robert Wyatt returned to Soft Machine, only to find that opposition to his vocal experiments had grown stronger than ever, and he left “this group that was making him so miserable”.

Wyatt called up Dave Sinclair, Delivery’s Phil Miller (brother of then-Caravan member Steve Miller), and found Bill McCormick during a Quiet Sun eclipse and formed his group, which only rehearsed three months before recording their debut album. About halfway through it became apparent that Sinclair wasn’t going to stay in Matching Mole, so the group added jazzman Dave McRae on electric piano, but supposedly as a guest.

The links between the two bands didn’t severe though. Not only did Wyatt name his new band after his former group’s French translation (Machine Mole >> hence Matching Mole), but the two groups spent much time touring together, the newcoming Matching Mole opening for the veteran Soft Machine.

Recorded around Christmas 1971, the band’s debut album is an uneven affair, with the record basically divided in three sections. The first section seems to elevate Wyatt as a superstar with his vocals brought to the fore, while the second movement is a wild fusion of jazz-rock and progressive rock, and the third part being quite experimental.

The opener “O Caroline” is a sentimental ballad with Wyatt’s fragile vocals accompanied by piano and mellotron sprawling all over the song. Next is the superb “Instant Pussy” where Wyatt orgasms into the microphone as if he was a woman, the whole thing over a tranquil bass line and a gentle jazz-rock rhythm. Segueing directly into “Signed Curtain”, Wyatt starts with his no nonsense “first verse and chorus” lyrics over a piano. After the first three songs celebrating Wyatt’s diverse fortunes as a singer, the albums veers (first gently with a soft electric piano) but less than a minute into Miller’s “Part Of The Dance”, we are deeply in hard-driving uncompromising jazz-rock, the type that fries your brains when looking out for the sun. This track blazes and smokes all the way throughout its 9-mins+.

The flipside starts on two tracks that could’ve easily come from the better Caravan albums, and it’s a bit surprising to find that Sinclair didn’t write these two. “Instant Kitten” is a slow developing track that pays tribute to its sister “Instant Pussy”, but once the second part of the track has arrives, it sounds stunningly like a Caravan track looking for home (Grey & Pink era). The next track, “Dedicated To Hugh” (after a Vol 2 Soft Machine track) starts on weird electronic noises, before returning to a Caravan sound (this time Waterloo Lily era), before veering completely insane RIO improvisation. “Beer As Braindeer” is a cosmic theme in its middle section, but takes upon the RIO realm for the opening and losing parts. The latter “Immediate Curtain” is spooky cosmic track that resembles eatly Tangerine Dream.

Matching Mole’s debut album is a bit of a confusing and uneven, but the qualities are so much greater than its flaws. Though it’s hard to recommend any Matching Mole albums to a novice Canterbury pilgrim.

Line-up:
- Robert Wyatt / drums, vocals, piano, mellotron
- Dave Sinclair / keyboards
- Bill MacCormick / bass
- Phil Miller / guitar
with
- Dave McRae / keyboards

Track List:
01. O Caroline – 5:05
02. Instant Pussy – 2:59
03. Signed Curtain – 3:06
04. Part Of The Dance – 9:16
05. Instant Kitten – 4:58
06. Dedicated To Hugh, But You Weren’t Listening – 4:39
07. Beer As In Braindeer – 4:02
08. Immediate Curtain – 5:57

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Dave Sinclair, Matching Mole, Phil Miller, Robert Wyatt

Vanilla Fudge – Good Good Rockin’ (Live at Rockpalast 2004) (@256)

18 Mar 2010

8 comments

(Review from amazon)

Vanilla Fudge’s unique psychedelic variant of classic rock, consisting of a trademark epic and complex arrangements of hits, proved a successful formula that has sustained a worldwide fan base for more than 35 years.

Good Good Rockin’ was recorded live at the Crossroads Club Festival – Rockpalast (WDR) show at the Harmonie in Bonn, Germany on March 24th during the band’s 2004 tour of Europe.

Line-up:
- Tim Bogert / bass
- Carmine Appice / drums
- Teddy Rondinelli / guitar
- Bill Pascali / organ

Track List:
01. Good Good Lovin’ – 4:59
02. Take For A Little While – 7:30
03. People Get Ready – 7:36
04. Shotgun – 6:07
05. Carmine Appice Drum Solo – 5:25
06. She’s Not There – 5:56
07. Tim Bogert Bass Solo – 8:09
08. Do Ya Think I’m Sexy – 9:51
09. You Keep Me Hangin’ On – 6:38
10. Tearin’ Up My Heart – 8:01

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Carmine Appice, Live, Tim Bogert, Vanilla Fudge

Present – Barbaro (Ma Non Troppo) (2009) (@256)

18 Mar 2010

(Review from progressiveears.com)

The band’s last studio album came in 2001, so expectations were naturally very high for this one. Present didn’t let us down, producing another masterpiece, which reminds us of their past glories, yet also focuses on the future with an even more intense, complex and better-sounding release.

The opener ”Vertiges” has an unrelenting tempo and some of the parts are incredibly complex. There are amazingly difficult segments that still contain so much anguish and other primal emotions. It is a tremendous achievement, showing off some of Present’s trademark aspects, but the piece also seems to have a more modern feel to it. There is an amazing intensity and rawness throughout it that keeps you on your toes all the way through.

“A Last Drop” is a piece composed by Pierre Chevalier. It’s his second contribution to the Present catalogue – the first being “Strychnine for Christmas” from the “High Infidelity” album. His style is quite different to Roger Trigaux’s. His piece is not that hectic and wild, there are a few more peaceful moments to rest your ears. Some segments on the Mellotron is reminiscent of early Crimson, while some guitar riffs of “Red”. It is a nice contrast to the damage on the senses that “Vertiges” inflicts on you.

The last title is a live cover of one of Univers Zero’s most recognisable works, “Jack the Ripper” (co-written by Daniel Denis and Roger Trigaux). It’s as if an extra surge of adrenaline has been put into the piece and “Jack the Ripper” has become even more brutal and manic. There are some added Mellotron and synthesiser parts, which add to the suspense, some of the instruments are different and the introduction is played on the piano instead of the harmonium.

Line-up:
- Roger Trigaux / guitars, keyboards
- Reginald Trigaux / guitar
- Pierre Chevalier / piano, keyboards
- Dave Kerman / drums, percussion
- Kieth Macksoud / bass
- Matthieu Safatly / cello
- Pierre Desassis / saxophone
- Udi Koorman / sound
- Laurent Van Gorp / tube

Track List:
01. Vertiges – 16:36
02. A Last Drop – 11:24
03. Jack The Ripper – 16:41

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Present, Roger Trigaux

Focus – Live in America (2002) (@256)

17 Mar 2010

(Review from amazon, progarchives.com)

Recorded at the Nearfest 2002 progressive rock festival, this set captures line-up of Focus 8 in a live setting.

Some of the band’s most well known and loved songs are performed; such as “Eruption”, “Sylvia”, “La Cathedral de Strasbourgo” and obviously “Hocus Pocus”.

Jan Dumee goes all out in several pieces with superb extended solos in the fiery fusion style. Thijs’s flute and organ work are also first rate. His playing in “House of the King” and “Flute Improvisations” is as good as ever.

Line-up:
- Thijs van Leer / vocals, flute, organ
- Bert Smaak / drums
- Bobby Jacobs / bass
- Jan Dumee / guitar, vocals

Track List:
01. Focus I – 12:59
02. House of the King – 2:53
03. Focus II – 5:20
04. Eruption – 16:28
05. Sylvia – 4:34
06. Focus V – 4:37
07. Cathedral de Strasbourg – 6:47
08. Focus VII – 9:55
09. Hocus Pocus – 9:46
10. Focus III – 4:46

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Focus, Thijs van Leer

Present – High Infidelity (2001) (@256)

17 Mar 2010

6 comments

(Review from progarchives.com)

“High Infidelity” sees Present progress yet some more in the complex RIO and Zeuhl world, that they are building with every album. The band is now in an extended form with with a sring and brass section. The main quartet of Trigaux (father and son), Chevalier and drummer Dave Kerman is still the heart and soul of the band. Macksoud in bass is a regular now.

A rather bizarre sombre almost underground artwork (a collage of Israeli or Palestinian streets night scene) certainly sets the sombre mood of the album.

