Sakalli
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Potemkine – Nicolas II (1978) (@256)
06 Jun 2011
(Review from alain.lebon4.free.fr, progarchives.com)
After the recording of Potemkine’s second album, a network of bands started to form, each band organizing concerts for the others. On stage, Potemkine would fuse the music from “Triton” with high-energy improvised passages set in a more rock-oriented structure. As this was going down very well with audiences, the band decided to explore that direction further.
In January 1978, this new orientation was confirmed by the recording of the LP “Nicolas II”, where Potemkine developed a high-class, energy-driven European jazz rock recorded in the spirit of a live act.
The sound of Nicholas II takes the Zeuhl of Magma’s Attahk and adds the jazz fusion of Mahavishnu Orchestra, Brand X and Billy Cobham circa Spectrum. The arrangements are dominated by the interplay of electric piano and guitar, with Charles Goubin turning in some excellent lead guitar work. Dominique Dubuisson and Philippe Goubin keep things as tight as ever on bass and drums, with Dubuisson’s bass occasionally recalling Bernard Paganotti’s fluid basslines for Magma. There’s a funky undercurrent to a lot of the rhythm playing, and on “Theme Pour Une Swing Imaginaire” there’s even a hint of reggae.
Throughout the album the playing is tight, the compositions are focused and the production is crystal clear, most of the pieces sounding as though they were performed live in the studio.
Touring continued with ever-growing success until 1979, the year when Charles Goubin died in a road accident on June 11th. With different line-ups the band took stage till 1982, disappearing without any more recordings.
The 7 bonus tracks are redundant songs from the studio album Foetus.
Line-up:
- Dominique Dubuisson / bass, vocals
- Jean J. Ganghofer / percussion
- Charles Goubin / guitar, vocals
- Michel Goubin / keyboards, vocals
- Philippe Goubin / percussion, drums
- Christian Rouge / percussion
Track List:
01. Tango Panache – 6:22
02. Raspoutine – 6:02
03. Theme Pour Un Swing Imaginaire – 5:41
04. Air De Famille – 3:24
05. Ode De Mars – 5:27
06. Aux Images – 2:42
07. Amphitheatre Magique – 6:46
08. Laure (Bonus) – 4:37
09. Foetus (Bonus) – 6:23
10. Hymne (Bonus) – 2:03
11. Ballade (Bonus) – 6:21
12. Cycles (Bonus) – 2:19
13. Nuit Sur Le Golan (Bonus) – 2:21
14. Cedille (Bonus) – 5:57
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Potemkine – Triton (1977) (@256)
05 Jun 2011
(Review from progarchives.com)
Potemkine’s second album is an odd but enjoyable affair. They had slimmed down to a trio of Charles and Philippe Goubin on guitar and drums plus bassist Dominic Dubuisson, both Goubin brothers doubling on piano and Charles also adding some wordless vocals, and Michel Goubin guetst on keyboards on one track.
The music has something of a Zeuhl feel, but has a lot in common with the Canterbury jazz rock of Hatfield and the North and post- Wyatt Soft Machine as well, although the general ambience is considerably darker than most Canterbury bands.
The rhythm section dominates things a lot of the time, with sinuous bass and drums embellished by washes of guitar or piano, although when they take the lead the guitar and keyboards become a lot more prominent. The bass in particular is very well recorded, with a very warm and round tone, and there’s some very tasteful interplay with Phlippe Goubin’s drumming.
The highlights are “Loolit II”, which is played as a trio with minimal (if any) overdubbing, and “Liberserium Urb et Chant de Victor”, which features Michel Goubin on keyboards.
Of the four bonus tracks, the first two are redundant tracks from the album Foetus. The last two are both sides of the band’s 1974 single. These two have a fuller and more rounded sound and the presence of electric violin recalls Mahavishnu Orchestra.
