Freedom to Music
Posts tagged Mel Collins
21st Century Schizoid Band – In Concert Live In Japan & Italy (2004) (@256)
28 Apr 2011
(Review from amazon)
This release contains both the “Official Bootleg Two” (Live in Japan) and “Official Bootleg Three” (Live in Italy) concert albums of the 21st Century Schizoid Band.
The Japanese concert, after a brief intro, starts with the whole band thrusting themselves raucously into `A Man A City’ which was always one of King Crimson’s early classic heavy numbers. Originally titled `Pictures Of A City’ it is a firm fan favourite in King Crimson’s early days and exactly why `The 21st Century Schizoid Band’ was formed – so that this wonderful music does not go to waste and disappear into time.
There is then a fun rendition of King Crimson’s almost hit single `Cat Food’ from the same album. You cannot help but chuckle at the lyrics. We are then taken into a little bit of solo territory with the title track from Mike Giles solo album “Progress” and “Let There Be Light” from Ian McDonald’s solo album `Drivers Eyes’. Both of these songs fit in perfectly with the mood being musically set up. This leads us nicely to the meat of the concert, a perfect rendition of `In The Court Of The Crimson King’.
The next two songs come from the “Islands”, originally recorded by a jazzy line-up featuring Mel Collins. During these “Formentara Lady” and “Ladies Of The Road”, Mel Collins is given full reign to showcase his talents. Ian McDonald then rather steals the show for the next three songs; two more from Crimson’s debut “I Talk To The Wind” with some of the finest flute playing from Ian McDonald ever heard in the rock format. Next we are treated to the beauty of “Epitaph”. Then what could be more natural for this band than to finish off the set proper with a snippet from “Birdman”, a sympathetic piano laden instrumental from the McDonald / Giles solo album of the same name from 1970.
For an encore we have the namesake “21st Century Schizoid Man”, the first track off King Crimson’s debut album. Jakko. M. Jaksyk fills Robert Fripp’s boots to bursting point whilst the others have a glorious time around his riffing, playing their hearts out, having the time of their collective lives, whilst the Japanese fans go mad for it.
The second CD contains the whole Italian concert. The line-up is a little different, with Michael Giles leaving and another seasoned King Crimson drummer, Ian Wallace filling in. Apart from the “Improv” section and the bonus studio track, all the songs performed here was also performed in the Japanese concert. However, with Ian Wallace replacing Michael Giles, it’s nice to hear what Wallace brings to the table.
Ian Wallace passed away in 2007 and the 21st Century Schizoid Band is currently inactive.
Line-up:
- Mel Collins / Baritone, Tenor and Alto Sax, Flute, Keys and Backing Vocals
- Peter Giles / Bass Guitar and Backing Vocals
- Jakko M. Jakszyk / Guitar, Vocals, Flute and Mellotron
- Ian McDonald / Keyboards. Flute, Alto Sax and Vocals
- Michael Giles / Drums, Percussion and Vocal (CD1)
- Ian Wallace / Drums, Percussion and Vocal (CD2)
Track List:
CD1
01. Schizoid Intro – 1:59
02. A Man, A City – 8:32
03. Catfood – 4:22
04. Let There Be Light – 3:18
05. Progress – 6:59
06. The Court Of The Crimson King – 7:42
07. Formentera Lady – 11:58
08. Ladies Of The Road – 7:34
09. I Talk To The Wind – 5:43
10. Epitaph – 8:42
11. Birdman – 4:24
12. 21st Century Schizoid Man – 8:32
CD2
01. Schizoid Intro – 2:00
02. A Man, A City – 8:36
03. Let There Be Light – 3:26
04. Court Of The Crimson King – 7:54
05. Ladies Of The Road – 7:11
06. Improv – 11:56
07. Birdman – 4:40
08. Epitaph – 8:42
09. Catleys Ashes (Bonus Studio) – 7:06
Link in comments.
21st Century Schizoid Band – Official Bootleg Volume One (2002) (@256)
24 Apr 2011
(Review from seaoftranqulity.org)
Here’s a little something that will rub that “nostalgia itch” for all King Crimson fans, especially lovers of the band’s first few albums. Featuring former members Ian McDonald, Michael Giles, Mel Collins, Peter Giles, plus former Level 42 guitarist/vocalist Jakko Jacszyk, 21st Century Schizoid Band plays a variety of vintage Crimson tunes that the actual band itself no longer covers. Never intended as an official release, but more as a souvenir of the 2002 tour, this is a nice walk down memory lane.