From the opening six-parts suite Soul For Sale (27 min+) with its insane and oppressive groove on which both father and son pull some searing guitar lines that even Fripp would love to have written, is constantly shifting and twisting almost uncontrollably sometimes reminding you Magma. The brass section adds more than a bit of variety in the soloing, and certainly is used for full drama as underlining the constant tension.

The two-parts 11 minutes “Strychnine For Christmas” (under-titled The Truth About Santa Claus) penned by Pierre Chevalier, is softly underscored by a rare Mellotron behind a rather distant Crimson influence, but the vocals are certainly perfectible (both English lyrics and vocals from Kerman).

Third and last track, written by Trigaux, is the “Reve De Fer” finishes as a tribute to a well known theme with Belew-Fripp interplay.

Yet another stunning work from the ever-progressing Trigaux gang.

Line-up:
- Roger Trigaux / guitar, vocal
- Reginald Trigaux / guitar, vocal
- Pierre Chevalier / piano, keyboards, organ, mellotron, vocal
- Dave Kerman / drums, percussion, vocal
- Keith Macksoud / bass
- Matthieu Safatly / cello, vocal
- Fred Becker / alto & tenor sax
- Dominic Ntoumos / trumpet, flugelhorn
- Udi Koomran / sound

Track List:
01. Souls For Sale (1) – 3:14
02. Souls For Sale (2) – 3:24
03. Souls For Sale (3) – 3:39
04.Souls For Sale (4) – 5:27
05. Souls For Sale (5) – 4:55
06. Souls For Sale (6) – 6:45
07. Strychnine For Christmas (1) – 3:55
08. Strychnine For Christmas (2) – 6:58
09. Reve De Fer – 9:21

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Budgie – Life In San Antonio (Live 2002) (@256)

16 Mar 2010

(Review from allmusic)

The British metallic power trio Budgie were never more than a cult attraction — actually best known for their songs being covered by other bands. But the group always seemed to have a stronghold in Texas, which served as the site for a 2002 live album, “Life in San Antonio”.

For many years by this point, singer/bassist Burke Shelley was the lone original member left in attendance — joined on this August night by guitarist Andy Hart and drummer Steve Williams.

Highlights include two nearly eight-minute medleys of Budgie classics — “In for the Kill / Rape of the Locks / Guts” and the set-closing “Breadfan / Nude Disintegrating Parachutist Woman” — as well as another early nugget, “Zoom Club”.

Shelley’s unmistakable banshee wail has never sounded sweeter, and the boys in the band can still churn out Sabbathy metallic slabs with the greatest of ease.

Line-up:
- Burke Shelley / Bass and vocals
- Steve Williams / Drums and percussion
- Andy Hart / Guitar and vocals

Track List:
01. Crime Against The World – 5:58
02. Melt The Ice Away – 4:01
03. Gunslinger – 5:41
04. Panzer Division Destroyed – 6:26
05. I Turned To Stone – 6:23
06. Black Velvet Stallion – 6:59
07. In For The Kill / Rape Of The Locks / Guts – 7:45
08. Breaking All The House Rules – 3:04
09. Zoom Club – 6:15
10. Napoleon Bona Parts 1 & 2 – 7:33
11. Wildfire – 7:25
12. Breadfan / Nude Desintegrating Parachutist Woman – 7:53

Link in comments.

Budgie, Live

Present – No.6 (1999) (@256)

16 Mar 2010

(Review from progarchives.com)

A few line-up changes compared to their previous returning albums, most noticeably Daniel Denis and Alain Rochette gone, finding suitable replacements in Dave Kerman and Pierre Chevalier. Roger Trigaux is also taking a bit of a backseat because of his declining health; he is taking on the role of musical director and composer only playing guitar on one track. Ex-bassist Guy Segers has now moved up a step into being their manager.

Even if most members are now quite young, “Present” shows that this rejuvenation process is not harming their musical directions, on the contrary. Dave Kerman is a very worthy successor to Daniel Denis and is now the spine of the group and also brings a slight touch of humour in the band with their impressive (and oppressive) 17-min The Limping Little Girl, where he keeps intervening with the now-famous line “Didn’t You Hear What Your Mother Said?” which is clearly pun on their early classic “Poison Qui Rend Fou”. Children’s rhymes and other oddities are present throughout the track.

“Le Rodeur” is the only moment on the album where Roger Trigaux is to be heard. The next killer track is “Ceux D’en Bas”, which clearly makes reference to Univers Zero’s “Ceux Du Dehors” and you’d better hang on to your sanity as the ride proposed is a roughie and a toughie. This almost 6-part 20-min suite depicts the fine line between dreams and nightmares and is one of the most astounding compositions Trigaux has ever written. The only sung-track (Le Cauchemard Yo in the Ceux d’en Bas suite) still reminding you (a bit) of Magma and the finale is certainly Dantesque with the throbbing bass battling the mellotrons in a blood-curdling chaos.

Even under the shadow of these two monster tracks, the last Sworlf still manages some interest, mostly because it is very slow paced and very gothic while staying reflective, reminiscent of Shub-Niggurath.

This album compared to the previous “Certitudes” is quite a step upwards as they leave their slight Zeuhl twist totally behind, and heads in adventurous gothic RIO style, as the new line-up is out to make their own sound.

Line-up:
- Roger Trigaux / composition, vocals, musical direction, guitar on “Le Rodeur”
- Reginald Trigaux / guitars, vocals
- Dave Kerman / drums, percussion, vocals
- Pierre Chevalier / pianos, mellotron, vocals
- Keith Macksoud / bass
- David Davister / drums & percussion (13)
with
- Yuval Mesner / cellos

Track List:
01. The Limping Little Girl- Part 1 – 3:07
02. The Limping Little Girl- Part 2 – 3:37
03. The Limping Little Girl- Part 3 – 5:17
04. The Limping Little Girl- Part 4 – 4:54
05. Le Rodeur – 1:59
06. Ceux d’en Bas (Suite)- Part 0 – 0:08
07. Ceux d’en Bas (Suite)- Part 1: Le Martin – 4:29
08. Ceux d’en Bas (Suite)- Part 2: Le Reve de la Muit – 2:02
09. Ceux d’en Bas (Suite)- Part 3: La Realite – 1:36
10. Ceux d’en Bas (Suite)- Part 4: Vers Le Cauchemar – 1:58
11. Ceux d’en Bas (Suite)- Part 5: Le Cauchemar Yo – 3:07
12. Ceux d’en Bas (Suite)- Part 6: Le Combat – 6:18
13. Sworlf – 8:32

Link in comments.

Iron Claw – Dismorphophia (1970-74) (@256)

15 Mar 2010

Request of John the Ripper.

(Review from lpcdreissues.com)

A heavy, previous unreleased, early 70s Scottish hard rock album to be unearthed from the vaults of UK underground. Hailing from Scotland, Iron Claw’s sound is more early 70s kinda like Blue Cheer meets a 70s fuzz pedal.

Their style seemed to change from song to song. There are mean riffs harkening Black Sabbath, Judas Priest and Budgie, some fast tracks with appreciably nasty guitars, some progressive touches here and there with mellotron, piano, flute and saxophones. “Winter” especially demonstrates both the band’s will to kill and their deft writing prowess.

Unfortunately, the whole thing is pretty badly recorded.

Line-up:
- Jimmy Bonnie / percussion (8), back vocals (8), guitars
- Wullie Davidson / lead vocals (2-14), flute (5, 6, 8, 10), harmonica (3, 11, 12), synth
- Alex Wilson / synth (8), percussion (8), back vocals (8), bass
- Billy Lyall / mellotron (5, 7, 8), piano (7, 9, 13, 14), saxophone (6, 9), percussion (5, 8)
- Ian McDougall / drums (1-9), percussion (6, 8, 11, 13, 14), back vocals (8)
- Mike Waller / lead vocals (1), back vocals (9), percussion (9)
- Donald McLaughlin / guitar (2)
- Neil Cockayne / drums (10)

Track List:
01. Claustrophobia 5:05
02. Let It Grow 2:42
03. Gonna Be Free 3:37
04. Lightning 3:35
05. Pavement Artist 5:16
06. Loving You 2:34
07. All I Really Need 3:13
08. Take Me Back 5:06
09. Knock ‘Em Dead 2:51
10. Winter 6:00
11. Strait-Jacket 4:52
12. Rock Band Blues 4:08
13. Real Mean Rocker 3:17
14. Spider’s Web 3:11

Link in comments.

