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Posts tagged Chris Rainbow
Alan Parsons Project – Gaudi (1987) (@256)
10 Sep 2007
(Review from progarchives.com)
This is really the Eric Woolfson Project, Parsons being almost entirely absent from the album credits. He is listed as co-writer of the songs, but this could be very much in the way Lennon/McCartney shared every song. This album is the nearest to progressive Alan Parsons Project have come since “Tales of Mystery and Imagination”, and is a very good collection to boot.
This is of course a concept album about the architect Gaudi, and consists of generally longer tracks than other Alan Parsons Project albums. It was originally composed as a stage show, and has indeed gone on to become a successful one in Germany.
“La Sagrada Familia” kick off the album with much pomposity and orchestration. At almost 9 minutes it is a fine piece, with great vocals by John Miles (“Music”) and dramatic instrumental overtones. Miles also performs lead vocals on “Money talks”, which sound like little more than a thinly disguised mimic of Pink Floyd’s “Money”. Indeed, it is the tracks on which Woolfson take on lead vocal that shine brightest. “Inside looking out” is particularly pleasing, similar in many ways to the classic Alan Parsons Project track, “Silence and I”. “Standing on higher ground” is more like standard Alan Parsons Project fare, with it’s relaxed mid-paced rhythm, and catchy hook, a sort of “Eye in the sky part 2″.
Line-up:
- Laurie Cottle / bass
- Stuart Elliott / drums & percussion
- Ian Bairnson / guitars
- Richard “Trix” Cottle / synths and saxes
- Eric Woolfson / pianos & keyboards
- Bob Howes / timpanis
- David Cripp / horn (leader)
- John Heley / cello
- Andrew Powell / orchestra arrangements and conduction
- Bob Howes / choir, The English Chorale conduction
- John Miles, Lenny Zakatek, Eric Woolfson, Geoff Barradale, Chris Rainbow / vocals
Track List:
01. La Sagrada Familia (8:44)
02. Too Late (4:34)
03. Closer To Heaven (5:54)
04. Standing On Higher Ground (5:02)
05. Money Talks (4:23)
06. Inside Looking Out (6:19)
07. Paseo De Gracia (3:43)
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Alan Parsons Project – Eve (1979) (@256)
04 Sep 2007
(Review from progarchives.com)
“Eve” is a pretty good outing for the prolific Alan Parsons Project, with a good selection of guests, and some nice instrumental work. This is the only Project album to feature female lead vocalists.
The usual melodic pop prog is here, with strong melodies and fine performances. The Moody Blues, Barclay James Harvest, and later Renaissance all offer indications of the type of music to expect. The progressive influences, which were at their strongest on the first album (“Tales of Mystery and Imagination”) have all but dried up with the tracks all being shorter, individual pieces.
“Lucifer” is a truly wonderful instrumental, dominated by orchestrations and John Leach’s dulcimer and zither (they are actually a cimbalom and kantele, respectively). “Damned if I Do” was the minor hit on the album, a rocking number with orchestration with vocals from Lenny Zakatek. “I’d Rather Be a Man” and “You Lie Down with Dogs” are more rocking numbers, but there are some ballads too, like “You Won’t Be There”, and “If I Could Change Your Mind”.
It tends to be when they do ballads that Alan Parsons Project really shine, and in this case, “If I could change your mind” is the standout track. Vastly underrated singer Lesley Duncan takes the lead vocals on this track. This makes for a beautiful contrast with the normally male dominated vocals.