Hearing these geezers run through the jazzy “Catfood” , complete with squonking sax from Collins and McDonald’s rolling piano lines, brings back fond memories of one of the most overlooked Crimson albums, In the Wake of Poseidon. Jacszyk does a good job coming up with a Greg Lake flavored vocal, as he does on all the songs covered here. The band really gets the “sound” on “In the Court of the Crimson King”, complete with McDonald’s flute and Mellotron samples. The band pulls out “Formentara Lady” from the Islands LP, a real introspective tune that gets royal treatment here with lovely woodwinds from Collins, as well as the more jarring “Ladies of the Road”, where Jakszyk does a good job mimicking Fripp’s jangly guitar work as it does battle with Collins and his nasty sax tone. Of course, this set would not be complete without a rendition of “21st Century Schizoid Man”, the metallic progressive rock classic, in which these guys really rock the house with note for note precision, yet add a strong jazz feel at the same time. Other tunes included are “A Man A City” (the Crimson title is actually “Pictures of a City”) and the lovely “I Talk to the Wind”.
For longtime King Crimson buffs, this live album will be a load of fun. Some familiar faces dust these tunes out of the closet after 30 years and give them a fresh reworking.
Line-up:
- Mel Collins / Saxes, Flute, Keys & Backing Vocals
- Michael Giles / Drums
- Peter Giles / Bass, Backing Vocals
- Ian McDonald / Saxes, Flute, Keys & Backing Vocals
- Jakko Jakszyk / Guitar, Vocal
Track List:
01. A Man A City – 8:27
02. Catfood – 4:52
03. In The Court Of The Crimson King – 7:28
04. Formentera Lady – 12:44
05. Ladies Of The Road – 7:16
06. I Talk To The Wind – 5:25
07. 21st Century Schizoid Man – 7:37
Link in comments.
Caravan – Back To Front (1982) (@256)
12 Mar 2011
(Review from allmusic)
In 1982, Pye Hastings decided to reconvene all four original members for “Back to Front”. In an unusually democratic move, he divided the writing between himself, Richard Sinclair, and David Sinclair (with drummer Richard Coughlan abstaining).
The result was a generally uneven album, but one which maintains a certain nostalgic charm.
Surprisingly, the best songs here were written by Dave Sinclair, who was usually overshadowed by vocalists Hastings and Richard Sinclair in the early days. On “Sally Don’t Change It” and “Videos of Hollywood”, he reveals a soft romantic side previously hidden. “Proper Job/Back to Front” is another gem. It most closely recalls early Caravan.
Another winner is cousin Richard Sinclair’s “Back to Herne Bay Front,” an amusing cameo of daily bingo and fish and chips in the small seaside town of Herne Bay.
The three songs written by Pye Hastings, on the contrary, are fairly pop numbers.
“Back to Front” doesn’t equate with their best work, but admirers of the group will be intrigued by the disparate personalities that emerge from this quiet reunion.
Line-up:
- Richard Coughlan / drums, percussion, voice (8)
- Pye Hastings / guitar, vocals
- David Sinclair / keyboards, lead vocals (8)
- Richard Sinclair / lead vocals, bass, guitar (3)
with
- Mel Collins / saxophone
Track List:
01. Back To Herne Bay Front – 5:58
02. Bet You Wanna Take It All – 5:20
03. AA Man – 5:01
04. Videos Of Hollywood – 5:11
05. Sally Don’t Change It – 4:07
06. All Abroad – 4:10
07. Taken By Breath Away – 4:53
08. Proper Job – 8:19
Link in comments.
Alvin Lee – Pump Iron (1975) (@256)
24 Feb 2010
(Review from rollingstone.com, starling.rinet.ru)
Alvin Lee has taken on a stronger R&B feel and focused on his vocal abilities as much as his guitar in his solo work. “Pump Iron” follows the same pattern as its predecessor — a solid, upbeat-R & B-meets-Anglo-flash format. Alvin Lee is less keen on spontaneous guitar heroics. His well-known friends perform with restrained expertise as well.
The opener ‘One More Chance’, an angry, evil little shuffle with sarcastic synth tones and needle-sharp guitar solos that almost recall something Floydish at times. It harkens 1970-72 Ten Years After period.
Somewhere in the middle you’ll also meet ‘Have Mercy’. Alvin Lee is able to breathe as much sincerity and inspiration into this ballad. Hearing Alvin screaming ‘have mercy on a child of God’ is inspiring,
The album closer, ‘Let The Sea Burn Down’, is reminiscent the “epic” numbers on late-period Ten Years After albums with layers of synthesizers, phased guitars and screechy guitar solos symbolizing the end of the world and stuff like that.
There are other goodies too: ‘Julian Rice’, with its catchy refrain; the acoustic shuffle ‘Time And Space’, recorded live with the help of a wonderful trumpet (or was that oboe?) part; the classy funky jam ‘Burnt Fungus’ with a brilliant organ part; and yet another ballad, ‘The Darkest Night’ is simpy irresistable with its delicious bit of romantic piano.