Line-up:
- Charles Goubin / guitars, piano, vocals
- Philippe Goubin / drums, percussions, piano (1 – 7)
- Doudou Dubuisson / bass guitar (1 – 7)
- Michel Goubin / piano, vocals (4, 6 – 9)
- Xavier Vidal / violon (6 – 9)
- Gilles Goubin / bass guitar (8, 9)
- Maurice Bataille / drums (8, 9)
Track List:
01. Asyle – 7:29
02. Crepuscula – 5:01
03. Loolit II – 8:33
04. Liberserim Urb Et Chant De Viamor – 4:03
05. Eiram – 13:38
06. Loolitt (Bonus) – 3:08
07. Zed (Bonus) – 5:19
08. Rictus (Bonus) – 4:48
09. Mystere (Bonus) – 5:48
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Potemkine – Foetus (1976) (@256)
04 Jun 2011
(Review from progarchives.com)
In 1971, in Toulouse/France, Potemkine was formed by two Goubin brothers. They started out playing covers of rock standards of the time. In 1973, they discovered jazz rock, particularly the Mahavishnu Orchestra, Weather Report and Miles Davis. This discovery laid the ground for their future compositions. They chose the name Potemkine for the strength and power it evokes, as well as for its phonetic qualities and Kobaian overtones. As early as 1974, they recorded a self-produced single : “Mystore/Rictus”. In 1976 their first studio album was out the door.
Their debut is jazzy, a bit rock, avant garde rock, classical music and some Zeuhl. Fusion, in other words. Or perhaps not fusion. Potemkine has come up with a unique type of music.
The highlights are both “Cedille” and “Laure” with their novel approach. “Zed” is pretty close to what the likes of Gilgamesh did on their albums.
Line-up:
- Dominique Dubuisson / bass, vocals
- Charles Goubin / guitar, vocals
- Michel Goubin / keyboards, vocals
- Philippe Goubin / drums, percussion
- Xavier Vidal / violin
Track List:
01. Foetus – 6:25
02. Zed – 5:21
03. Nuit Sur Le Golan – 2:23
04. Ballade – 6:23
05. Hymne – 2:05
06. Loolitt – 3:10
07. Cedille – 5:59
08. Laure – 4:39
09. Cycles – 2:21
10. Rictus10 – 4:48
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Ibliss – Supernova (1972) (@256)
02 Jun 2011
(Review from progarchives.com)
Ibliss is a Krautrock band formed around Andreas Hohmann, drummer of the first Kraftwerk line-up, and Basil Hammoudi from Organisation. The band fuses jazz rock jamming with world music influences, most notably in the Latin rhythms and the ethnic percussion and flutes.
There are strong indications of great talent in the band. The bulk of the album consists of two 15 minute improvisations. The shorter opening and closing pieces sound much more focused and powerful. Marga fires off with percussion heavy rhythms before bass and sax join for a nice bit of brass rock. Excellent track. Also the closer Athir is nice, it has slow-paced entrancing psychedelic vibe with spacious guitar arpeggios, dreamy flutes and lots of jungle sound percussion.
Supernova is an obscure album with potential. Fans of Organisation, Embryo and Kollektiv might enjoy this album.
Line-up:
- Rainer Buchel / sax, flute
- Wolfgang Buellmeyer / guitars, percussion
- Norbert Buellmeyer / bass, percussion
- Andreas Hohmann / drums, percussion
- Basil Hammoudi / percussion, flute, vocals
Track List:
01. Margah – 6:11
02. Drops – 14:26
03. High Life – 13:03
04. Athir – 8:52
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Archaia – Archaia (1977) (@256)
01 Jun 2011
(Review from progarchives.com)
Archaia were formed in the mid-1970s by Magma fans who wanted to do something different: play music using percussion only (no drums) and make full use of the guitar.
Propelled by a pulsating bass, their self-titled album is fast moving, featuring varied tempos and extremely dark themes. The music is characterized by a vitriolic fuzz guitar, droning keyboards, synths that have an eerie Twilight Zone quality, and by portentous, creepy, spooky pagan vocals. With haunted house screams and creaking doors, the ominous organ delves deep into the abyss of your soul, zeroing in on your third eye with laser-like precision. This is tensely suspenseful material, sinister, unnerving, not to mention disorienting. Perfectly suited to meditating on Hades, tales of the Dark Lord and stories from the underworld.
Line-up:
- Pierrick Lebras / guitar, keyboards, vocals
- Michel Munier / bass
- Philippe Bersan / vocals, keyboards, percussion (1-8)
- Alain Evrard / percussion, keyboards (10, 11)
- Patrick Renard / drums (10, 11)
Track List:
01. Soleil Noir – 4:39
02. L’Arche Des Mutations – 9:38
03. Sur Les Traces Du Vieux Roy – 5:06
04. La Roue – 2:37
05. Le Festin Du Lion Vert – 4:49
06. Massa Confusa – 3:24
07. Le Grand Secret – 4:25
08. Vol Du Phenix – 4:02
09. Armageddon (Bonus) – 4:26
10. Robots Dans Le Formol (Bonus) – 4:16
11. Chthonos (Bonus) – 3:23
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Blodwyn Pig – Modern Alchemist (Live 1969-1970) (@256)
30 May 2011
(Review from amazon)
This archival release contains a vintage live performance by cult rockers Blodwyn Pig.
