Freedom to Music
Posts tagged Jan Schelhaas
Caravan – Live UK Tour 1975 (@256)
16 Apr 2011
(Review from allmusic, progarchives.com)
This live recording was made a few months after the band had released “Cunning Stunts” in 1975. By that time keyboard player David Sinclair had left the band and was replaced by Jan Schelhaas. It is the same line-up that would record “Blind Dog at St. Dustans” a year later.
The show takes place December 5th, 1975, at Nottingham Polytechnic for the expressed purpose of a radio broadcast in support of their new album.
As such, the set fittingly commences with a spot-on reading of the LP’s opener, “The Show of Our Lives”. Matching the attendees audible enthusiasm, Caravan give the mid-tempo rocker a thorough and energetic workout, despite a moment or two of questionable vocal intonations from Pye Hastings. His guitar craft, however, is nothing short of stellar. The well-defined mix accentuates his electric fretwork as he dances behind the solid rhythm section.
Caravan reach slightly further back for a sinuous reading of “The Love in Your Eye” from 1972 and all the way to 1970 for a driving and well jammed out version of the typical Caravan show closer, “For Richard”.
Line-up:
- Pye Hastings / guitars, vocals
- Richard Coughlan / percussion, drums
- Jan Schelhaas / keyboards, vocals
- Mike Wedgwood / bass, vocals
- Geoff Richardson / viola, flute, guitar
Track List:
01. The Show Of Our Lives – 4:41
02. Memory Lain, Hugh-Headloss – 9:52
03. The Dabsong Conshirtoe – 12:29
04. Virgin On The Ridiculous-Be Alright-Chance Of A Lifetime – 14:23
05. Love In Your Eye – 18:22
06. For Richard – 16:50
Link in comments.
Caravan – Ether Way (BBC Sessions 1975-77) (@256)
07 Apr 2011
(Review from progarchives.com)
Here are some excellent renditions of their more commercially produced sounding albums recorded live at the BBC from 1976-1979 and in great sound quality.
Highlights include “Nightmare” with an impressive guitar crescendo at the end. “All The Way” has some of their most ethereal vocal. The version of “Dabsong Conshirto” is more impressive and “raw” than that of the version on “Cunning Stunts”.
Line-up:
- David Sinclair / keyboards
- Dek Messecar / bass
- Geoffrey Richardson / viola
- Jan Schelhaas / keyboards
- Mike Wedgwood / bass
- Pye Hastings / guitar, vocals
- Richard Coughlan / drums
Track List:
01. The Show Of Our Lives – 4:54
02. Stuck In A Hole – 3:15
03. Dabsong Conshirto – 12:32
04. All The Way – 6:33
05. A Very Smelly Grubby Little Oik-Bobbing Wide-Come On Back-Grubby Oik Reprise – 11:44
06. Behind You – 5:13
07. The Last Unicorn – 5:34
08. Nightmare – 6:17
09. Better By Far – 4:48
Link in comments.
Caravan – Show Of Our Lives (Live at the BBC 1968-75) (@256)
20 Mar 2011
(Review from progarchives.com)
The amazing thing about Caravan is just how much they recorded for the BBC, whether in radio sessions or live concerts. This is is yet another one of those releases, a double disc affair for that matter, and still no overlapping from sessions.
It’s quite pleasant to hear three from their debut album, including a rare Wilde Flowers/Soft Machine stunning tidbits “Feelin’, Reelin’, Squelin’” from a 1971 session. Other rarities are the rarely heard “Love To Love You”, a vastly different “Love Song With A Flute” (Sinclair on electric piano) and an unfortunately abridged “9 Ft Underground”.
The second disc offers us a bunch of Richardson-era sessions, but not past the Stunts album. Of interest is the “Love In Your Eyes” with violin and the two new for the New Symphonia gig tracks as well as a “For Richard”. We even hear Pye answering Geoffrey’s great violin runs in “For Richard”. One of the best versions of “Dabsong Conshirtoe” is also present here.