The issue of the album adds two worthy bonus tracks – a short guitar-based instrumental called ‘Madness’ with funky chops and his funny rendition of ‘Midnight Special’, which probably won’t turn you away from the definitive version of Creedence Clearwater Revival but will be a nice addition to the song’s immense bunch of interpretations nevertheless.
Line-up:
- Alvin Lee / Guitar, Vocals
with
- Ian Wallace / Drums
- Mel Collins / Sax
- Boz Burrell / Bass
- Tim Hinkley / Keyboards
- Ron Berg / Drums
- Brother James / Congas
- Harold Burgon / Arp
- Colin Gibson / Bass
- Bryson Graham / Drums
- Jack Lancaster / Horn
- Ronnie Leahy / Organ
- Andy Pyle / Bass
- Steve Thompson / Bass
Track List:
01. One More Chance – 3:53
02. Try To Be Righteous – 4:03
03. You Told Me – 3:53
04. Have Mercy – 2:48
05. Julian Rice – 4:52
06. Time And Space – 2:43
07. Burnt Fungus – 3:16
08. The Darkest Night – 2:25
09. It’s All Right Now – 2:35
10. Truckin’ Down The Other Way – 2:31
11. Let The Sea Burn Down – 6:42
12. Madness (Bonus) – 1:50
13. Midnight Special (Bonus) – 4:49
Link in comments.
Alvin Lee – In Flight (Live 1974) (@256)
23 Feb 2010
(Review fro amazon)
‘In Flight’ is a two-disc live recording made by Alvin Lee in 1974 at the Rainbow Theatre in London. It was the follow-up to 1973′s ‘On the Road to Freedom’, Lee’s first album without his Ten Years After colleagues. He arrived with a cargo hold (‘In Flight’ analogy…) of new tunes and a supersized backing band, including horn man Mel Collins and a trio of backing singers.
It’s a lively, high-energy set, sure to please someone, but probably not the old Ten Years After crowd. Until the second half of the second disc, Alvin’s trademark lead guitar excursions are in short supply, instead being supplanted primarily by Collins’ up-front and center presence. The texture of the music has changed as well. While Ten Years After segued effortlessly from blues-rock to psychedelia to folk and country-rock, this new Alvin Lee is pounding out something perhaps best described as boogie-rock.
The compositions unquestionably announce Alvin Lee as a matured writing talent. There is a wealth of new, well-turned tunes that Lee pulls out of his back pocket here, beginning with the “chug-along blues” (as Lee describes it in his personally scripted liner notes) opener, ‘Got To Keep Moving’. Other highlights include the funky ‘You Need Love Love Love’ which possesses a great vocal hook, the sweet boogie of ‘Let’s Get Back’, and the most Ten Years After-sounding number, ‘Ride My Train’.
As you move deep into the second disc, Alvin moves his lead guitar heroics to the front burner, displaying his firy skills on tracks such as ‘Keep a Knocking’, and a Chuck Berry sound-alike ‘Johnny B. Goode’ rave-up on ‘I’ve Got Eyes For You Baby’.
There are several other covers that deserve mention here. Alvin’s version of ‘Slow Down’ may best represent how his solo work differ from Ten Years After. While you might expect him to go bonkers with his guitar and vocals on this potentially scintillating track, it comes across as a much more smooth and polished piece. The mid-70s did that to a lot of psychedelic and blues-rockers from the 60s, and Alvin seems infected. The same can be said for his covers of Elvis Presley’s ‘Don’t Be Cruel’ and ‘Mystery Train’ as well as ‘Money Honey’. Each of these songs relies heavily on Mel Collins’ sax and backing vocals rather than Lee’s astounding guitar virtuosity.
There are also two bonus tracks: ‘Somebody Callin’ Me’ is live boogie-rock from an unidentified venue. The recording is of good quality, but Lee’s vocals, in particular, feel buried compared to the stunning vibrancy of the original album. The other, “Put it in a Box” is a studio recording. It launches into a sweet funk-groove from the first strains, and features a fat, fuzzy guitar foundation, setting up Lee’s exquisite leads. Back vocals strike a nice balance with the other key elements of the performance.
Given the right audience, ‘In Flight’ could certainly bring hours of listening pleasure.