Present – A Great Inhumane Adventure (Live 1998) (@320)

15 Mar 2010

(Review from allmusic, progreviews.com)

In 1998, Present toured the US for the first time, promoting “Certitudes” album, a month-long journey that found the quartet playing venues across the country, ending in Baltimore, where “A Great Inhumane Adventure” was recorded.

The band certainly made an impression on the audience with the powerful, dark, repetitive music, Dave Kerman playing the drums with seemingly anything he could get his hands on, Roger Trigaux towering over the audience in his dark trench coat, and even pounding on the stage with a big, red pipe.

Three of the tracks on the earlier live 1996 CD are repeated on “A Great Inhumane Adventure”, including the monumental “Promenade au Fond d’un Canal,” which was the featured piece on Triskaidekaphobie, Present’s inaugural 1981 recording. The two guitars entwine exquisitely on the newer live version of the piece, and Pierre Chevalier assaults his keyboards with dissonant, propulsive energy throughout the program. Dave Kerman is a congenial force on drums, and he combines with bassists Jean-Pierre Mendes and (on “Promenade”) Keith Macksoud for the thick, bottom-heavy sound associated with the classic French progressive rock groups. The accented vocals of Roger Trigaux (and Reginald Trigaux’s occasional wailing counterpoint) is an acquired taste, depending upon the listener’s tolerance for goth posturing.

“Laundry Blues” is a typical Present track, though note-worthy if only because it has yet to be seen in a studio album.

This album makes a good companion to 1996′s “Live”. If you already like the band, then “A Great Inhumane Adventure” is a must.

Line-up:
- Pierre Chevalier / Roland piano, keyboards
- Dave Kerman / drums, percussion
- Jean-Pierre Mendes / bass
- Reginald Trigaux / guitar, vocals
- Roger Trigaux / guitars, vocals, keyboards
with
- Keith Macksound / bass solo (5)

Track List:
01. Delusions – 14:47
02. Alone – 10:58
03. Le Poison Qui Rend Fou – 10:16
04. Laundry Blues – 13:01
05. Promenade au Fond d’un Canal – 23:33

Link in comments.

Live, Present, Reginald Trigaux, Roger Trigaux

Lynyrd Skynyrd – Live at Cardiff Capitol Theatre 1975-11-04 (@256)

14 Mar 2010

(Review from itunes)

This album captures a concert Lynyrd Skynyrd gave at the Cardiff Capitol Theatre in Wales on November 4, 1975. Skynyrd was supporting their third album and they were operating like a well-oiled machine, giving a tight, focused set that draws pretty equally from Second Helping and Nuthin’ Fancy.

Surprises aren’t the order of the day here, either in song selection or performance — it’s an efficient, entertaining concert by a working band determined to give their paying audience a good show. And that they do — not a great show, but a good one, one that satisfies even if it’s not necessarily memorable.

Line-up:
- Ronnie Van Zant / lead vocals
- Allen Collins / guitars
- Gary Rossington / guitars
- Billy Powell / keyboards
- Leon Wilkeson / bass, background vocals
- Artimus Pyle / drums, percussion

Track List:
01. Double Trouble – 3:01
02. I Ain’t the One – 3:48
03. The Needle & The Spoon – 4:41
04. Saturday Night Special – 5:24
05. Gimmee Three Steps – 5:27
06. Whiskey Rock & Roller – 3:57
07. Call Me The Breeze – 5:35
08. Sweet Home Alabama – 5:27
09. Free Bird – 12:19

Link in comments.

Live, Lynyrd Skynyrd

Present – Certitudes (1998) (@256)

14 Mar 2010

(Review from progarchives.com)

Present’s first full line-up studio album since their (so welcomed back) return is a rather superb one. Original members Roger Trigaux, Daniel Denis (both also Univers Zero members) and Alain Rochette return with long-time compadre Guy Segers on bass and Roger’s son Reginald on guitars.

The prominence of the vocals is noticable, as three of the four tracks have singing: while signing may be a bit an approximations for Present’s vocals here, we can talk more of chants or almost black-mass incantations – just simply dark, sombre and gloomy lyrics, fitting quite well the music.

“Delusions” will become a favourite in concert, with its never-ending piano riff repetition somehow bringing that minimalism that Present is always slightly hinting at, but here coming out in the open, but the last four minutes is a constant and awesome construction shifting constantly between odd time sigs and great soloing. “May Day” (in the help sense) is also another concert classic, yet another typical “Present” lenghty track.

“Sense Of Life”, have even better vocals and changing rhythm patterns and slight free jazz improvs. “Present” has definite touches of zeuhl music in them. They were always a very rhythmic group and Roger Trigaux’s constant switches from guitars to piano, this allows Rochette use a few keyboards extra including a rare mellotron, sparely used but to great effects. The last track is a self-not-so-explanatory and Rochette-penned Ex-Tango, which is another small gem.

Daniel Denis will not be around longer since he will reform Univers Zero again and Present will settle on a more permanent basis on Dave Kerman whom they toured with earlier.

Line-up:
- Roger Trigaux / guitar, vocals, keyboards
- Reginald Trigaux / guitar, vocals
- Daniel Denis / drums, vocals
- Alain Rochette / piano & keyboards
- Guy Segers / bass

Track List:
01. Delusions – 14:51
02. May Day – 10:03
03. The Sense of Life – 11:12
04. Ex-Tango – 3:46

Link in comments.

Daniel Denis, Present, Reginald Trigaux, Roger Trigaux

Wyatt-Whitaker – Pedal Giant Animals (2006) (@256)

13 Mar 2010

(Review from seaoftranquility.org, progarchives.com)

While Happy the Man is taking a little break from recording and touring, Whitaker and Wyatt have written and recorded Pedal Giant Animals, a little side project that has apparently been a few years in the works, with the help of bassist Peter Princiotto (However) and drummer Chris Mack (Illuvatar).

The music shades a lot of art groove, moderately complex (or various) fragments and a light load of perfectly senseful music. There’s a little bit of everything here, from lush, symphonic prog rock numbers, to lite fusion, some quirky rock numbers, and a touch of bombast, providing plenty of variety for the listener. Some pieces are purely melodic or symphonic, and others that are acoustic and art-rock, or wacky and jazzy-avant, the mix is provided. The best pieces from the album are bombastic and tenaciously impressive, while the rest of the material has the good kind of fusion and fashion.

While waiting for a follow-up to Happy the Man’s “Muse Awakens”, Frank Wyatt and Stan Whitaker have given us plenty to enjoy here with “Pedal Giant Animals”.

Line-up:
- Stanley Whitaker / guitars, bass, vocals, percussion
- Frank Wyatt / pianos, keyboards, WX/5 wind controller, saxes, flute, vocals
- Pete Princiotto / bass
- Chris Mack / drums, percussion

Track List:
01. Pink Sky – 4:07
02. Chapter Seven – 3:38
03. Love – 4:58
04. Whole – 4:42
05. Mists Of Babylon – 4:26
06. The Leaf Clings…Quivers – 3:06
07. Turning My Head – 7:18
08. Blue Sun – 4:21
09. Stumpy Shuffle – 4:48
10. Everything – 2:40
11. Pedal Giant Animals – 9:02

Link in comments.

Frank Wyatt, Stanley Whitaker

Present – Live! (1996) (@256)

13 Mar 2010

(Review from progarchives.com, progreviews.com)

“Present” is in free flight during this live album, recorded in December 9th, 1995 at the “AKW” in Wurzburg, Germany. The band isn’t a duo any more, with the addition of a bass and drums the band is on the way to its full re-formation.

The live renditions breathes a sense of space and ambience into the band’s music that makes it sound even more intense and sinister. They have lots of nice dual guitar/bass and lengthy compositions, still the music is very intricate.

Dave Kerman (of 5uu’s) does a fantastic job on drums – it’s fun to try to pick out the spots where he’s using kitchen utensils or Barbie dolls instead of drumsticks.

Line-up:
- Roger Trigaux / guitar, keyboards, vocals
- Reginald Trigaux / guitar, keyboards, vocals
- Bruno Bernas / bass, vocals
- Dave Kerman / drums, percussion

Track List:
01. Laundry Blues – 11:38
02. Contre – 7:29
03. Alone – 11:33
04. Promenade au Fond d’un Canal – 22:09

Link in comments.

Happy the Man – Muse Awakens (2004) (@256)

12 Mar 2010

(Review from gnosis2000.net)

After a really really long break, and then after another long break, Happy The Man is finally back – and they’re as fresh and as vibrant as they were at their formation.