Thought to date from 1970, unfortunately there is absolutely no information in the liner notes about the actual date or location of this concert. The sound quality – although very good – does have that ‘off-air’ quality about it. Think decent quality bootleg.
As for the music itself, well, the standard is very high throughout with Mick Abraham’s guitar and Jack Lancaster’s sax in particular shining. The title track is perhaps the highlight – a complex progressive blues workout of great skill and intelligence. ‘The Change Song’ and ‘See My Way’ are also standouts.
Line-up:
- Mick Abrahams / guitar, vocals
- Jack Lancaster / flute, saxophone
- Andy Pyle / bass
- Ron Berg / drums
Track List:
01. It’s Only Love – 3:44
02. The Modern Alchemist – 10:43
03. The Change Song – 3:43
04. Summer Day – 4:21
05. Dear Jill – 5:01
06. See My Way – 6:51
07. Drive Me – 3:45
08. Slow Down – 6:07
09. Ain’t Ya Coming Home, Babe? – 4:24
10. Up and Coming – 3:54
11. Cat’s Squirrel – 7:48
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Arachnoid – Arachnoid (1978) (@256)
29 May 2011
(Review from progarchives.com)
During the 1970′s, France was one of the champions of dark & sombre prog rock, ranging from Magma to Art Zoyd and many more, resulting in Shub Niggurath and Wapassou during the 80′s as well. All of these groups stuck fairly closely with modern classical music as one of their main influences.
Arachnoid came from the Parisian suburbs and was not that far away from these groups, even though they weren’t nearly as complex as these afore mentioned groups. The group’s life lasted a small decade under one form or another, but only managing one album.
The band’s kind of dark symphonic music seems like a cross of King Crimson, Genesis, Ange, Shylock and others French groups of the moment. They use a double keyboard (a mixture mellotron, Farfisa, MS 10, Korg Synthesizers, and piano), double guitar attack, and has at least four regular lead singers plus guests, which allowed for much flexibility, including an odd flute in the only English-sung track of the album.
Right from the eerie Moog intro of “La Chamadere”, you know that you’ll plunge into a deep angst-laden trip into the realms of human reason, of reaching treason. This 14-min epic goes through a ton of ambiances, from the gloomy to the lugubrious, but manages to remain soft enough to fascinate throughout its duration. Indeed the vocals (shared by Popowsky, Woindrich and Meryl) and lyrics are some of the more characteristic traits of this rather uncanny and slightly awe-striking album.
The piano and spoken intro of “Piano Caveau” segues into a non-piano (acoustic anyway) lengthy instrumental energetic passage that will last until the piano finale takes over and ends it in a very classical fashion.
There are some definitive Genesis influences in the intro of “Toutes Ces Images”. Indeed everything in this track spells a gloomy Genesis, especially the Banks-like mellotron, but slowly metamorphosing into an early Crimson ambiance, reminiscent of Shylock’s second (and superb) album. Easily the album’s highlight, its Crimsonian constant schizoid mood being breathtaking at times.
The following “Guèpe” is circling around your stunned mind for the intro of this wild track that delves into Zeuhl and crazed-out instrumentation often nearing internment in an asylum. The quiet “Adieu Au Pierrot” and its crazy linked “Final” are a fitting outro for the original album, again ogling between Crimson and Shylock, with a pitch of Van der Graaf Generator doom thrown in for added spices.
This edition of the album comes with four bonus tracks. The standout among the bunch L’Hiver is indeed well in the line of the album’s Zoyd nightmarish feel.
Arachnoid’s sole album is definitely a small masterpiece, most Schizoidheads should enjoy this tremendously.