Line-up:
- Alvin Lee / Guitar, Vocals
with
- Mel Collins / Flute, Saxophone
- Tim Hinkley / Keyboards
- Neil Hubbard / Guitar
- Alan Spenner / Bass
- Ian Wallace / Drums
Track List:
CD1
01. Got To Keep Moving – 5:02
02. Going Through The Door – 4:21
03. Don’t Be Cruel – 2:39
04. Money Money – 3:05
05. I’m Writing You A Letter – 4:52
06. You Need Love Love Love – 5:24
07. Freedom For The Stallion – 6:26
08. Every Blues You’ve Ever Heard – 5:24
09. All Life’s Trials – 2:59
CD2
01. Intro – 0:53
02. Let’s Get Back – 4:58
03. Ride My Train – 4:14
04. There’s A Feeling – 4:02
05. Running Round – 5:38
06. Mystery Train – 4:42
07. Slow Down – 3:38
08. Keep A Knocking – 2:14
09. How Many Times – 2:04
10. I’ve Got Eyes For You Baby – 3:36
11. I’m Writing You A Letter – 4:18
12. Somebody Callin’ Me (Bonus) – 6:26
13. Put It In A Box (Bonus) – 8:06
Link in comments.
King Crimson – KCCC40 Live in Boston (1972) (@256)
28 Dec 2009
(Review from collectorsmusicreviews.com)
This archival live recording once again revisits the “Islands” era line up who played together in 1971 and 1972. The March 27th Boston gig was at the end of their second visit to the US and were supporting Yes, who were touring for Fragile. Such a situation was precipitated, according to the liner notes, by the instability of the band in their formative years. Nearly two years later in 1971 that the band returned to the USA. Having lost the momentum that a speculative tour during 1970 might have gained them, King Crimson were once again forced to “pay their dues” supporting bands such as Procol Harum and Yes.
This date survives in progressive rock mythology as the day when Bill Bruford (Yes drummer at the time) approached Robert Fripp about joining Crimson with Fripp’s famous reply “I think you’re about ready now, Bill…”.
The show itself is the perfect illustration of the band going in two directions. It is well known that Robert Fripp disbanded this line up in January only to be coerced into this final tour. The joy of playing this material is evident in the band except for the guitarist who voices his protest through his instrument.
The scorching “Pictures Of A City” starts the set. Mellotron tuning precedes the gentle “Forementera Lady” and in the long improvisation Mel Collins takes the lead saxophone. Fripp responds by playing the nasty angular riff that would used later in the year in “Larks Tongues In Aspic Part I”. The improvisation leads directly into the jazzy “A Sailor’s Tale”.
“Cirkus” from Lizard is one of the constants during these tours. Although it began as the opener by this time it was played in the middle of the set as a respite from the endless jams. “Groon”, which on a good night could push fifteen minutes lasts about nine in Boston. “21st Century Schizoid Man”, the only song from the classic first album to survive in the set, is segued with the preceding number. A seven minute funky improvisation lead by Boz serves as an introduction to “Cadence And Cascade” featuring a gorgeous flute melody before the tape cuts out.
This is another fantastic document from the most intriguing King Crimson line up.
Line-up:
- Robert Fripp / guitar, mellotron
- Mel Collins / saxes, flute, mellotron
- Boz Burrell / bass, lead vocals
- Ian Wallace / drums, vocals
Track List:
01. R.F. Announcement – 1:35
02. Pictures Of A City – 8:44
03. Formentera Lady – 8:33
04. The Sailor’s Tale – 7:26
05. Cirkus – 8:43
06. Groon – 10:18
07. 21st Century Schizoid Man – 10:03
08. Improv – 7:45
09. Cadence And Cascade – 4:16
Link in comments.
King Crimson – KCCC35 Live in Denver (1972) (@256)
19 Dec 2009
(Review from planetmellotron.com)
Six months before the Mark 2 lineup dissolved, the band sound like they were having a whale of a time the night Live in Denver, March 13, 1972 was recorded.
“Ladies Of The Road” has Boz Burrell introducing “Fingers Fripp, playing his blues licks”, while various members are laughing too hard to sing their backing vocal parts. The rest of the set is at least played properly, but is a case-book study as to why Fripp eventually tired of their approach.
Apart from the evergreen Schizoid Man, the two tracks containing mellotron standout with a fine The Sailors Tale and a ripping Cirkus.
It’s a great shame Fripp threw the repertoire baby out with the bathwater for his next version of the band, as that line-up would’ve more than done the song justice.
Line-up:
- Robert Fripp / guitar, mellotron
- Mel Collins / saxes, mellotron
- Boz Burrell / bass, vocals
- Ian Wallace / drums
Track List:
01. Formentera Lady – 9:27
02. The Sailor’s Tale – 6:41
03. Circus – 10:00
04. Ladies Of The Road – 6:33
05. The Letters – 6:35
06. Groon – 17:16
07. 21st Century Schizoid Band – 11:42
08. Cadence And Cascade – 4:56
Link in comments.