Many of the songs on The Muse Awakens are pure symphonic progressive a la Happy The Man of old, but others are more jazzy than before causing this record to comfortably span the intersection of classical arrangements, jazz chords and progressive music’s symphonic melodies. Despite the jazzy overtones, every track is tight and composed and there isn’t a hint of jamming. It is purely instrumental except for one song with relaxed mid-quality vocals – and besides the obvious guitar / bass / drums / keyboards lineup there are significant contributions from tenor and alto saxes, clarinet and flute.

The music shifts restlessly and constantly – from one time signature to the next, from key to key, from upbeat to contemplative to dramatic to spacey, and from the 1970s to the present day and all the way back again.

Several sax passages are reminiscent of the long, melodic Kenny G solos, but Kenny G never had the same complicated interplays between keyboards, guitars and this variety of wind instruments.

It’s hard to pick a standout track, but mini-epic “Il Quinto Mare” may be the best piece by a close margin, followed by the humorous and quirky “Barking Spiders” and “Lunch At The Psychedelicatessen”.

New keyboardist David Rosenthal fits in wonderfully and his musicianship and compositional skills make an interesting impact. Listen to the piano and keyboard leads on “Slipstream”, probably the most moving piece on the album, and his composition “Kindred Spirits”.

Line-up:
- Frank Wyatt / saxes, keyboards, woodwinds
- Stanley Whitaker / guitars, vocal
- David Rosenthal / keyboards
- Joe Bergamini / drums, percussion
- Rick Kennell / bass

Track List:
01. Contemporary Insanity – 3:28
02. The Muse Awakens – 5:35
03. Stepping Through Time – 6:32
04. Maui Sunset – 5:37
05. Lunch At The Psychedelicatessen – 4:59
06. Slipstream – 4:46
07. Barking Spiders – 4:15
08. Adrift – 4:05
09. Shadowlites – 3:54
10. Kindred Spirits – 5:28
11. Il Quinto Mare – 7:22

Links in comments.

David Rosenthal, Frank Wyatt, Happy the Man, Stanley Whitaker

Present – C.O.D. Performance (1993) (@256)

12 Mar 2010

(Review from progressor.net)

When Roger Trigaux decided to resurrect Present 8 years later, it was first in a quite different form, as a duo with his son, guitarist Reginald Trigaux.

Formally, this third album consists of three long tracks, the second of which is an instrumental piece. However, there are no pauses between compositions, and it’s impossible to fix the beginning of the second and third of them.

Furthermore, all the arrangements on the album are in the state of constant and logical development, and each composition here is actually the part of the same monolithic epic. “COD Performance” is an album of a completely uniform stylistics representing nothing else but a unique acoustic RIO with elements of electric RIO and guitar Art-Rock.

Even though there is little in common between this music and that on any of the other “Present” albums, all the central hallmarks of the band’s creation: high complexity, dark and mysterious atmosphere, the intensity and depth of arrangements, etc are more than merely evident here. While the heavy guitar riffs and the parts of percussion are featured on any of the three compositions on “COD Performance”, most of the arrangements here are nevertheless based on the interplay between either two acoustic guitars or acoustic and electric guitar. And you won’t be able to imagine what an amazingly rich sound this highly profound and interesting album has until you hear it.

The vocals by both Roger and Reginald (in English) are present only in the beginning of “COD Performance” and closer to the end of it, though they’re great and greatly fit this outstandingly original music. While singing is a rare thing concerning such a specific genre as RIO, the presence of vocals and vocalizes on this album looks more than simply defensible, as they always meet surrounding musical events.

Line-up:
- Roger Trigaux / guitar, vocals, percussion
- Reginald Trigaux / guitar, vocals, percussion

Track List:
01. Love Scorn – 9:25
02. Alone 1 – 14:41
03. Alone 2 – 24:57

Link in comments.

Happy The Man – Better Late… (1979) (@256)

11 Mar 2010

17 comments

(Review from progweed.net)

In the infinte wisdom of the music biz, Happy the Man was dropped from their label whilst recording this, their third album during 1979. For this final demo tape, basic tracks were recorded live by all members. Flute, sax, vocals, and some solos were overdubbed. Before its posthumous release many years later, Kit Watkins remixed the majority of the songs.

The songs are evenly split between instrumental and vocal tunes. Stanley Whitaker’s vocal tracks is remniscent of a bit of Greg Lake, with a touch of Jack Bruce. The highlights, however, are the wonderful instrumental workouts of Frank Wyatt and Kit Watkins magical interplay on keyboards and wind-instruments and Whitaker’s understated guitar work. They mesh to create lovely textures and warm tones, nothing harsh here. Gently evolving sounds, lush keyboards (check out the download of “while Chrome Yellow Shine), swirling Holdsworthian slurred guitar lines and creative percussive under-currents.

“Better Late…” stands as a document of the band during their last year together. It should obviously be judged on its demo nature. By the time these songs would have seen their way to a record, there would inevitably have been changes. For those of you who enjoy the first two albums and need more Happy the Man, this is the next logical step. Just don’t expect a classic.

Line-up:
- Kit Watkins / keyboards and flute
- Frank Wyatt / keyboards, sax, flute
- Stanley Whitaker / guitar, vocals
- Rick Kennell / bass
- Coco Roussel / drums, percussion

Track List:
01. Eye Of The Storm – 4:05
02. The Falcon – 6:18
03. At The Edge Of This Thought – 5:23
04. While Crome Yellow Shine – 6:15
05. Who’s In Charge Here? – 5:47
06. Shadow Shaping – 4:33
07. Run Into The Ground – 5:09
08. Footwork – 4:23
09. Labyrinth – 7:35
10. Such A Warm Breeze – 5:11

Link in comments.

Frank Wyatt, Happy the Man, Kit Watkins, Stanley Whitaker

Present – Le Poison Qui Rend Fou (1985) (@256)

11 Mar 2010

(Review from progarchives.com)

Present’s second album is a bit more of the same than its debut: dark, sombre, macabre , sinister and one can say gothic in a way. The group comes back with a slightly changed line-up: Ferdinand Philippot is now handling the bass duties, but the change is minor. The artwork is plainly sinister but with a touch of romantic inspiration and fits the music quite well.

Starting of with an epic 15 min+ first part of the title track, featuring an operatic-voiced guest vocalist, Present plunges again on a metronomic groove with the two pianos helping out a great deal and a lenghty trip is undertaken through the insane meanders of Trigaux’s mind. A shorter Ersatz is reminiscent of Belew era-Crimson, and definitely more upbeat and almost joyful compared to the habitual stuff.

The almost 10 min second part of the title track (on the second side of the vinyl), is the logical follow-up to its debut, but is totally instrumental. The closing 9 min Samana (Rochette-penned) is not much different but not quite as dense and might be a little clumsy in its middle section, but it remains in the mould.

Not an easier than the debut album, and just as difficult to recommend, these first two albums are uncanny oeuvres that must be heard by every proghead, but most likely, if they do not like adventurous and partially un-melodic prog, repulsion or rejection will be an understandable reaction. But if you can persevere with Present, soon the full merits of the music will come rewardingly.

The band dissolved soon after the release of the album.

Line-up:
- Roger Trigaux / guitars
- Alain Rochette / pianos, synths
- Daniel Denis / drums, percussion
- Ferdinand Philippoi / bass
with
- Marie-Anne Pollaris / vocals (1)

Track List:
01. Le Poison Qui Rend Fou Part 1: Ram Ram Va Faire “Pif Paf” – 15:23
02. Ersatz – 5:09
03. Le Poison Qui Rend Fou Part 2: Didi, Dans Ta Chambre! – 9:41
04. Samana – 9:15

Link in comments.

Daniel Denis, Present, Roger Trigaux

Happy the Man – Live (1978) (@256)

10 Mar 2010

(Review from cduniverse.com, progarchives.com, cuneiformrecords.com)

Recorded in 1978 in Washington D.C. and Virginia, “Live” is an posthumous archival release. This expertly recorded and mastered set allows for minimal crowd noise as it spotlights two elegantly performed gigs where the band rode a wave of self-created verve and stamina.

The set list consists of spirited live versions of pieces from their two LPs, some of which are significantly different than the studio versions. The band here is a tight, fully interactive unit, capable of radiating complex time signatures with a symphonic rock framework.

The first third of the album indulges in Floydian space jams that sound great, an “abridged” version of “Open Book” finds the quintet sustaining an atmosphere of both velvet dreaminess and high drama.