Line-up:
- David Sinclair / keyboards
- Pye Hastings / guitar, vocals
- Richard Coughlan / drums
- Richard Sinclair / bass
- Steve Miller / keyboards
- Geoffrey Richardson / viola
- Jan Schelhaas / keyboards
- Mike Wedgwood / bass
Track List:
CD1
01. Place Of My Own – 4:13
02. Ride – 4:18
03. If I Could Do It All Over Again, I’d Do It All Over You – 2:47
04. Hello Hello – 3:13
05. As I Feel I Die – 6:25
06. Love To Love You – 3:13
07. Love Song Without Flute – 3:34
08. In The Land Of Grey And Pink – 3:46
09. Nine Feet Underground – 14:28
10. Feelin’, Reelin’, Squealin’ – 9:31
11. A Hunting We Shall Go – 9:16
12. Waffle Part One- Be Alright & Chance Of A Lifetime – 6:46
CD2
01. Memory Lain Hugh – 5:04
02. Headloss – 4:29
03. The Love In Your Eye – 13:55
04. Mirror For The Day – 4:17
05. Virgin On The Ridiculous – 7:02
06. For Richard – 15:06
07. The Dabsong Conshirtoe – 15:13
08. Stuck In A Hole – 3:16
09. The Show Of Our Lives – 4:54
Link in comments.
Caravan – Unauthorised Breakfast Item (2003) (@256)
18 Mar 2011
(Review from progarchives.com)
Eight years after “Battle Of Hastings”, Caravan comes back for a strong effort.
Pye is of course Caravan almost by himself and his songwriting is still the same (very pop with delightful melodies and witty lyrics) and he has his signature on most of the songs on this album. Caravan makes more diverse albums as others make their influences better felt other than by their impeccable playing but to enlighten these tunes.
Most of the tunes on here are typical Caravan numbers but the more interesting times in them are the spaces where the instruments are doing the talking and then one can see those slots alloted were “glued on” at the end of a song or “stuck/fitted” in the middle of one.
The brilliance of the early days might not be on the rendez-vous, but this is a good and unexpected come back.
Line-up:
- Pye Hastings / vocals, guitars
- Richard Coughlan / drums
- Jan Schelhaas / keyboards, backing vocals
- Doug Boyle / lead guitar
- Geoffrey Richardson / viola, banjo, ukelele, acoustic guitar, backing vocals
- Jim Leverton / bass, vocals, backing vocals
with
- Dave Sinclair / keyboards (9)
- Jimmy Hastings / tenor and soprano saxophone, flute
- Simon Bentall / percussion
- Ralph Cross / additional percussion (3)
Track List:
01. Smoking Gun (Right for me) – 5:36
02. Revenge – 5:15
03. The Unauthorised Breakfast Item – 4:44
04. Tell Me Why – 6:16
05. It’s Getting a Whole Lot Better – 8:56
06. Head Above the Clouds – 7:21
07. Straight Through the Heart – 4:40
08. Wild West Street – 4:47
09. Nowhere to Hide – 8:54
10. Linders Field – 3:38
Link in comments.
Caravan – Better By Far (1977) (@256)
07 Mar 2011
(Review from progarchives.com)
Recorded in Spring 1977, the line up is essentially that which recorded the previous “Blind dog at St. Dunstans”, with Dek Messecar replacing Mike Wedgwood on bass. The band moved labels once again for the album, this time to BTM/Arista, with the legendary Tony Visconti taking on the roll of producer. Pye Hastings is once again the dominant force throughout, writing all but three of the tracks.
The album sets out in reassuringly traditional fashion with the upbeat “Feelin’ alright” (no relation to other songs of the same name), which has the sound of the lighter Caravan songs of old. The song sets the mood for much of the album. The following “Behind You” tells a raunchy tale. The title track is a slower ballad type song which finds Hastings in particularly melodic tone vocally.
“Silver strings” features the violin, the song’s clever arrangement enhances what is actually a pretty ordinary number. “The Last Unicorn”, a fine instrumental dedicated to Peter S Beagle, the author of the book by that name. The early part of the tracks which features strings is reminiscent of Stackridge, before a more familiar synth solo lifts the tempo. This track has distinct echoes of the great Caravan days, and shows the band still willing to work out instrumentally. “Give me more” features some more of Caravan’s wonderfully smutty lyrics. The naive innocence of Hastings voice countered by the erotic screams of guest vocalist Vicki Brown only add to the fun.