Peter Sinfield – Still (1973) (@256)
28 Aug 2008
Thanks to Bilek for the contribution.
(Review from progarchives.com)
It’s interesting to listen what kind of result comes from the musical vision of King Crimson’s court lyricist without the guidance of Robert Fripp. The album features the typical Peter Sinfield elements like poetical lyrics and often a cynical undertone.
Almost everybody who played with King Crimson is on this album. However, only on one track- ‘The Night People’- does the album sound all that much like King Crimson, and even then, it’s the jazzier 1971 period that produced albums like ‘Lizard’ and ‘Islands’. It fits in with tracks like ‘Formentera Lady’ and ‘Indoor Games’ well enough, with Sinfield’s stream of consciousness words fitting the jazziness fairly well.
The rest of the album arguably, and somewhat surprisingly, owes more to the pastoral splendour of a band like Barclay James Harvest. These are dreamy with a wonderful harmony of acoustic guitar, flute, strings and the warm voice from Sinfield. His high, thin, reedy voice may put off some listeners but others will probably find it fitting and original. ‘Envelopes Of Yesterday’, with its treated guitar work and spaced-out atmosphere, edges towards Pink Floyd’s ‘Echoes’!
This edition also has two bonus tracks as well: the opener “Can You Forgive A Fool” which is very much pastoral and features some pleasant keys. The second one “Hanging Fire” is a candid and folk acoustic song.
Line-up:
- Peter Sinfield / vocals, guitar, synthesizer
with
- Chris Pyne / trombone
- Stanley Roderick / trumpet
- W.G. Snuffy Walden / guitar
- Ian Wallace / drums
- Tim Hinckley / piano
- Brian Flowers / synthesizer
- Don Honeywill / saxophone
- Keith Christmas / guitar
- Greg Lake / guitar, vocals
- Robin Miller / wind, cor Anglais
- Greg Bowen / trumpet
- Richard Brunton / guitar
- Boz Burrell / bass
- Brian Cole / guitar
- Mel Collins / celeste, flute, saxophone, wind, brass
- Steve Dolan / bass
- Don Honeywell / saxophone
- Phil Jump / Glockenspiel, keyboards, organ, piano, synthesizer
- John Wetton / drums, bass, percussion
- Keith Tippett / bass, piano
Track List:
01. The Song of the Sea Goat (6:08)
02. Under the Sky (4:24)
03. Will It Be You (2:42)
04. Wholefood Boogie (3:40)
05. Still (4:45)
06. Envelopes of Yesterday (6:19)
07. The Piper (2:51)
08. A House of Hopes and Dreams (3:57)
09. The Night People (7:56)
10. Can You Forgive A Fool? (Bonus) (4:21)
11. Hanging Fire (Bonus) (3:04)
Link in comments.
King Crimson – KCCC30 Live in Brighton (1971) (@256)
12 Aug 2008
(Review from progarchives.com)
Music is great, it’s just one brilliant King Crimson concert more. But the whole problem is sound quality, which makes this album not very listenable.
There are two rare live tracks : “Islands” sounds good, even if not as perfect as in studio version. “Letters” is played and especially sung very impressing.
Line-up:
* Boz Burrell – bass, lead vocals
* Robert Fripp – guitar, mellotron
* Mel Collins – saxes, flute, mellotron
* Ian Wallace – drums, vocals
* Peter Sinfield – words, sounds & visions
Track List:
CD1
01. Cirkus – 11:02
02. Pictures Of A City – 11:04
03. Formentara Lady – 7:14
04. The Sailor’s Tale – 5:30
05. The Letters – 8:05
06. Islands – 7:00
CD2
01. Ladies Of The Road – 6:52
02. 21st Century Schizoid Man – 24:55
03. Groon – 12:00
04. Mars – 10:11
Links in comments.
King Crimson – KCCC23 Live in Orlando (1972) (@256)
04 Aug 2008
(Review from progarchives.com)
Recorded on February 27, 1972 at the Kemp Coliseum; this performance took place one day after the Jacksonville concert. The sound quality of this (double) album is much better than the Jacksonville album and the playing is more inspired.
This incarnation is said to be more of a jam band and that may be true. That doesn’t mean however that they didn’t make some interesting, challenging music. Because they did. The jamming side is at its best in the jazzy rendition of Schizoid Man and in Earthbound. But this version of the band was also capable of more structured music, as in Cirkus.
Line-up:
* Boz Burrell – bass, lead vocals
* Robert Fripp – guitar, mellotron
* Mel Collins – saxes, flute, mellotron
* Ian Wallace – drums, vocals
Track List:
CD1
01. Pictures Of A City – 10:12
02. Formentera Lady – 8:24
03. The Sailors Tale – 6:57
04. Cirkus – 9:20
05. Ladies Of The Road – 6:07
CD2
01. Groon – 16:09
02. 21st Century Schizoid Man – 11:05
03. Earthbound – 6:31
04. Cadence And Cascade – 4:24
Links in comments.