Line-up:
- Francois Faugieres / organ, Mellotron, vocals
- Pierre Kuti / acoustic and electric pianos, synths
- Bernard Mini / drums
- Marc Meryl / lead vocals, tambourine
with
- Philippe Honore / flute, saxophone
- Yves Javault / vocals
- Christine Mariey / voice
- Martine Rateau / voice
- Patrick Woindrich / bass, guitar, vocals
- Nicolas Popowski / guitar, vocals
Track List:
01. Le Chamadère – 13:51
02. Piano Caveau – 7:18
03. In The Screen Side Of Your Eyes – 4:04
04. Toutes Ces Images – 8:07
05. La Guêpe – 8:39
06. L’adieu Au Pierrot – 0:59
07. Final – 3:03
08. L’hiver (Les Quatre Saisons De L’enfer Lère Partie) (Bonus Live) – 4:39
09. Le Pierrot (Bonus Live) – 5:07
10. L’adieu (Bonus Live) – 3:22
11. Piano Caveau (Bonus Instrumental & Different Mix) – 7:16
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King Crimson – KCCC44 Live In New Haven (2003) (@256)
28 May 2011
(Info from sleeve)
Robert Fripp’s dictum that a King Crimson studio record is a love letter whilst live performance was a hot date pretty much nails the truth about this band; live is where the juice is; live is where the heart of the band beats loudest and strongest.
The relentless savagery that had manifested itself at the previous gigs in Kingston and New York have more than carried over to the stage at New Haven. Crimson are tapping in to some seriously powerful energies here. Listening to the music from this concert, it’s hard not to be reminded of the risk-taking attitude which spurred the 1974 line-up onto moments of jaw-dropping intensity and invention when it too was counting off the final miles.
This particular marriage of talents would soon be over when, just two days later, the Double Duo would play its last ever gig in Mexico. Yet Gunn’s imminent departure in no way compromises what is undoubtedly one of Crimson’s better performances.
Listening through renditions of this set, there are some fluffed notes or feet and fingers doing something at the very moment they were meant to elsewhere. Yet beneath the surface details, there’s a remarkable testimony as to what happens when gifted, talented players open up to the music and go for it with a vengeance. That’s surely the essence of what King Crimson was always about.
Line-up:
- Adrian Belew / guitar & vocals
- Robert Fripp / guitar
- Trey Gunn / warr guitar
- Pat Mastelotto / acoustic & electronic drumming
Track List:
CD1
01. The Power To Believe I – 0:45
02. Level Five – 7:17
03. The ConstruKction Of Light – 9:20
04. Facts Of Life – 5:49
05. EleKtriK – 7:58
06. The Power To Believe II – 8:10
07. Dinosaur – 7:04
08. One Time – 7:41
09. Happy With What You Have To Be Happy With – 3:51
CD2
01. Dangerous Curves – 6:01
02. Larks’ Tongues In Aspic: Part Four – 10:34
03. The Power To Believe III – 8:27
04. Elephant Talk – 7:19
05. Red – 6:46
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Agape – Le Troisieme Seuil (1972) (@256)
27 May 2011
(Review from progarchives.com)
Despite being mentioned and acknowledged in chronicles, Quebecois band Agape remains an unknown star in its galaxy. The group consisted of two bassists, two keyboardist, two guitarists, one trumpet blower, Andre Dumont’s vocals, a percussionist and a multi-instrumentalist. Their sole legacy resides in a 1972 album called Le Troisieme Seuil.
Most likely referring to the third stage (Troisième Seuil) of enlightenment, Agape’s musical world is a very wild one, starting out like a cross of UFO landing and organ concerto in some wild pagan feast, turning into a mock mass. The singer takes over on harpsichord and sings a light and enlightened folk rock tune, reminiscent of early Floyd, and a little while later of Syd or Dashiell Hedayatt’s Obsolète. In the next track, the Hedayatt reminiscence are repeatedly present to the pint that one wonders if it isn’t the same artist that moved to Canada. Overall the album, the music wanders from folk rock to psychedelic rock and ahippy-trippy lo-fi.
Le Troisième Seuil’s impact is simpler, pleasant, bit absorbing.
Line-up:
- Gilles Bergeron / guitar
- Jean Bourassa / effects
- Yves Chevalier / keyboards
- Claude Duchesneau / trumpet
- André Dumont / vocals
- René Depere / keyboards
- François Kirouac / guitar, bass, glockenspiel
- Marc Lebel / guitar
- Michel Martel / percussion
- Jacques Mercure / bass
- Carole Paquin / bass
Track List:
01. Ouverture – 5:34
02. Camarade – 3:12
03. Vous Etes Pas Tannés De Creve – 3:19
04. Avez-Vouz Vu Passer Une Colombe – 4:14
05. Le Jugement Dernier – 5:36
06. Le Temps Des Partances – 2:57
07. Le Printemps Des Pauvres – 4:26
08. Eden – 5:20
09. Le Troisieme Seuil – 3:05
10. La Fin Des Temps – 6:16
Link in comments.