Jan Schelhaas’ sole compositional contribution to he album is “Man in a car”, which he also appears to sing. The vocal sections are rather prosaic, but his bursts of synth are positively striking. The songs marks a change of lyrical style for this track and the remainder of the album, the nudge-nudge innuendoes being replaced by more obscure fantasy based poetry.
“Let it shine” starts of with a slight country twinge before settling into a pretty orthodox Caravan pop song of the type the band would utilise more and more on subsequent albums. Guitar and keyboards duet effectively for the track’s play-out. The album closes with “Nightmare”, the longest track at around 6½ minutes. The lyrics here are particularly troubled and un-Caravan like, but at least have a positive ending. Richardson’s swan-song on viola is superb.
Despite a reasonable promotion effort by the band’s new label, the album failed to find significant success. Geoff Richardson would leave within a year of its release to pursue a career in session work, and the band was once again in turmoil.
Line-up:
- Richard Coughlan / drums, percussion
- Pye Hastings / vocals, guitars
- Dek Messecar / bass, backing vocals
- Geoff Richardson / viola, guitars, flute, sitar, mandolin, vocals
- Jan Schelhaas / keyboards, backing vocals
with
- Vicki Brown / vocals (6)
- Fiona Hibbert / harp (7)
- Tony Visconti / recorders (5), electric double bass (7)
Track List:
01. Feelin’ Alright – 3:31
02. Behind You – 5:04
03. Better By Far – 3:27
04. Silver Strings – 3:58
05. The Last Unicorn – 5:52
06. Give Me More – 4:40
07. Man In A Car – 5:43
08. Let It Shine – 4:27
09. Nightmare – 6:23
Link in comments.
Caravan – Blind Dog at St. Dunstans’ (1976) (@256)
05 Mar 2011
(Review from progarchives.com)
St. Dunstan’s is a home for blind people in the south east of Great Britain, hence the (play on words) title. The original LP had a clever cartoon on the cover with plenty of dog related puns
There has been a major change in the lineup since Cunning Stunts as David Sinclair left Caravan for the second time, Jan Schelhaas comes on board. Geoffrey Richardson who was very dominant on the previous album is superseeded by Pye Hastings this time. Pye even plays guitar solos on the album. The orchestrations of the previous album are gone, Mike Wedgwood sticks mainly to just bass. A lot of the whimsy has returned as well.
The highlights are the first four songs, we even get some real Canterburian clarinet playing in the short instrumental “Bobbing Wide”. “Here Am I”, “Chiefs and Indians” and “A Very Smelly, Grubby Litle Oik” are all excellent Caravan songs just the way I like them. Soft rocking with light jazzy hints and great humour.
Line-up:
- Richard Coughlan / drums
- Pye Hastings / vocals, guitars
- Geoffrey Richardson / viola, flute, electric guitar, night-shift whistle
- Jan Schelhaas / keyboards
- Mike Wedgwood / bass, vocals, congas
with
- Irene & Doreen Chanter / vocals (6)
- Jimmy Hastings / sax (2-5-9), flute (9), clarinet (4-5)
Track List:
01. Here Am I – 6:19
02. Chiefs And Indians – 5:15
03. A Very Smelly Grubby Little Oik – 4:13
04. Bobbing Wide – 2:30
05. Come On Back – 3:56
06. Oik (reprise) – 2:27
07. Jack And Jill – 6:28
08. Can You Hear Me – 6:19
09. All The Way – 8:50
Link in comments.
National Head Band – Albert 1 (1971) (@256)
07 May 2010
(Info from sleeve)
In many ways, Albert One has a familiar story: Label sign experimental band, band makes album, label doesn’t promote band, band make no money, band split.
The moniker turned out to be apt — for this is musically an intelligent, experimental expose of progressive influences and excesses, played by a bunch of talented, passionate guys who knew (more or less) what they were doing.
The band members had eclectic tastes and strong personalities. Schelhaas was a soul fan, whereas Ford’s background had largely been blues and Paull was ostensibly a folkie. Only Kerslake had had a crack at the post-Beatles rock that was now spreading like wildfire on the underground. Progressive rock heavyweight Eddie Offord, fresh from success with Yes’ The Yes Album became the album’s producer.
The resulting album is a piquant mix of blues, folk and progressive interlaced with a harder, rockier sensibility.