King Crimson – KCCC18 Live in Detroit (1971) (@256)
30 Jul 2008

“Live in Detroit” was recorded at East Town Theatre, November 13, 1971.
Line-up:
- Boz Burrell / bass, lead vocals
- Mel Collins / flute, saxophone, mellotron
- Robert Fripp / guitar, mellotron
- Ian Wallace / drums, vocals
- Peter Sinfield / words, sound & visions
Track List:
CD1
01. Pictures of A City – 9:02
02. Formentera Lady – 9:08
03. Sailor’s Tale – 5:59
04. Cirkus – 9:14
05. Ladies of the Road – 7:54
06. Groon – 17:49
CD2
01. 21st Century Schizoid Man – 13:21
02. Mars – 13:22
03. In the Court of the Crimson King – 3:31
04. Lady of the Dancing Water – 2:25
Links in comments.
King Crimson – KCCC14 Live at Plymouth GuildHall (1971) (@256)
26 Jul 2008
Thanks to Bragi Taliesin for the contribution.
(Review from wikipedia)
Live at Plymouth Guildhall is a double live album, recorded at the Guildhall in Plymouth, UK on May 11, 1971. This concert was the fifth ever live performance by the Islands version of King Crimson. The CD release was adapted from the original soundboard tape, mixed by Peter Sinfield. An audience bootleg was added to repair the missing introduction to “Get Thy Bearings”.
“21st Century Schizoid Man” is sung by Boz with this line-up and his distorted voice sounds really demonic. It is surprising that a song like “Cirkus” (from Lizard) is performed on stage — it’s really tremendous that they would manage to re-create it on-stage, not losing it’s power, mystery and all the rest… Biggest surprise here is an early (pre-”Islands”) 15-minutes long version of “Sailor’s tale”, very different from the later one. We also have “Lady of the dancing water” and “Get thy bearings” (which is in fact rather an improvisation, with a slight hint to “get thy bearings”). Later on they delated “Get Thy Bearings” and played “Groon” instead. But in fact both are very free-form improves.
Line-up:
* Boz Burrell – Bass, Lead Vocals
* Mel Collins – Flute, Sax, Mellotron
* Robert Fripp – Guitar, Mellotron
* Ian Wallace – Drums, Vocals
* Peter Sinfield – Words, Sounds & Visions
Track List:
CD1
01. Cirkus – 10:08
02. Pictures of a City – 8:53
03. Sailor’s Tale – 15:32
04. The Letters – 4:48
05. Lady of the Dancing Water – 2:52
06. Cadence and Cascade – 4:24
CD2
01. Get Thy Bearings – 13:24
02. The Court of the Crimson King – 8:09
03. Ladies of the Road – 9:05
04. 21st Century Schizoid Man – 8:58
05. Mars – 9:12
Links in comments.
King Crimson – KCCC09 Denver Live at Summit Studios (1972) (@256)
21 Jul 2008
(Review from progarchives.com)
You can always rely on King Crimson to challenge your expectations, even in a 30-year old archive recording from arguably the least popular line-up of the band. If you only know this Crimson from their somewhat austere 1971 album “Islands”, prepare to have your eyes and ears belatedly opened, and better late than never.
At this point in the band’s history the signature King Crimson spirit of “energy, intensity, and eclecticism” had been all but reduced to just the eclecticism. But this live-in-the-station radio broadcast, recorded in Colorado during their final U.S. tour, offers a candid and surprisingly playful portrait of a group supposedly in disarray, and as a welcome bonus it sounds a heck of a lot better than the sub-bootleg concert tapes on the posthumous “Earthbound” album.
Forget everything you might have read about this being an unhappy quartet of mismatched talents, split by creative frictions: this set captures them in peak form and high spirits. Evidence of the informal nature of the gig can be heard in some of the goofy but affectionate banter between songs, including (in “My Hobby”) Ian Wallace doing his best Mr. Gumby impersonation, for an audience not yet acquainted with Monty Python (this from a drummer, keep in mind, who according to band biographer Sid Smith once performed for the goggle-eyed comedian Marty Feldman, while dressed as a duck).
Elsewhere the band’s enthusiasm (yes, even from the normally taciturn Fripp) must have been contagious, as more than half of their performance here was clearly unscheduled. The original four-song set opens with a tight, swinging variation of “Pictures of a City” (miles removed from the “21st Century Schizoid Man” similarity on the “Wake of Poseidon” album), and was meant to conclude with “Schizoid Man” itself, here in a more circumspect version played at a somewhat lachrymose pace, no doubt to accommodate the rookie bass guitarist.