Line-up:
- David Paton / bass
- Stuart Elliott / drums & percussion
- Ian Bairnson / acoustic & electric guitars
- Eric Woolfson, Duncan MacKay / keyboards
- Alan Parsons, Eric Woolfson / miscellaneous
- Lesley Duncan, David Paton, Chris Rainbow, Clare Torry, Dave Townsend, Lenny Zaketek / vocals
- Andrew Powell / orchestra & choir arrangements and conduction
- The Orchestra of the Munich Chamber Opera
Track List:
01. Lucifer (5:09)
02. You Lie Down With Dogs (3:42)
03. I’d Rather Be A Man (3:52)
04. You Won’t Be There (3:37)
05. Winding Me Up (4:00)
06. Damned If I Do (4:50)
07. Don’t Hold Back (3:36)
08. Secret Garden (4:40)
09. If I Could Change Your Mind (5:49)
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Camel – Pressure Points : Live in Concert (1984) (@256)
08 Jun 2007
(Review from progarchives.com, progreviews.com, wikipedia)
“Pressure Points : Live in Concert” was recorded at the Hammersmith Odeon on May 11th, 1984; weeks after the release of “Stationary Traveller”.
There’s a soaring, yet subtle gentleness about much of the concert, dotted with moments of energy, led by Andy Latimer’s guitar and/or Tom Scherpenzeel’s keyboards. It’s slick and inoffensive in almost every possible way. It’s a reflection of the “Stationary Traveller” era. As bonuses, we get guest solos from Mel Collins on “Fingertips” and Peter Bardens on the “Rhayader Goes to Town”.
After the release of the live Pressure Points in late 1984, Camel disappeared without trace as far as the public was concerned. Finishing the contract with Decca, Latimer was unable to interest other British record companies and eventually moved to California when the lawsuit ended (successfully for him).
Line-up:
- Andy Latimer / guitar, flute, vocal
- Colin Bass / bass, vocal
- Ton Scherpenzeel / lead keyboards
- Christopher Rainbow / vocal, keyboards
- Richie Close / keyboards
- Paul Burgess / drums, percussion
with:
- Mel Collins / sax
- Pete Bardens / organ
Track List:
01. Pressure Points (7:17)
02. Drafted (3:51)
03. Captured (3:02)
04. Lies (5:16)
05. Sasquatch (4:09)
06. West Berlin (5:19)
07. Fingertips (4:48)
08. Wait (4:28)
09. Rhayader (2:29)
10. Rhayader Goes To Town (6:05)
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Camel – Stationary Traveller (1984) (@256)
06 Jun 2007
(Review from progarchives.com)
This version of Camel sounds slightly different than the band of the seventies. Since the release of Nude the songs are mainly built on the splendid guitar melodies of Latimer. He uses his position as de facto leader to showcase his guitar prowess. Kayak’s Ton Scherpenzeel joins Camel on keyboards. Throughout the album the influence of Scherpenzeel is noticeable as he puts some colour to the music. He even wrote one little instrumental which fits in perfectly. Chris Rainbow takes lead vocals on a couple of the tracks.
The cover art of this album takes you back to Berlin at the time when the wall was built. Stationary traveller may be a concept album but its concept isn’t dominating the music. You can easily listen to the fine songs separately without digging deep into the lyrics, although the lyrics explain why there isn?t an uplifting mood.
The result is an excellent album by any standards. Once again, we have one of Camel’s striking opening themes, with a brief but dramatic lead guitar piece instantly grabbing the listeners attention and setting the mood for the rest of album.
Stationary Traveller is probably one of the most underrated albums of the eighties. Unfortunately it would be the last Camel album for the decade.
Line-up:
- Andy Latimer / flute, guitar, vocals
- Ton Scherpenzeel / organ, synthesizer, piano, keyboards, mellophonium, vocals
- David Paton / bass, vocals
- Paul Burgess / percussion, drums
- Mel Collins / sax
- Chris Rainbow / vocals
Track List:
01. Pressure Points (instrumental) (2:10)
02. Refugee (3:47)
03. Vopos (5:32)
04. Cloak and Dagger Man (3:55)
05. Stationary Traveller (instrumental) (5:34)
06. West Berlin (5:10)
07. Fingertips (4:29)
08. Missing (instrumental) (4:22)
09. After Words (instrumental) (2:01)
10. Long Goodbyes (5:14)
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Camel – On the Road 1982 (@256)
06 Jun 2007
(Info from The Nature of the Beast)
Camel’s third official bootleg was recorded live to celebrate the band’s then 10-year anniversary in 13 June 1982.