The real fire begins with ‘I Forgot to Push It’ and just gets hotter from there. ‘Ibby it Is’, ‘Steaming Pipes’ and ‘Knee Bitten Nymphs in Limbo’ get the blood pumping with symphonic rock of the highest caliber.

Line-up:
- Rick Kennell / bass
- Coco Roussel / drums, percussion
- Stanley Whitaker / guitars
- Kit Watkins / keyboards, flute
- Frank Nakahara-Wyatt / saxophone, keyboards

Track List:
01. Service With A Smile – 4:04
02. Starborne – 4:45
03. Open Book – 6:33
04. Hidden Moods – 4:09
05. Morning Sun – 4:34
06. I Forgot To Push It – 3:37
07. Ibby It Is – 8:38
08. Nossuri (The Moon, I Sing) – 6:24
09. I Carve The Chariot On The Carousel – 5:12
10. Steaming Pipes – 4:35
11. Knee Bitten Nymphs In Limbo – 5:20
12. Mr. Mirror’s Reflection On Dreams – 9:23

Link in comments.

Frank Wyatt, Happy the Man, Kit Watkins, Stanley Whitaker

Present – Triskaideliaphobie (1981) (@256)

10 Mar 2010

(Review from progarchives.com)

Present started as an offshoot project of Univers Zero with both Roger Trigaux and Daniel Denis, but Trigaux was not to return to back to the mother group. The band’s music is incredibly somber (sinister is also appropriate) as it was on Univers Zero but here the music is electrified, more energetic and “relatively” more constructed. The vast majority of this debut is written by Roger Trigaux who oscillates constantly between the piano to a searing guitar.

Just three tracks on this album, one of which is simply the most representative track of Present’s Oeuvre: the side-long 19 min+ Promenade Au Fond D’Un Canal. With an incredibly ever changing rhythm pattern but constantly sinister and metronomic-quality (almost repetitive to be minimalist, but this would be misleading) groove and helped out tremendously by Rochette’s piano, this track is riveting, tense from beginning to end. The 15 min+ Quatre-vingt Douze is based much on the same pattern but reminds you of John Cale and Terry Riley’s superb album Church Of Anthrax. Last but not least is a short Repulsion (a collaboration between Trigaux, Denis and bassist Genet) that has problems finding its place next to the other two “epics”, but is highly atmospheric.

A complete meltdown of wonderful insane, beyond brilliant stuff!

Line-up:
- Roger Trigaux / guitars, pianos
- Alain Rochette / pianos, synths
- Daniel Denis / drums, percussion
- Christian Genet / bass

Track List:
01. Promenade Au Fond D un Canal – 19:16
02. Quatre-vingt Douze – 15:35
03. Repulsion – 3:27

Link in comments.

Daniel Denis, Present, Roger Trigaux

Happy the Man – Crafty Hands (1978) (@256)

09 Mar 2010

(Review from progweed.net)

“Crafty Hands” is the second piece of perfection to be produced by Happy the Man, before they broke up soon after.

“Crafty Hands” expands upon the instrumental prowess of the first album, containing only one vocal track. The compositions here are all top-notch, Watkins, Whitaker and Wyatt being fine songwriters, and complimenting each other’s styles greatly with a mixture of serene, playful and epic pieces. The playing is just as masterful, as the band is able to create complex pieces that are never short in melody or emotion. This time around, Ron Riddle makes an excellent drummer addition to the lineup.

The songs follow the debut’s album format, beautiful symphonic pieces such as “Morning Sun”, “Open Book” and “The Moon I Sing” are lush and mellow, providing a wonderful contrast to the more upbeat portions of the album. “Open Book” is a great example of how the band is able to play complex pieces in odd time signatures and pull it off with out it sound forced. This is a great medieval tinged piece, with Wyatt’s harpsichord and Watkins’ recorder stealing the show.

There are also the upbeat playful songs, tinged with fusion, that make this band unique. “Steaming Pipes” and “I Forgot To Push It” are instantly recognizable, with Wyatt’s sax honking and great drum work from Riddle, not to mention the usually flawless playing of the rest of the band. It’s usually Watkins that steals the show, with the unmatched Mini-Moog playing drenching the album.

“Ibby It Is” and “Wind Up Doll Day Wind” combine mellow symphonic flourishes and frenetic energy with epic results. “Wind Up…” is the only vocal piece on the album, with Wyatt’s poetic lyrics delivered competently by Whitaker.

Line-up:
- Stanley Whitaker / 6 and 12 string guitars, vocals
- Frank Wyatt / pianos, harpsichord, saxes, flute, words
- Kit Watkins / pianos, harpsichord, Moog, fake strings, clavinet, 33, recorder
- Rick Kennell / bass
- Ron Riddle / drums, percussion

Track List:
01. Service with a Smile – 2:44
02. Morning Sun – 4:05
03. Ibby It Is – 7:50
04. Steaming Pipes – 5:30
05. Wind Up Doll Day Wind – 7:06
06. Open Book – 4:53
07. I Forgot To Push It – 3:08
08. The Moon, I Sing (Nossuri) – 6:16

Link in comments.

Frank Wyatt, Happy the Man, Kit Watkins, Stanley Whitaker

Ten Years After – Evolution (2008) (@256)

09 Mar 2010

(Review from amazon, thisisnottingham.com)

Ten Years After had been playing sold out venues for over five years with their new guitarist when they recorded this second studio album. Joe Gooch proved to be a much better foil for the band than anyone could have reasonably expected

Kicking off with the energetic rocker “I Think Its Gonna Rain All Night”, its a solid start. With fantastic guitar work throughout “Evolution” sounds fresh and modern.

This collection of new hard hitting rock tunes and cool ballads is certainly a feast for Ten Years After fans.

Line-up:
- Leo Lyons / bass
- Chick Churchill / keyboards
- Ric Lee / drums
- Joe Gooch / guitar, vocals

Track List:
01. I Think It’s Gonna Rain All Night – 4:27
02. She Keeps Walking – 5:53
03. Why’d They Call It Falling – 6:29
04. She Needed A Rock – 4:31
05. My Imagination – 5:14
06. I Never Saw It Coming – 6:09
07. Slip Slide Away – 4:36
08. Tail Lights – 4:35
09. Angry Words – 8:24
10. That’s Alright – 5:02

Link in comments.

Ten Years After

Happy the Man – Death’s Crown (1974) (@256)

08 Mar 2010

(Review from progweed.net)

Death’s Crown is an archival release originally recorded by the band in 1974. The piece was the musical part of a multimedia event comprised of dancers, actors, a light show and slides. This recording was made in the band’s rehearsal room.

In comparison to the songs on “Beginnings”, which were recorded around the same time, “Death’s Crown” is much more mature and experimental.

Like “Beginnings”, this release also leaves much to be desired where sound quality is concerned, but is to be expected due to the demo nature of the tapes. For the most part, the instrumental parts are very clean sounding. It’s the vocals that get lost and distorted, making them hard to decipher and listen to.

“Death’s Crown” is a 38 minute suite made up of eleven parts that flow together nicely. The music here is very similar to what would be the band’s classic sound from their first two albums, well composed and arranged, with plenty of great melodies. Like their other work, the evocative instrumental sound easily carries the music through the story. I find it amazing that such a great piece was written during the band’s first year together. “Part 5″ will be familiar to those you who have heard their later albums, as it re-appears as “Open Book” on “Crafty Hands”.

The two bonus tracks feature an early recording of “New York Dreams Suite” with vocal overdubs from Owen and some differing parts from the final version which would appear on their debut album. “Merlin of the High Places” is a beautiful piece in the typical Happy the Man vein.

Despite its raw sound, “Death’s Crown” is a wonderful document.

Line-up:
- Dan Owen / vocals, classical guitar, percussion, additional bass on “New York Dreams Suite”
- Frank Wyatt / electric piano, recorder
- Kit Watkins / organ, Moog, string ensemble, clavinet, flute, recorder, sound effects
- Stanley Whitaker / guitar, recorder
- Rick Kennell / bass
- Mike Beck / drums and percussion

Track List:
01. Death’s Crown 1 – 3:04
02. Death’s Crown 2 – 0:48
03. Death’s Crown 3 – 5:55
04. Death’s Crown 4 – 6:47
05. Death’s Crown 5 – 4:57
06. Death’s Crown 6 – 3:11
07. Death’s Crown 7 – 5:24
08. Death’s Crown 8 – 1:28
09. Death’s Crown 9 – 0:44
10. Death’s Crown 10 – 2:35
11. Death’s Crown 11 – 3:03
12. New York Dreams Suite (Bonus) – 8:47
13. Merlin of the High Places (Bonus 1976) – 7:12

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Frank Wyatt, Happy the Man, Kit Watkins, Stanley Whitaker

Ten Years After – Roadworks (Live 2005) (@256)

08 Mar 2010

(Review from tenyearsafternow.com, amazon)

Recorded on their sell-out tour of Europe in November/December 2004 comes the double live album “Roadworks”.