But just as the studio host begins his closing acknowledgements and thanks, an irrepressible Ian Wallace starts a spontaneous drumbeat and the band kicks into another impromptu jam. “…Looks like we’re gonna get an encore”, drawls the DJ, and not for the last time that evening. There are at least two more false endings before the true final number: a long freeform arrangement of the Leon Thomas / Pharaoh Sanders composition “The Creator Has a Master Plan”.
The variable mix of this track suggests it might have actually been a pre-show microphone check. After 15 minutes the whole thing finally unravels (with unaccountable tape splices spoiling the continuity), but not before another surprise, when the upbeat melody suddenly breaks into a filthy blues riff, inspiring even Fripp to throw his guitar (all too briefly) into some unlikely sonic contortions.
The unexpected and wholly American blues-funk flavor of this line-up still doesn’t sit well with doctrinaire Crimheads, and was never quite to Fripp’s own taste either. The guitarist himself is often the odd man out here, but it’s fascinating to hear him beginning to move away from the jazzier sound of earlier King Crimson albums toward the harder, more aggressive style soon to reach fruition only a few short months later with the “Larks Tongues” crew.
Some tantalizing hints of that uncompromising musical future are already evident. At the end of the “Summit Going On” improv you’ll recognize what would become the opening motif to “Night Watch” and the guitarist can later be heard test-driving some of the white-lightning riffs of “Larks Tongues In Aspic, Part One”, almost daring the rest of the band to follow him.
Some of this show would later appear on the haphazard “Ladies of the Road” collection, but the entire set, warts and all, might go a long way toward rehabilitating the undervalued reputation of this Crimson. For diehard fans in particular, this album fills in the blanks of an only half-sketched and long neglected chapter in the ongoing King Crimson biography.
Line-up:
* Robert Fripp – Guitar, Mellotron
* Mel Collins – Sax, Flute, Mellotron
* Boz Burrell – Bass Guitar, Lead Vocal
* Ian Wallace – Drums, Backing Vocal
Track List:
01. Pictures of a City – 9:38
02. Cadence and Cascade – 4:46
03. Groon – 13:49
04. 21st Century Schizoid Man – 10:10
05. Improv: Summit Going On – 11:39
06. My Hobby – 1:31
07. Sailor’s Tale – 6:52
08. The Creator Has a Master Plan – 15:26
Links in comments.
King Crimson – KCCC02 Live at Jacksonville (1972) (@256)
15 Jul 2008
This concert was recorded at the Baseball Park, Jacksonville, Florida, USA, February 26, 1972.
Line-up:
* Robert Fripp / guitar, mellotron
* Boz Burrell / bass guitar, vocals
* Mel Collins / saxophone, flute, mellotron
* Ian Wallace / drums, vocals
Track List:
01. Pictures Of A City – 9:46
02. Cirkus – 9:08
03. Ladies Of The Road – 6:39
04. Formentera Lady – 10:21
05. The Sailor’s Tale – 14:05
06. 21st Century Schizoid Man – 10:28
Links in comments.
King Crimson – Ladies of the Road (Live 1971-72) (@256)
27 Jun 2008
(Review from progarchives.com)
While not perfect, this release offers a very correct-sounding of the “Island” album line-up of King Crimson.
Unsurprisingly, the track listing is mostly axed towards Island with touches into the first albums but rather sparsely. One of the biggest disappointments with this album is that the debut title track is only a 45 sec bluesy spoof, but a rare (and quite different than single or previous live version) of Groon makes this interesting.
The second disc is rather a curiosity of sorts but reserved for crimsonic monarchy absolutist since it has some 11 parts of Schizoid Man, mostly improvised parts. Interesting to a point, but rarely up for a regular spin in your deck unless you are a 21st Century Psychotic Man.
Line-up:
- Boz Burrell / bass & vocals
- Mel Collins / saxes, flute & mellotron
- Robert Fripp / guitar & mellotron
- Ian Wallace / drums
- Peter Sinfield / FOH sound & VCS3 on Volume One
Track List:
CD1
01. Pictures of a City – 8:46
02. The Letters – 4:42
03. Formentera Lady [Abridged] – 6:41
04. The Sailors Tale – 5:43
05. Cirkus – 7:58
06. Groon – 6:52
07. Get Thy Bearings – 8:33
08. 21st Century Schizoid Man – 8:57
09. In the Court of the Crimson King – 0:48
CD2
01. Schizoid Men I – 1:44
02. Schizoid Men II – 4:46
03. Schizoid Men III – 3:12
04. Schizoid Men IV – 5:15
05. Schizoid Men V – 6:22
06. Schizoid Men VI – 3:56
07. Schizoid Men VII – 5:13
08. Schizoid Men VIII – 3:18
09. Schizoid Men IX – 5:01
10. Schizoid Men X – 3:23
11. Schizoid Men XI – 11:42
Links in comments.