Originally intended for broadcast by a Dutch radio station, the master had been destroyed, and this album was mastered from a tape recorded by the sound engineer Pete Ward. Latimer consider this source “less then desirable” from a production standpoint, as “the bass end is not quite up to scratch because it was recorded directly through the mixing desk and this tends to lose the live ambience you get in the hall. But the gig itself was great fun and I think that shows.”.
Recorded just after the release of “Single Factor”, the concert features the same line-up. The set list was compiled from The Single Factor, I Can See Your House From Here, Rain Dances and Nude.
Three other songs which were performed at that night, Remote Romance, Rhayader Goes to Town and No Easy Answer were beyond salvage and do not appear on the album. Otherwise, the concert is as it was on the night, no dubs.
Line-up:
- Andy Latimer / guitars, vocals, keyboards
- David Paton / bass
- Chris Rainbow / vocals
- Kit Watkins / keyboards
- Stuart Tosh / drums
- Andy Dalby / back-up guitar
Track List:
01. Sasquatch (4:30)
02. Highways Of The Sun (4:38)
03. Hymn To Her (5:23)
04. Neon Magic (4:04)
05. You Are The One (5:21)
06. Drafted (4:01)
07. Lies (5:10)
08. Captured (3:19)
09. A Heart’s Desire – End Peace (4:34)
10. Heroes (5:36)
11. Who We Are (6:21)
12. Manic (4:11)
13. Wait (4:49)
14. Never Let Go (6:44)
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Camel – The Single Factor (1982) (@192)
04 Jun 2007
(Review from progarchives.com)
I am not sure if the title is a reference to the generally more commercial nature of the tracks here, but it is certainly appropriate. While there is nothing which immediately comes across as having the potential to be a huge hit single, the tracks are virtually all short and direct.
This was the first album without drummer Andy Ward who according to the sleeve- notes had suffered a serious injury to his hand. He had of course previously suffered at the hands of drink and drugs, especially around the time of the ‘Nude’ album. This meant that of the original band members, only Andy Latimer remained.
On the plus side, the appearance of David Paton and Chris Rainbow on vocals instantly addresses the weary criticism which Camel have always suffered in that department. Paton’s delivery on tracks such as the emotive ‘Heroes’, one of the album’s highlights, is superb. The presence of these vocalists, coupled with the generally lighter nature of the music can make this sound more like an Alan Parsons Project album than a Camel one. Other notable guests were Sky members Tristan Fry and Francis Monkman (ex-Curved Air), and early Genesis member Anthony Phillips. Latimer’s partner Susan Hoover provides the bulk of the lyrics for the album, with only the first two tracks and the very brief “Lullabye” featuring Latimer’s own words.
Latimer does not surrender vocal duties completely by any means though, the opening “No easy answer” being a pop structured song with his lead vocal, and accompanying la las by Rainbow and Paton. The following “You are the one” initially sounds like it is to be a bluesy dirge until the lightweight upbeat chorus bursts in, sounding as out of place as a prog song in the Eurovision song contest.
The aforementioned “Heroes” starts with an instrumental which sounds for all the world like it has been lifted straight from “The Snowgoose”. It really is a beautiful piece, which understandably could easily be mistaken for the aforementioned APP. The song is followed by an emotional lead guitar instrumental “Selva” where Latimer’s fine Gilmouresque lead guitar work is backed by the classical guitar of Anthony Phillips and the synthesiser of Duncan MacKay.
The instrumental track ‘Sasquatch’ (the Red Indian word for ‘Big Foot’, allegedly referring to Andy Latimer’s feet!) which opens side two is interesting, as it features former band member (the now sadly departed) Peter Bardens on keyboards. We return to more pop based territory for the surprisingly rock based “Manic”, one of the heaviest songs Camel have ever recorded. “Camelogue” reflects on the painful break-up of the original line up of the band, Hoover’s lyrics clearly reflecting Latimer’s own feelings well. The following “Today’s goodbye”, while on the face of it telling the tale of a romantic break up, may well also relate to the difficulties within the band.