“Got No Time” begins the record, starting out as a rock standard, the track gave way at the bridge to an extended percussion solo from Kerslake. Picking up on the riff from the opener, “You” is more pastoral and showcases the band’s talent for harmonising. “Too Much Country Water” — often misleading attributed to Uriah Heep due to the Kerslake connection, is, by that virtue the band’s best known track. Heavy and rockin’, it has the band at their colourful best; ending with a great riff. “Lead Me Back” is perhaps the most Beatles-que number on the album, with a clear cue coming from Abbey Road. It features Paull’s best bass-playing and some magic moog work from Schelhaas.
The highlight of the whole record, “Listen to the Music” is another Beatles inspired ballad, mixing four-part hormonies, blended effortlessly with an intricate rock template that remains all their own.
With the Harmonium driving “For Islington Farm”; it becomes a lush, poetic number full of soaring harmonies and melancholy. A rhythmic, folk ballad follows in the shape of “Try to Reach You” which again features some blistering bass from Paull. “Brand New World” contains insightful lyrics and is another intelligent mix of styles, a big stab at rock.
A two-parter ends the album and brings together all the aforementioned skills with delicious aplomb. Beginning as an intense rock-out, with all and sundry playing hard, it gives way halfway to their most pastoral and wistful side.
Experimental, but tied both to an array of influences and the mood of the time, it stands as a snapshot of a music scene undergoing a huge shift and a talented band who deserved more recognition.
Jan Schelhaas would later join Caravan and Camel, Lee Kerslake would go on to Uriah Heep.
Line-up:
- Neil Ford / guitar, moog, vocals
- Lee Kerslake / drums, moog, vocals
- Dave Paull / bass, mood, acoustic guitar, vocals
- Jan Schelhaas / piano, organ, harmonium, moog
Track List:
01. Got No Time – 5:00
02. You – 3:59
03. Too Much Country Water – 4:12
04. Lead Me Back – 4:01
05. Listen To The Music – 6:30
06. Islington Farm – 3:12
07. Try To Reach You – 4:20
08. Brand New World – 6:24
09. Mister Jesus – 8:10
Link in comments.
Camel – On the Road 1981 (@320)
03 Jun 2007
Thanks to Silveraintr for this one.
(Review from amazon.com)
This concert was recorded for the BBC originally and was broadcast on Radio 1 in April 2nd, 1981. Camel at the time of the ‘Nude’ tour had two keyboard players, Kit Watkins and Jan Schelhaas. Their jazz riffs, particularly in ‘Song Within A Song’ and the unforgettable ‘Lunar Sea’, are quite noticable. The track ‘Never Let Go’ seems to appear on virtually every Camel Live album and the rest of the CD comprises of an abridged version of the studio album ‘Nude’ performed live. Heavier than it’s studio counterpart this version shows the versatility of the band. Latimer’s guitar screams it’s way through ‘Docks’,'Beached’ and ‘Captured’ accompanied by Andy Wards drumsticks hitting the skins with energy. Yet classical musicianship comes to the fore in ‘Landscapes’ and ‘Reflections’. The ethnic beat of ‘Changing Places’ is that little bit more energetic than it’s studio counterpart and the flute solos remain haunting to this day. A whole range of styles in one concert.
Line-up:
- Andrew Latimer / lead guitar, flute, vocals
- Colin Bass / bass guitar, vocals
- Andy Ward / drums
- Kit Watkins / keyboards, flute
- Jan Schelhaas / keyboards
Track List:
01. Never Let Go
02. Song Within A Song
03. Lunar Sea
04. City Life
05. Nude
06. Drafted
07. Docks
08. Beached
09. Landscapes
10. Changing Places
11. Reflections
12. Captured
13. The Last Farewell
Links in comments.
Camel – I Can See Your House From Here (1979) (@192)
03 Jun 2007
(Review from progarchives.com)
The first challenge here is to get past the questionable taste of the sleeve, which was intended to show that the band does in fact have a sense of humour. The title for the album was originally to be ‘Endangered species’, but despite Andy Latimer’s protestations he was overruled by the rest of the band, and both the name and the sleeve were changed.