Grateful Dead – Road Trips Vol 4 No 3 (Live 1973) (@256)
26 May 2011
(Review from dead.net)
This archival release consists of the entire November 21, 1973 concert at the Denver Coliseum spread across two-and-half discs, and then an excellent sequence of tunes from the second set of the previous night’s Denver show (11/20/73).
The first set of 11/21/73 is a rock-solid and varied collection of tunes, including several “western” numbers (“Jack Straw”, “Me and My Uncle”, “Mexicali Blues”), a lovely “Brokedown Palace”, a lilting and crystalline “Here Comes Sunshine” and a beautifully developed “Weather Report Suite”—already a monumental song after just three months!
The second set is where the fireworks really go off, however. It’s dominated by a spectacular hour-long medley that begins with “Half-Step”, segues into “Playing in the Band”, travels 715 miles due south for a little gunplay in “El Paso”, dips back into the “Playing” jam for spell, then into a superb “Wharf Rat”, back to a dynamic “Playing” reprise, and is topped off by one of the best versions of “Morning Dew” from this period. There’s plenty of show after that, too, with “Truckin’” rolling into a rare “Nobody’s Fault But Mine”, then “Goin’ Down the Road” and “Saturday Night” as the rockin’ capper. “Uncle John’s” is the perfect anthemic encore.
Filling out the last disc is a meaty bonus triumvirate from 11/20 consisting of “Truckin’”, a typically convoluted and exciting “Other One” and then a lovely “Stella Blue” that ends this Road Trips on a particularly poignant note.
Line-up:
- Jerry Garcia / lead guitar, vocals
- Donna Jean Godchaux / vocals
- Keith Godchaux / keyboards
- Bill Kreutzmann / drums
- Phil Lesh / electric bass, vocals
- Bob Weir / rhythm guitar, vocals
Track List:
CD1
01. Me and my Uncle – 3:28
02. Sugaree – 7:41
03. Jack Straw – 5:12
04. Dire Wolf – 4:26
05. Black-Throated Wind – 6:50
06. Big Railroad Blues – 5:31
07. Mexicali Blues – 3:48
08. They Love Each Other – 5:36
09. Looks Like Rain – 7:35
10. Here Comes Sunshine – 11:08
11. Big River – 5:21
12. Brokedown Palace – 5:52
CD2
01. Weather Report Suite – 14:56
02. Mississippi Half-Step Uptown Toodeloo > – 7:59
03. Playing in the Band > – 11:57
04. El Paso > – 3:57
05. Playing in the Band > – 4:30
06. Wharf Rat > – 8:07
07. Playing in the Band > – 13:20
08. Morning Dew – 12:36
CD3
01. Truckin’ > – 10:23
02. Nobody’s Fault But Mine > – 2:59
03. Goin’ Down the Road Feeling Bad > – 8:41
04. One More Saturday Night – 5:23
05. Uncle John’s Band – 7:42
06. Truckin’ > – 12:05
07. The Other One > – 19:21
08. Stella Blue – 7:41
CD4
01. Greatest Story Ever Told – 5:42
02. China Cat Sunflower > – 9:17
03. I Know You Rider – 5:35
04. Dark Star > – 43:33
05. Eyes of the World – 14:02
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King Crimson – KCCC43 Live in Chicago (1995) (@256)
25 May 2011
(Info from sleeve)
The recently opened Rosemont Theater in Chicago was just short of a sellout on Nov 29th, 1995. This was the final show of a long year of touring and it would be the present lineup’s (the double trio) 100th performance.