The wonderful vocals of (Glasgow born) Chris Rainbow finally take centre stage on the two part closing track “A heart’s desire/End Peace”. Ironically, there’s a “Local hero” (film) feel to Andy Latimer’s guitar work here, Anthony Phillips’ keyboard landscapes providing the perfect backdrop for this emotionally charged performance.
“The Single Factor” tends to get a bad press because it is often perceived to be something of a sell out album. While there are undoubtedly some worryingly commercial aspects to some of the songs, scratch the surface a bit further and there is actually a significant proportion of quality material. The problem, if there is one, is that the album is inconsistent. Worth exploring for fans of the band though.
Line-up:
- Andy Latimer / guitar, piano, vocal
- Graham Jarvis / drums
- Peter Bardens / organ, Mini moog
- David Paton / bass, vocal
- Chris Rainbow / vocal
- Dave Mattacks / drums
- Haydn Bendall / keyboard
- Duncan Mackay / keyboard
- Simon Phillips / drums
- Francis Monkman / keyboard
- Anthony Phillips / keyboards
- Tristan Fry / glockenspeil
- Jack Emblow / accordian
Track List:
01. No Easy Answer
02. You Are the One
03. Heroes
04. Selva
05. Lullabye
06. Sasquatch
07. Manic
08. Camelogue
09. Today’s Goodbye
10. A Heart Desire
11. End Peace
12. You Are The One (Bonus Single Edit)
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Alan Parsons Project – Eye in the Sky (1982) (@256)
22 Apr 2007
(Review from seaoftranquility.org)
Once you hear the familar sounds of Alan Parsons’ fairlight and layered synths from Eric Woolfson & Haydn Bendall on the opening “Sirius”, a classic Alan Parsons Project instrumental piece that became a familiar theme to many sporting events, so begins the popular 1982 release Eye In the Sky.
The title track was a big hit on FM rock radio back when the album was originally released, a lush pop/prog song with Woolfson’s emotional vocals and swirling Wurlitzer, complemented nicely by Ian Bairnson’s tasty guitar work, who is a vastly underrated player. The engaging “Children of the Moon”, which features plenty of proggy keyboards from Woolfson and a soulful vocal from bassist David Patton. Check out the soaring choir and orchestra on this one, as well as some jazzy piccolo trumpet from John Wallace. The layers of vocals on the quirky “Gemini” almost remind of Gentle Giant with a Pink Floyd edge, while the somber yet catchy “Silence and I” is a 7+ minute piece with lush keyboards and orchestra, plus another solid vocal from Woolfson. About mid-way through the song things pick up quite a bit, and it actually turns into a bombastic classical flavored rocker, with a tasty guitar solo from Bairnson to close things out.
“You’re Gonna Get Your Fingers Burned” is a funky rocker, very typical of early 80′s AOR material, littered with tight keyboard work from Parsons, crunchy guitar riffs, and plenty of catchy vocal melodies. The popular “Psychobabble” is a proggy yet funky track with plenty of hooks and classy instrumentation, while “Mammagamma” is a futuristic sounding instrumental not unlike some of the Tangerine Dream output of the same era. Expect loads of synths, delayed guitar riffs, and electronic drum programming on this one. ‘Step By Step” is a fairly generic funk rocker, easily the weakest track on the album, and the closing “Old and Wise” sees the band return to dreamy, orchestral progressive rock, complete with emotional vocals, layers of keys, strings, brass, and reeds. The sax solo from former King Crimson member Mel Collins is especially noteworthy on this one.