With Peter Bardens having left the band before completion of the ‘Breathless’ album, Andy Latimer had become the de-facto leader, keyboard duties being shared by Jan Schelhaas and Kit Watkins.
In terms of the contents, what we have here is actually a very enjoyable album. While many of the tracks find the band continuing to explore more commercial territories, the closing track is cited by many as the best Camel track of all. ‘Ice’ is a 10 minute guitar instrumental recorded live in the studio, with Phil Collins guesting on percussion. Apparently Latimer played what he felt was a bum note at the beginning of his solo and wanted to re-record the track, but those present pursued him to leave it be. When you think about it, there really are far too few long, well developed lead guitar solos like this around. For those familiar with Camel’s later ‘Nod and a wink’ album, ‘Ice’ resembles the final track ‘For today’.
Looking at the rest of the album, ‘Wait’ is rather weak for the opening track on a Camel album, devoid of the usual striking guitar and/or synth melody we have come to expect. It has a passing resemblance to some of the songs Russ Ballard wrote during his time with Argent.
‘Who we are’ is the other feature track. It starts as a jazz fusion piece along the lines of the Average White Band’s ‘Cut the cake’, with a distinctive theme which is developed and improvised upon. Later the introduction of vocals signals a complete change in the track, as it becomes a highly appealing ballad with building orchestration and some atmospheric flute. While the two distinct parts of the track do not sit particularly well together, the track as a whole is classic Camel.
There are a few pop based songs on the album, some of which work better than others. ‘Remote romance’ is an awful song which serves only to show that Camel, or perhaps their record label, were becoming increasingly desperate to find a hit single. The track is 80′s electronica in the mould of Devo, M, or Soft Cell. Even the lyrics are amusing because they’re so bad! ‘Your love is stranger than mine’ is as bad lyrically, but is more acceptable musically. It has a decent sax solo (by Mel Collins who appears as a guest on the album) and a bouncy, inoffensive feel.
The instrumental ‘Eye of the storm’ is interesting in that it also appeared on Happy the Man’s album ‘Better late’, as keyboard player Kit Watkins had been a member of that band before joining Camel. It is thus a very rare example of Camel doing what is technically a cover version. ‘Hymn to her’ manages to perpetuate the corny title syndrome the band manage to include on virtually every album, but the track itself has echoes of the ‘Moonmadness’ era, with some good guitar work, and a pleasant melody.
In all, something of an underrated album in the Camel catalogue, with some symphonic prog, a little fusion, and some melodic pop. The album does have its flaws, but the track ‘Ice’ renders the album essential for anyone who enjoys the music of this great band.
Line-up:
- Andrew Latimer / guitars, vocals, flute, autoharp
- Andy Ward / drums
- Colin Bass / bass, vocals
- Jan Schelhaas / keyboards
- Kit Watkins / keyboards
with:
- Mel Collins / sax
- Phil Collins / percussion
- Rupert Hine / vocals
Track List:
01. Wait (4:50)
02. Your Love Is Stranger Than Mine (3:14)
03. Eye Of The Storm (3:42)
04. Who We Are (7:26)
05. Survival (1:04)
06. Hymn Ho Her (5:23)
07. Neon Magic (4:39)
08. Remote Romance (4:01)
09. Ice (10:10)
Link in comments.
Camel – Nude (1981) (@256)
24 Apr 2007
(Review from vintageprog.com)
A new decade and yet a new keyboard-player in Camel, this time named Duncan Mackay. And just when you thought that Camel had joined the other major progressive rock bands of the 70′s in a hopeless search for a commercial and pop-oriented style, they returned with their best, most symphonic and progressive work since “Moonmadness”. And they did it at a time when absolutely nobody had expected it. “Nude” was even a concept-album, and told the true story of a stranded Japanese soldier who stayed in the jungle for 29 years without knowing that the war had ended. “Drafted” is stuffed with great melodies and guitar-themes of the classic Camel-kind, and proved beyond any doubt that the band was back at their best. Then you’re in for a series of lengthy and complex instrumental-passages (about 70% of the album is instrumental) that perfectly captures the drama and atmosphere of the story. “The Snow Goose” is the only other Camel-album that can rival “Nude” when it comes to sweeping, symphonic and atmospheric soundscapes. There’s lots of flute on the quiet parts, and there are even some ethnic rhythms on “Changing Places” to illustrate the jungle. “Reflection” is Latimer at his most magic, and will again make you think of the most beautiful and relaxed parts from “The Snow Goose”. “Lies” is a strong vocal-track that somewhat resembles Pink Floyd, and Mackay delivered an organ-solo to prove that he understood what keyboards a progressive rock band should use, even in the 80′s.