Line-up:
- Adrian Belew / guitar, voice
- Robert Fripp / guitar, soundscapes
- Trey Gunn / touch guitar
- Tony Levin / bass, stick
- Pat Mastelotto / acoustic & electronic drums, percussion
- Bill Bruford / acoustic & electronic drums, percussion
Track List:
CD1
01. Conundrum – 1:46
02. Thela Hun Ginjeet – 6:42
03. Red – 6:55
04. Frame By Frame – 5:08
05. Dinosaur – 7:07
06. One Time – 5:54
07. VROOM VROOM – 4:54
08. B’Boom – 6:36
09. THRAK – 6:34
10. Neurotica – 4:38
11. Three Of A Perfect Pair – 4:31
12. Sex, Sleep, Eat, Drink, Dream – 4:47
CD2
01. Improv: Two Sticks – 1:59
02. Elephant Talk – 4:10
03. Indiscipline – 9:22
04. Walking On Air – 5:01
05. Larks’ Tongues In Aspic Part II – 7:10
06. Prism – 4:15
07. Free As A Bird – 3:04
08. VROOOM – 3:51
09. Coda: Marine 475 – 2:51
Link in comments.
Grateful Dead – Download Series FamilyDog (Live 1970) (@256)
24 May 2011
(Review from thebestofwebsite.com)
This release of Grateful Dead’s Download Series is not a numbered volume, it is entitled “A Night At The Family Dog”. The set is served up in its entirety and is from 16 track master tape. It only lasts around fifty minutes, but some sensation bonus tracks rounds out the disc.
During the band’s short set, they pack a lot into the set. Pigpen leads the band to start and conclude the set in fine fashion.
“Black Peter” is sung so sweetly with stinging guitar runs that are enhanced with Lesh runs and Weir fills talking right back at Garcia.
The “St. Stephen” is split with “Not Fade Away” in the middle. It is very, very well executed, all three sections, especially the transition from “Not Fade Away” back into “St. Stephen” and on through the powerful conclusion. It glides miraculously into “In The Midnight Hour” which is Phil’s answer to Weir’s question, “what could be the answer to the answer man”.
There are three bonus tracks. The version of “Dancing in the Streets” is certainly worthy. Right aaround the 8:35 minute they launch the “Tighten Up Jam” for around one minute before they lead back into the theme of the song. Really nice! As the band concludes a strong version of “Good Lovin’” we hear the joyous introduction to “Uncle John’s Band”. Unfortunately the song’s not here.
The short and concise set from the featured evening is quite enjoyable and packs a lot into 50 minutes. Add to that two extended bonus tracks and we’d certainly highly recommend the Download Series A Night At The Family Dog.
Line-up:
- Jerry Garcia / lead guitar, vocals
- Bob Weir / rhythm guitar, vocals
- Ron “Pigpen” McKernan / organ, harmonica, vocals
- Bill Kreutzmann / drums
- Mickey Hart / drums, percussion
- Phil Lesh / bass, backing vocals
Track List:
01. Hard To Handle – 6:43
02. Black Peter – 9:33
03. Me & My Uncle – 3:29
04. China Cat Sunflower – 5:04
05. I Know You Rider – 4:53
06. St. Stephen – 2:18
07. Not Fade Away – 6:58
08. St. Stephen – 2:22
09. In The Midnight Hour – 8:18
10. Dancing in the Streets – 12:17
11. Monkey and the Engineer – 2:45
12. Good Lovin’ – 15:08
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King Crimson – KCCC41 Live in Zurich (1973) (@256)
23 May 2011
(Info from projekction.net)
For the 1972-1974 version of King Crimson, developing and writing new material was, as Bill Bruford memorably noted in his autobiography, excruciating, teeth-pullingly difficult music-making.
When “The Mincer” appeared on “Starless & Bible Black”, it represented a new way of approaching the process for Crimson; taking live improvisations and then editing and over-dubbing new parts to create an interesting hybrid.
Although parts of this show recorded at Zurich’s Volkhaus on the 15th November 1973 have been previously released on disc 4 of the Great Deceiver box set, this is the first time the entire performance that night has seen the light of day.
This is an evening of music which underscores Crimson’s reputation as one of the classic must-see live acts of the 70s.
Line-up:
- David Cross / violin, mellotron, electric piano
- Robert Fripp / guitar, mellotron, electric piano
- John Wetton / bass guitar, vocals
- Bill Bruford / drums, percussion
Track List:
CD1
01. Walk On No Pussyfooting – 0:57
02. Improv Some Pussyfooting – 2:22
03. Larks Tongues In Aspic Pt I – 8:13
04. RF Announcement – 2:35
05. Lament – 4:10
06. Peace A Theme – 0:51
07. Cat Food – 4:15
08. The Night Watch – 5:59
09. Fracture – 11:27
CD2
01. Improv The Law Of Maximum Distress Pt I – 6:41
02. The Mincer – 4:21
03. Improv The Law Of Maximum Distress Pt II – 2:33
04. Easy Money – 7:49
05. Exiles – 6:44
06. Improv Some More Pussyfooting – 5:54
07. The Talking Drum – 5:58
08. Larks Tongues In Aspic Pt II – 10:06
09. 21st Century Schizoid Man – 8:50
Link in comments.
