Sakalli
Freedom to Music
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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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
(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
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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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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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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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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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Vanilla Fudge – Good Good Rockin’ (Live at Rockpalast 2004) (@256)
18 Mar 2010
(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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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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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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Present – High Infidelity (2001) (@256)
17 Mar 2010
(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
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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
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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
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