Line-up:
- Andrew Latimer / guitar, vocals, flute, koto, keyboards
- Andy Ward / drums, percussion
- Colin Bass / bass, vocals
- Mel Collins / flute, saxophone
- Duncan Mackay / keyboards
with
- Jan Schelhaas / piano
- Chris Green / cello
- Gasper Green / percussion
- Herbie Flowers / tuba
Track List:
01. City Life (4:41)
02. Nude (0:23)
03. Drafted (4:13)
04. Docks (3:50)
05. Beached (3:32)
06. Landscapes (2:39)
07. Changing Places (4:10)
08. Pomp & Circumstance (2:05)
09. Please Come Home (1:13)
10. Reflections (2:39)
11. Captured (3:12)
12. The Homecoming (2:48)
13. Lies (4:58)
The Last Farewell:
14. The Birthday Cake (0:30)
15. Nude’s Return (3:41)
Link in comments.
Thin Lizzy – Vagabonds of the Western World (1973) (@256)
21 Jan 2007
(Review from allmusic.com)
Despite a huge hit single in the mid-’70s (“The Boys Are Back in Town”) and becoming a popular act with hard rock/heavy metal fans, Thin Lizzy are still, in the pantheon of ’70s rock bands, underappreciated. Formed in the late ’60s by Irish singer/songwriter/bassist Phil Lynott, Lizzy, though not the first band to do so, combined romanticized working-class sentiments with their ferocious, twin-lead guitar attack. As the band’s creative force, Lynott was a more insightful and intelligent writer than many of his ilk, preferring slice-of-life working-class dramas of love and hate influenced by Bob Dylan, Bruce Springsteen, and virtually all of the Irish literary tradition. Also, as a black man, Lynott was an anomaly in the nearly all-white world of hard rock, and as such imbued much of his work with a sense of alienation; he was the outsider, the romantic guy from the other side of the tracks, a self-styled poet of the lovelorn and downtrodden. His sweeping vision and writerly impulses at times gave way to pretentious songs aspiring to clichéd notions of literary significance, but Lynott’s limitless charisma made even the most misguided moments worth hearing.
After achieving a reluctant Top Ten hit with a rock version of the traditional Irish pub ballad “Whiskey in the Jar,” Thin Lizzy began work on Vagabonds of the Western World — their third, and ultimately last album for Decca Records. The single’s surprise success gave the band bargaining power to demand more money and time to record, resulting in their first sonically satisfying album. The environmentally-conscious R&B of “Mama Nature Said” kicks things off with Eric Bell leading the way on slide guitar. The overblown “The Hero and the Madman” and the tepid “Slow Blues” threaten to derail the proceedings, but all is well again when the band break into their first bona fide classic “The Rocker.” Brimming with attitude and dangerous swagger, Lynott sets the tone, as drummer Brian Downey explodes into life for the first time on vinyl. Lizzy’s Irish heritage permeates the title track, and the beautiful “Little Girl in Bloom” is absolutely flawless, featuring Lynott, the poet, in top form. In many ways, Vagabonds of the Western World actually rocks harder than Lizzy’s next album, the soulful Nightlife — often considered the band’s first “important” record. And with the inclusion of four non-LP singles, including the aforementioned “Whiskey in the Jar,” this package becomes even more appealing.
Line-up:
* Phil Lynott – Bass + Lead Vocals
* Eric Bell – Guitars + Vocals
* Brian Downey – Percussion
Track List:
01. Mama Nature Said
02. The Hero And The Madman
03. Slow Blues
04. The Rocker
05. Vagabond Of The Western World
06. Little Girl In Bloom
07. Gonna Creep Up On You
08. A Song For While I’m Away
09. Whiskey In The Jar (Full Length Version)
10. Black Boys On The Corner
11. Randolph’s Tango (Full Length Version)
12. Broken Dreams
Links in comments.