Grateful Dead – Download Series 12 (Live 1969) (@256)
18 May 2011
(Review from dead.net)
Recorded just seven weeks after the legendary “Fillmore West 1969″ shows, this release presents the entirety of the Grateful Dead’s April 17, 1969, performance in St. Louis.
Drawing on much of the material performed at the Fillmore West shows and included on “Live/Dead”, the band threw in some major surprises on this evening.
Starting with a slide guitar-driven “Hard To Handle” followed by “Morning Dew” and “Good Morning Little Schoolgirl”, the band then heads into another classic, inspired early-1969 jam. Beginning with a “Dark Star” that rivals the best versions performed at this time, they then head into “St. Stephen”. It’s here that the show breaks with expectations, and in the middle of the song, Garcia leads the band through a rare “I Know It’s A Sin”, followed by the final verse and jam of “St. Stephen”. Then comes the “William Tell” bridge, but rather than heading into “The Eleven”, as was standard after “William Tell”, they end their jam with a massive “Lovelight”.
Returning for an encore, the band performs one of the most powerful “That’s It For The Other One” suites ever played, segueing into “Caution (Do Not Stop On Tracks)”, which was rudely cut short.
To cap off this stellar release, there are a couple of songs from the January 23, 1969 rehearsal at the Avalon Ballroom recorded prior to the three night 1/24-26/69 run as a bonus. Included is a version of “The Eleven” as strong as any live performance of the song, and the earliest recorded version off “Dupree’s Diamond Blues”.
A minor technical note, because the first 10 minutes of 4/17/69 was not recorded to reel-to-reel tape, the first 10 minutes was restored of the cassette master of the show in order to present the entire concert. The rest of the show is drawn from the reel-to-reel master tapes.
Line-up:
- Jerry Garcia / lead guitar, vocals
- Tom Constanten / keyboards
- Ron “Pigpen” McKernan / vocals, harmonica, percussion
- Bill Kreutzmann / drums
- Mickey Hart / drums
- Phil Lesh / electric bass
- Bob Weir / rhythm guitar, vocals
Track List:
CD1
01. Hard To Handle – 7:18
02. Morning Dew – 10:21
03. Good Morning Little Schoolgirl – 9:16
04. Dark Star – 21:35
05. St. Stephen – 2:34
06. I Know It’s a Sin – 3:45
07. St. Stephen – 3:01
08. Turn On Your Lovelight – 19:13
CD2
01. That’s It For The Other One – 22:44
02. Caution (Do Not Stop on Tracks) – 1:57
03. The Eleven – 14:00
04. Dupree’s Diamond Blues – 5:06
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Jackal – Awake (1973) (@256)
17 May 2011
(Review from progarchives.com)
Jackal is a very little known Canadian band which started its career in late 60′ but wasn’t able to record an album until 1973.
Their 1st (and only effort) called “Awake” is a mix of heavy psych, hard rock & early progressive rock typical for late 60s and early 70s. There are also quite many southern rock and slightly pop-rock influences typical of American music from those days.
Jackal are often compared to Lord & Blackmore though 1973′s Awake recalls as much Warhorse, Traffic or Badger with a warm, soulful sound that permeates the heavy organ/guitar interplay.
‘For You’ is pretty balladry, and flowery ‘Sunny Side of the Day’ has familiar period trips. ‘Lost in the World’ is rough as sandpaper, ‘In the Heavens’ is great hard acid, and the title cut is a worthy namesake.
Yet it’s the 8&1/2-minute ‘A New Day Has Arisen’ that will perk-up the ears of any vintage progressive buff as it sweeps between majestic guitar/organ lines and softer beachcombing.
Line-up:
- Chris Kellesis / organ
- James Kellesis / drums
- Dave Bernard / guitar
- Charlie Shannon / vocals
Track List:
01. At The Station – 5:45
02. For You – 3:08
03. Sunny Side of the Day – 2:48
04. A New Day Has Arisen – 8:22
05. How The Time Has Flown – 5:56
06. Lost In The World – 2:26
07. In The Heavens – 4:06
08. Awake – 7:57
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