Ten Years After plays most of their classics, but it is not an oldies band only riding around on past successes. It has taken up the reins and is riding into the future. Joe Gooch is fully conversant with all of Ten Years After’s previous triumphs, but he has a distinct personality that breathes new life into the band’s performance and helps forge a new direction with this highly respected team of legendary musicians.

The new songs from “Now” are impressive. All of them are great great driving blues rock, and on the song “Reason why”, it brings memories of “Roadhouse Blues” and the live version of Status Quo’s “4500 Times”.

Classics such as ‘Love Like A Man’, the Woodstock Festival anthem ‘I’m Going Home’ ,’Good Morning Little Schoolgirl’, ‘Hear Me Calling’ and the first ever live version of ‘I’d Love To Change The World’ aren’t forgotten. Bonuses include one never-before released tune, ‘Living It Up’ and a brand new version of ‘Big Black 45′.

A splendid mix of old and new by the new Ten Years After.

Line-up:
- Leo Lyons / bass
- Chick Churchill / keyboards
- Ric Lee / drums
- Joe Gooch / guitar, vocals

Track List:
CD1
01. King Of The Blues – 4:17
02. Hear Me Calling – 6:19
03. Good Morning Little Schoolgirl – 6:52
04. When It All Falls Down – 4:36
05. Working On The Road – 4:54
06. Big Black 45 – 5:23
07. The Hobbit – 7:48
08. Living It Up – 4:04
CD2
01. Love Like A Man – 7:21
02. I’d Love To Change The World – 5:52
03. Time To Kill – 6:25
04. I Can’t Keep From Crying Sometimes -Jam On One Chord – 14:48
05. I’m Going Home – 10:38
06. Reasons Why – 5:01
07. Choo Choo Mama – 4:51

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Live, Ten Years After

Happy the Man – Beginnings (1974-75) (@256)

07 Mar 2010

(Review from progweed.net)

This archival recording is a collection of music from Happy the Man’s first two years – 1974 and 1975.

First off, it must be said that these tracks are basically demos, with the sound quality to match. Considering what they used to record this material though, this is still a very listenable affair which gives an early glimpse at the band.

The songs are well crafted and competently played, while lacking the same punch the band would later attain. There is a much larger reliance on vocals here, which are handled well by Cliff Fortney. The music is sparser and more laid back, including more atmospheric keyboard work. There are a lot of nice extra percussive elements such as chimes used to compliment the quieter pieces. The band does let loose in places, and the last few minutes of “Gretchen’s Garden” is one of the more successful examples of this. “Partly the State” is probably the strongest song overall, with nice shifts in dynamics, interesting vocal work and great percussion.

Taken for what it is, this is a nice collection of songs that shows the roots of a sound that would be perfected on later releases. An interesting addition for fans of the band’s other albums, but if you don’t have them, there’s no need for this one, yet.

Line-up:
- Mike Beck / drums, percussion
- Cliff Fortney / lead vocals, flute, Rhodes (2-5)
- Rick Kennell / electric bass
- Kit Watkins / multi-keyboards, vocals
- Stanley Whitaker / electric guitar, vocals
- Frank Wyatt / keyboards, alto sax, flute, vocals

Track List:
01. Leave That Kitten Alone, Armone (Live) – 9:23
02. Passion’s Passing – 8:46
03. Don’t Look To The Running Sun – 10:01
04. Gretchen’s Garden – 11:09
05. Partly The State – 9:27
06. Broken Waves (Live) – 5:54
07. Portrait Of A Waterfall (Live) – 6:46

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Frank Wyatt, Happy the Man, Kit Watkins, Stanley Whitaker

Ten Years After – Now! (2004) (@256)

07 Mar 2010

(Review from allmusic)

Starting in 2001, to take advantage in the growing interest in legendary bands, the whole Ten Years After catalogue was re-released, including a find that had lain unnoticed – the 1970 live recording of the band at its peak at the Fillmore East in New York. Ric and Chick both approached Alvin with a view to touring to support the releases, but Alvin declined.

Ten Years After without Alvin Lee is utter blasphemy in some longtime fans’ eyes, but that’s exactly what occurred on the 2004 release by this veteran blues-rock outfit, “Now”. Out went Lee, and in came replacement singer/guitarist Joe Gooch, who joins longtime members Chick Churchill, Leo Lyons and Ric Lee.

Any fans having reservations about how well Gooch fits in will quickly have their worries erased — the group’s newest member possesses a fine voice (check the laid-back closing track, “Changes”), and can throw down boogie riffs with the best of them (“When It All Falls Down,” “Time To Kill,” etc.). It may even appear as though the presence of Gooch has breathed new life into the band.

Line-up:
- Leo Lyons / bass
- Chick Churchill / keyboards
- Ric Lee / drums
- Joe Gooch / guitar, vocals

Track List:
01. When It All Falls Down – 3:29
02. A Hundred Miles High – 7:07
03. Time To Kill – 4:33
04. I’ll Make It Easy For You – 5:34
05. The Voice Inside Your Head – 4:34
06. King Of The Blues – 3:36
07. Long Time Running – 6:15
08. Reasons Why – 4:42
09. Changes – 5:14

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Ten Years After

Electric Light Orchestra – Live At Wembley ’78 (@256)

06 Mar 2010

(Review from allmusic)

To some, the notion of an Electric Light Orchestra concert was a contradiction in terms. The band’s music was built so heavily on studio-generated effects, multiple overdubs, and (very obviously) countless retakes, that the idea of doing the music in concert seemed superfluous. But many audiences obviously felt differently, to judge from ELO’s attendance figures in the late ’70s, and the group evidently did put on a good show.

This show, from the tour behind the Out of the Blue album, is amazingly energetic and presents reasonably bracing renditions of 13 songs, ranging from “Standin’ in the Rain” (which doesn’t come off too well); to “Turn to Stone” and “Tightrope” (which do); to “Telephone Line,” “Livin’ Thing,” and “Do Ya” from A New World Record; to “Showdown” and “Roll Over Beethoven”.

The sound has the usual balance problems associated with live albums, which even the inevitable sweetening in the studio doesn’t solve, but overall the album does make a good compromise between the vast sound canvas painted by the group in the studio and the immediacy of live performance.

Assuming that one gives ELO the benefit of the doubt, it’s nice to know that the band could really pull these songs off decently in concert — even the pounding “Rockaria” and the alternately crunchy and soaring “Sweet Talkin’ Woman”.

Line-up:
- Jeff Lynne / Vocals, Guitar
- Bev Bevan / Drums
- Richard Tandy / Keyboards
- Kelly Groucutt / Bass, Vocals
- Mik Kaminski / Violin
- Hugh McDowell / Cello
- Melvyn Gale / Cello
- Jake Commander / Back Vocals, Acoustic Guitar

Track List:
01. Introduction – 2:46
02. Standin’ In The Rain – 3:36
03. Night In The City – 3:51
04. Turn To Stone – 3:54
05. Tightrope – 4:34
06. Telephone Line – 4:20
07. Rockaria! – 2:52
08. Wild West Hero – 3:08
09. Showdown – 3:14
10. Bev Bevan talks – 0:55
11. Sweet Talkin’ Woman – 3:52
12. Mr Blue Sky – 3:39
13. Do Ya – 4:47
14. Livin’ Thing – 3:56
15. Roll Over Beethoven – 6:45

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Bev Bevan, Electric Light Orchestra, Jeff Lynne, Live

Alvin Lee – Saguitar (2007) (@256)

06 Mar 2010

(Review from amazon, allmusic)

The album title Saguitar is based on his star sign Sagittarius. It is a true solo project. Alvin Lee plays virtually all the instruments except keyboards, overdubbing himself in his home studio to impressive effect.

There are 14 blistering new tracks, all originals, that include rockers like “Anytime U Want Me” and more reflective pieces such as “The Squeeze”. One surprise item is “Rapper”, built up from drum loops. Tunes like “Motel Blues” make your hair bristle.