Line-up:
* Alan Parsons – keyboards, fairlight programming
* Eric Woolfson – keyboards, vocals
* Andrew Powell – keyboards, orchestral arrangements
* Ian Bairnson – guitar
* Mel Collins – saxophone
* David Paton – bass, vocals
* Stuart Elliott – drums & percussion
* Chris Rainbow – vocals
* Lenny Zakatek – vocals
* Elmer Gantry – vocals
* Colin Blunstone – vocals
Track List:
01. Sirius (1:48)
02. Eye In The Sky (4:33)
03. Children Of The Moon (4:49)
04. Gemini (2:09)
05. Silence And I (7:17)
06. You’re Gonna Get Your Fingers Burned (4:50)
07. Psychobabble (4:50)
08. Mammagamma (3:34)
09. Step By Step (3:52)
10. Old And Wise (4:52)
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Alan Parsons Project – Freudiana (1990) (@256)
16 Feb 2007
(Review from allmusic.com, amazon.com)
Back in the ’70s, engineer/producer Alan Parsons wanted to dedicate an entire album to fantasy writer Edgar Allan Poe. He hired numerous musicians and singers to help him in what would become the first album of the Alan Parsons Project. Initially meant to be a one-time experience, the “project” turned into a full-time band, and quite a successful one, with that. Some two decades later, Eric Woolfson, Parsons’ long-time companion, puts up his own project. This time, it is not about Poe but about Freud. The subsequent band and album are both named Freudiana, as is one of the tracks. And of course, the whole is produced by — who else — Alan Parsons himself. The result is a concept album which offers — to quote the liner notes: “an image of the composer seen through a Freudian mirror.”
1990′s “Freudiana” was the last album that singer/composer Eric Woolfson collaborated on with Alan Parsons. It is an Alan Parsons Project album in all but name. It features virtually the exact same revolving door of musicians & singers that have featured on previous Project albums, such as co-leaders Parsons & Woolfson, guitarist Ian Bairnson, drummer Stuart Elliot, and “Gaudi” bassist Laurie Cottle, as well as singers Graham Dye, Chris Rainbow, John Miles & Eric Woolfson himself, along with “newcomers” Leo Sayer, Kiki Dee, and 10cc’s Eric Stewart. “Freudiana” is structured like a Project album, and it’s incredible music & production sounds like a Project album.
After “Freudiana,” Woolfson parted ways with Alan Parsons to concentrate on musical theater (and “Freudiana,” in fact, was later staged as a musical in Vienna in December of 1990). While Parsons continues to make albums under his own name (minus the “Project” moniker), it can’t be denied that Woolfson’s unique singing & songwriting contributions are missed. But he couldn’t have chosen a better album to exit with — many Alan Parsons Project fans actually name “Freudiana” as their favorite “Project” album.
The lyrics go through various interpretations of Freud’s works, studying all his most famous cases (Wolfman, Ratman, Dora, Little Hans, Schreber and the Judge). Some songs (like “Little Hans”) are reminiscent of the Beatles — which shouldn’t be too surprising, considering Woolfson used to be a member of Herman’s Hermits. Others are obvious reminders of the Alan Parsons Project (most noticeably “Dora”). The rest can be progressive at times (“Funny You Should Say That,” “No One Can Love You Better Than Me”) and the whole is very creative and intelligent. Lead vocals, as on all of the Alan Parsons Project releases, are shared by a number of singers — from Woolfson himself to Kiki Dee, Eric Stewart and John Miles. The strongest performances are by Leo Sayer (“I Am a Mirror”) and the Flying Pickets (on the strange, yet incredibly powerful, “Funny You Should Say That”).
Line-up:
- Laurie Cottle / bass
- Stuart Elliott / drums and percussion
- Ian Bairnson / guitars
- Eric Woolfson / keyboards, vocals
- Richard Cottle / synthetizers and saxophones
- Alan Parsons / additional keyboards
- Andrew Powell / orchestra arrangement and conduction
- Leo Sayer, Graham Dye, The Flying Pickets, Kiki Dee, Eric Stewart, Frankie Howerd, Marti Webb, Gary Howard, Chris Rainbow, John Miles / vocals
Track List:
01. The Nirvana Principle
02. Freudiana
03. I Am A Mirror
04. Little Hans
05. Dora
06. Funny You Should Say That
07. You’re On Your Own
08. Far Away From Home
09. Let Yourself Go
10. Beyond The Pleasure Principle
11. The Ring
12. Sects Therapy
13. No One Can Love You Better Than Me
14. Don’t Let The Moment Pass
15. Upper Me
16. Freudiana
17. Destiny
18. There But For The Grace Of God
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