Blues based originals such as “Blues Has Got a Hold on Me” has a mellow yet convincing groove perfect for Lee’s voice and approach. His vocals have always been Elvis-influenced so when he goes full on Presley for the rockabilly “Memphis” (not the Chuck Berry tune), the effect is impressive and unpretentious. Lee lays off most of the lightning licks of his youth, instead adding tight, taut fills that bring substance without flash to an eclectic and consistently enjoyable set.

This is a solid Alvin Lee album that fans will enjoy but that is unlikely to attract many newcomers to his rather predictable if undeniably personal and energetic style.

Track List:
01. Anytime U Want Me – 4:52
02. The Squeeze – 4:08
03. It’s Time To Play – 4:24
04. Midnite Train – 2:20
05. Motel Blues – 5:21
06. Only Here For The Ride – 2:48
07. Memphis – 2:03
08. Got A Lot Of Living To Do – 3:07
09. Blues Has Got A Hold On Me – 3:26
10. It’s All Good – 4:21
11. Education – 4:31
12. Rapper – 3:29
13. Smoking Dope – 4:40
14. Rocking Rendezvous – 4:40

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Alvin Lee

Electric Light Orchestra – Live At Winterland ’76 (@256)

05 Mar 2010

(Review from allmusic, wikipedia)

Recorded along ELO’s winter 1976 tour, this 10-track concert album slots in perfectly in between “Night the Lights Went On (In Long Beach)” from 1974 and Live at Wembley from 1978, capturing the band at their most exciting if not their most ambitious.

Half of the material here comes from the Face the Music album, which was then their newest release, and much of the rest is from the immediately preceding album, Eldorado (presented here in the form of a concert suite). In spite of their reputation as being primarily a studio band, the performances of most of the Face The Music material here is arguably superior to the studio originals, capturing the band’s excitement.

Bev Bevan’s drumming alone is pretty impressive throughout and Jeff Lynne’s vocals show extraordinary passion and depth. Bassist Kelly Groucutt features prominently, taking over lead vocal duty on some tracks.

Additionally, short of a live album derived from the group’s tour for the Eldorado album, this is the fullest account of any of that album’s material that we’re likely ever to hear — the suite contains 12 minutes of the highlights of the album, including a rip-roaring rendition of “Illusions in G Minor,” complete with a fine Lynne guitar solo. “Evil Woman” also gets a fine accounting.

Line-up:
- Jeff Lynne / Vocals, Guitar
- Bev Bevan / Drums
- Richard Tandy / Keyboards
- Kelly Groucutt / Bass, Vocals
- Mik Kaminski / Violin
- Hugh McDowell / Cello
- Melvyn Gale / Cello

Track List:
01. Fire On High – 5:28
02. Poker – 4:01
03. Nightrider – 4:36
04. Showdown – 4:42
05. Eldorado Suite (including Can’t Get It Out of My Head) – 13:14
06. Strange Magic – 5:06
07. Medley- 10538 Overture-Do Ya – 5:27
08. Evil Woman – 4:39
09. Ma Ma Ma Belle – 6:36
10. Roll Over Beethoven – 6:37

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Bev Bevan, Electric Light Orchestra, Jeff Lynne, Live

Alvin Lee – I Hear You Rockin’ (1994) (@256)

05 Mar 2010

(Review from amazon)

Alvin Lee’s 1994 album was released as “1994″ in Europe and “I Hear You Rockin’” in the US. As usual it features great guitar work, catchy rhythms, strong vocals…

“Bluest Blues”, which features an incredible guitar duet with George Harrison, is certainly the standout. Both “I Don’t Give a Damn” and “Long Legs” have become staples of Lee’s live set, and his take on the Beatles’ “I Want You (She’s So Heavy)” is nothing short of extraordinary.

Line-up:
- Alvin Lee / Guitar, Vocals
with
- Steve Gould / Bass, Vocals
- Steve Grant / Keyboards, Vocals
- George Harrison / Slide Guitar
- Tim Hinkley / Piano
- Alan Young / Drums

Track List:
01. Keep On Rockin’ – 5:09
02. Long Legs – 6:16
03. I Hear You Knockin’ – 3:39
04. Ain’t Nobody’s Business – 4:11
05. The Bluest Blues – 7:27
06. Boogie All Day – 3:52
07. My Baby’s Come Back To Me – 4:58
08. Take It Easy – 6:25
09. Play It Like It Used To Be – 4:01
10. Give Me Your Love – 5:59
11. I Don’t Give A Damn – 5:49
12. I Want You (She’s So Heavy) – 9:52

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Alvin Lee, George Harrison

Maneige – Images (Vinyl) (1983) (@256)

04 Mar 2010

(Review from progarchives.com)

Some three years after Montreal 6AM, out of the blue came out the last Maneige studio, so unexpected that it went out of view quickly. The line-up has changed considerably: Schetagne resumes his duties in drums and percussion, only Leonard on bass and Bergeron on winds and keyboards remain.

The album is still good (especially considering the date of release) and the band tries updating themselves as well as maintaining a high quality of musicianship and good composing. With no tracks above the 3:45 mark, the “songs” are rather concise and up to the point. Actually, the jazz-rock/fusion elements are still quite present but the general feel is more in the rock/pop direction than ever before.

“Ballade En Hiver” is probably the highlight of a track selection that fails to surprise, but has no weak tracks either. The two newcomers (the guitarist and main keyboardist) do a credible job, but fail to dazzle.

This 1983 outing proved to be the last for this splendid band.

Line-up:
- Alain Bergeron / keyboards, flute, saxophones
- Michel Lefrancois / guitar
- Claude Lemay / keyboards, synths, percussion
- Yves Leonard / bass
- Gilles Schetagne / drums, percussion

Track List:
01. Nuit Rose – 3:22
02. Phantasmes – 3:24
03. Solitaire – 3:30
04. Clin D’Oeil – 2:44
05. Touaregue – 3:29
06. Hey You! – 3:47
07. Ballade En Hiver – 3:18
08. Transport – 3:27
09. Poseidon – 2:52
10. Quasar – 3:35

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Maneige

Alvin Lee – Zoom (1992) (@256)

04 Mar 2010

(Review from allmusic)

Alvin Lee’s first solo album after the Ten Years After reunion was released in 1992.

“Real Life Blues” became a hit in spots around the US. The track featured the unmistakable sound of George Harrison on slide guitar and Deep Purple keyboard player Jon Lord. This is a wiser, slower, more methodical sentiment than we once heard Lee make on “I’d Love to Change the World.”

“A Little Bit of Love” is Ten Years After meets Power Station with thunderous drums and very smooth production. Steve Gould and Deena Payne’s backing vocals chirp over Alan Young’s boom-boom drumbeat on “The Price of Love,” a bonafide dance tune that cries for the kind of production that the band Chic made famous — dance blues.

“Moving the Blues” is a fun, Delaney & Bonnie type rocker with Clarence Clemons on tenor sax. Clemons appears on four tracks, including “Use That Power,” “Jenny, Jenny” — a Little Richard meets Mitch Ryder by way of Chuck Berry fun stomper — and the funky “Wake Up Moma” which has that trademark Jon Lord keyboard filling in nicely. The instrumental “Lost in Love” is very tasteful.

Track List:
01. A Little Bit Of Love – 3:58
02. Jenny Jenny – 4:26
03. Remember Me – 4:38
04. Anything For You – 5:00
05. The Price Of This Love – 4:08
06. Real Life Blues – 4:36
07. It Don’t Come Easy – 5:07
08. Lost In Love – 4:08
09. Wake Up Moma – 3:58
10. Moving The Blues – 4:06
11. Use That Power – 4:21

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Alvin Lee, George Harrison, Jon Lord

Maneige – Montreal, 6 AM (1980) (@256)

03 Mar 2010

(Review from progarchives.com)

Entering the new decade Maneige had a few changes, most notably a label change from the international Polydor to the local Trans-Canada and a change of drummer with Gilles Schetagne having left. Their fifth studio album was recorded at Quebec’s most in-demand Morin Heights studio.

One of the most notable change, the tracks are even shorter — only one track barely exceeds 5 minutes (the superb finale), the rest of them being inferior to 4 minutes. The general Maneige spirit is respected, alternating between jazz-rock/fusion and more symphonic rock.

Among the highlights of the first side of the album are “Ou-ça?” and “Popozoff”, which surprises us by its energetic symphonic twist. On the second side, opening on the excellent “Invitee De La Nuit”, but closing on the very worthy slow-developing finale “Cerveau Lent” is definitely the high point of the album.

Line-up:
- Alain Bergeron / keyboards, flute, saxophones
- Pierre Gauthier / drums, percussion
- Vincent Langlois / keyboards, percussion
- Denis Lapierre / guitar
- Yves Leonard / bass
- Paul Picard / percussion

Track List:
01. Tangerine – 3:16
02. Ou Ca? – 3:52
03. Tague Baissee – 3:43
04. Phobos – 3:43
05. Popozof – 3:59
06. L’Invitee De La Nuit – 3:35
07. Echec Et Mat – 4:16
08. Mi Vu, Mi Connu – 4:00
09. Cerveau Lent – 5:18

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Maneige

Ten Years After – About Time (1989) (@256)

03 Mar 2010

(Review from starling.rinet.ru)

A Ten Years After reunion was inevitable. Furthermost because there never really was a serious reason for the band to fall apart in the first place.

They first came together in 1983, gave a few shows, then went their own ways again, then reconvened once more in 1989, gave a few more shows, saw that it was good and decided to try some of the old magic on record – once again. The emphasis was, of course, on good old rock’n'roll, the stuff they always did best. Nothing experimental, just straightahead, unnerving, rip-roaring rock.

Most of these songs are quite decent. There’s a few classy rock’n'roll riffs, there’s a few decent solos, there’s vocal hooks-a-plenty, and the most important thing is – there’s actually some active energy. They’re four long lost friends grooving together.

Highlights include “Highway of Love”, “Working in a Parking Lot” and the vintage-sounding “I Get All Shook Up”.

Line-up:
- Leo Lyons / Bass
- Alvin Lee / Guitar and Vocals
- Chick Churchill / Keyboards
- Ric Lee / Drums

Track List:
01. Highway Of Love – 5:11
02. Let’s Shake It Up – 5:22
03. I Get All Shook Up – 4:41
04. Victim Of Circumstance – 4:32
05. Going To Chicago – 4:27
06. Saturday Night – 4:08
07. Bad Blood – 7:13
08. Working In A Parking Lot – 4:57
09. Wild Is The River – 3:56
10. Outside My Window – 5:48
11. Waiting For The Judgement Day – 4:33

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Alvin Lee, Ten Years After

Maneige – Libre Service (1978) (@256)

02 Mar 2010

(Review from seaoftranquility.org, progreviews.com, progarchives.com)

By the time Libre Service, Maneige’s fourth studio album, came to light, the band’s shift from an acoustic symphonic-progressive sound to a more fusiony style was in full swing — even veering towards Canterbury style music, putting a bit of humour in the music. The sound is even tighter and the songs more compact than its predecessor.

This is evident from the opening seconds of the first track, “Troisix”, which segues almost immediately from a bouncy bass-and-handclaps intro into a loping solos alternating between electric guitar and flute. The clean, lyrical piano melodies from the first two albums are long gone, replaced with electric piano and Fender Rhodes played in a more background role.

If any of these changes sound negative, that’s not necessarily the case. The band’s songwriters have retained their awesome ability to compose brilliant melodies that are somehow upbeat and cheerful without ever being sappy, obvious, or hackneyed. While the melodies on Libre Service are fundamentally different from those on the band’s earlier albums — less lyrical, more staccato in nature, not to mention brighter in mood — they are still as memorable.

The last 3 songs are live tracks taken from the band’s 1979 live release called “Composite”. Check out the very cool percussion workout on the track “CanCan” and some spacey synth and frenetic sax work on “L’eveil et l’approche”.

Line-up:
- Alain Bergeron / flute, saxes, keyboards
- Denis LaPierre / guitars
- Yves Leonard / bass
- Vincent Langlois / piano, keyboards, percussion
- Gilles Schetagne / drums, percussion
- Paul Picard / vibes, xylophone, marimba, percussion

Track List:
01. Troizix – 2:37
02. L’envol des singes latins – 4:30
03. Les Petoncles – 4:58
04. La Belle et la Bête – 3:28
05. Bagdad – 1:26
06. Noemi – 0:49
07. Celebration – 2:47
08. La Noce – 7:25
09. Toujours trop tard – 5:08
10. Miro Vibro – 5:47
11. CanCan (Bonus Live) – 4:42
12. L’eveil et l’approche (Bonus Live) – 4:02
13. Toujours trop tard (Bonus Live) – 5:18

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Maneige

Alvin Lee – Detroit Diesel (1986) (@256)

02 Mar 2010

(Review from allmusic, amazon)

In 1986′s Detroit Diesel, Alvin Lee opens his blues jams into funky grooves.

Highlights include the title track with its nasty guitar solo, “Just Another Night” and “Ordinary Man”. George Harrison adds some great slide guitar to the heavy, slow “Talk Don’t Bother Me”.

This is no-frills rock and roll, good guitar work and Alvin Lee singing his guts out.

Line-up:
- Alvin Lee / Guitar, Vocals
with
- Joe Brown / Violin
- Vicki Brown / Vocals
- Boz Burrell / Bass
- Mickey Feat / Bass, Vocals
- Steve Gould / Guitar, Vocals
- Bryson Graham / Drums
- George Harrison / Guitar (4)
- Tim Hinkley / Keyboards
- David Hubbard / Keyboards
- Jon Lord / Keyboards
- Leo Lyons / Bass
- Alan Young / Drums

Track List:
01. Detroit Diesel – 4:38
02. Shot In The Dark – 4:04
03. Too Late To Run Foe Cover – 3:47
04. Talk Don’t Bother Me – 3:37
05. Ordinary Man – 4:00
06. Heart Of Stone – 4:05
07. She’s So Cute – 3:17
08. Back In My Arms Again – 3:48
09. Don’t Want To Fight – 4:25
10. Let’s Go – 3:24

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Alvin Lee, Boz Burrell, George Harrison, Jon Lord

Maneige – Ni Vent…Ni Nouvelle (1976) (@256)

01 Mar 2010

(Review from seaoftranquility.org, progreviews.com, progarchives.com)

“Ni Vent… Ni Nouvelle” is jazzier than Maneige’s first two albums with the departure of pianist and composer Jerome Langlois resulting in a fusionish bent that’s underlined by the much shorter track lengths and the extended use of xylophones and saxes.

The newly acquired funkiness is immediately evident with the opening two numbers “Le Gai Marvin” and “La Fin De L’Histoire”. “Le Gai Marvin” is a short minute and half track which features some funky rhythm guitar lines from Denis Lapierre, dancing around underneath brilliant flute work by Alain Bergeron. “La Fin Histoire” adds guest violinists who bring a real fullness and depth to the overall sound as the song builds and builds in some great moments of tension and release before as keyboardist Yves Leonard continues the remainder of the track with some jazzy keyboard work.

Things really begin to heat up instrumentally by the third track “Les Folleries” as the percussion and drumming of Gilles Schetagne propels the rhythmic attack along while the listener is treated to tradeoff sax and guitar solos. In fact the whole song comes off as a real ensemble piece and one which gives each member a chance to show off their chops on their respective instruments.

Throughout the whole album, the band employs many different types of instrumentation from vibes, glockenspiel and piccolo which just adds layer upon layer to the bands sound and really makes the songs a wonder to behold.

The sound has still the distinctive Maneige twists and curves , sounding so “boppy” and happy , still mixing with such ease all acoustic and electric instruments. So moments are simply orgasmic to your ears.

Line-up:
- Alain Bergeron / piano, flute, recorder, piccolo
- Vincent Langlois / alto saxophone, guitar
- Denis Lapierre / bass, drums, timpani, cenceros, Chinese blocks
- Yves Leonard / taboukas, gong, darboukas, wood drum, woodblock, maracas
- Paul Picard / flexatone, spoons, basque drum, chimes, horn, vibraphone
- Gilles Schetagne / glockenspiel, tubular bells
with
- Denise Lupien / violin
- Chantale Remillard / violin
- Christiane Lampron / cello
- Andre Pelchat / soprano sax (5)
- Jean Prefontaine / viola

Track List:
01. Le Gai Marvin – 1:41
02. La Fin De L’Histoire – 3:18
03. Les Folleries – 6:07
04. Les Epinettes – 3:32
05. Mambo Chant – 5:22
06. Douce-Amere – 5:53
07. Le Gros Roux – 3:31
08. Au Clair De La Prune – 4:02
09. Juillet – 5:02
10. Time Square – 1:38

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Maneige

Alvin Lee – Rx5 (1981) (@256)

01 Mar 2010