King Crimson – Red (1974) (@256)
15 Jun 2008
(Review from progreviews.com, vintageprog.com, wikipedia)
With David Cross’ exit from the band, King Crimson forged ahead as a trio, and produced this, the last album Crimson would make in the 70s. Red is often cited as the strongest of the three Larks’-era albums, and sometimes of King Crimson’s entire discography. Generally, here the band is consistently heavier in force and tighter in focus than ever before, with the departure of any remaining possibility for the violin line of abandon from Cross.
The first side is a juggernaut of solid musicianship and probably represents the most accessible and distilled album side for this era of the band. The title-track opens the album, and is as typical for this version of Crimson as it can get, consisting of a simple but yet powerful and heavy riff that carries the track all the way through. “Fallen Angel” is a strong vocal-track with the mellotron mixed very far back in the sound on the verse, while the chorus is a far heavier and more electric thing. “One More Red Nightmare” is another prime example of how Fripp could use a very simple riff to create a really powerful and enjoyable progressive rock track.
The masterpiece of Red, however, is doubtlessly the album’s closer “Starless”. It’s hard to find a more emotional, down-to-earth moment in Crimson’s repertoire than Wetton’s weary voice clutching for a ray of hope as it enters past the melancholic, mellotron-drenched opening: “Sundown, dazzling day…” The thunderous climax (in 13/8) and sweepingly powerful ending of the song closes the chapter on 70s Crimson like an unstoppable (and unforgettable) deluge.
Robert Fripp, increasingly disillusioned with the music business, was turning his attention to the writings of the mystic George Gurdjieff, and did not want to tour as he felt that the “world was coming to an end”. The Red line-up never toured, and two months before the album’s release Fripp announced that King Crimson had “ceased to exist” and was “completely over for ever and ever” and the group officially disbanded on late September 1974.
Line-up:
- Robert Fripp / guitars
- Bill Bruford / drums
- John Wetton / bass, vocals
with
- Mark Charig / cornet
- Mel Collins / soprano saxophone
- David Cross / violin
- Ian McDonald / alto saxophone
- Robin Miller / oboe
Track List:
01. Red – 6:17
02. Fallen Angel – 6:04
03. One More Red Nightmare – 7:07
04. Providence – 8:11
05. Starless – 12:18
Link in comments.
King Crimson – Earthbound (Live 1972) (@256)
12 Jun 2008
(Review from progarchives.com, progreviews.com)
The recording quality of King Crimson’s first live album is little better than that of a bootleg with distortion aplenty, indeed, the sleeve notes actually state that the recordings were captured on a stereo cassette! To be fair, the cassette recorder was plugged into the mixer (sound board), this is not a microphone recording.
Looking through the mist, we find five tracks in total. An 11 minute rendition of “21st century schizoid man” kicks things off, the substantial lengthening of the song being due to improvisations on guitar by Robert Fripp, and sax by Mel Collins. It comes off in many ways more gloriously snaggle-toothed and mind-melting than ever.
As is clearly evident in listening to “21st Century Schizoid Man” and “Sailors Tale”; Fripp, Collins, and Wallace as a unit were none the want for instrumental earthshaking. The title track really doesn’t sound that far off from Miles Davis from the Black Beauty or Live-Evil era, the bass line at one point virtually duplicating that of his “It’s About That Time.”
The album shines an interesting flashlight on this short-lived line-up, with some of the material on here standing entirely at odds from anything any other line-up in King Crimson ever tackled. The general folklore about this line-up pursued a path devoted to more down-to-earth jamming of the blues-funk variety.
Though it has some locatable charms for the interested, the album stands very much alone in the Crimson canon.
Line-up:
- Robert Fripp / guitar
- Boz Burrell / bass, vocals
- Mel Collins / alto, baritone & tenor, saxophones, mellotron
- Ian Wallace / drums
Track List:
01. 21st Century Schizoid Man – 11:38
02. Peoria – 7:22
03. The Sailor’s Tale – 4:49
04. Earthbound – 6:14
05. Groon – 15:32
Link in comments.
King Crimson – Lizard (1970) (@256)
11 Jun 2008
(Review from vintageprog.com, progarchives.com)
While still struggling (unsuccessfully) to keep a permanent line-up on the road, Fripp and Sinfield managed to keep KC busy on studio recording. Their constant (and at times conflictive) flow of creativity allowed them to bring out material for a third album, “Lizard”.
“Lizard” turned out to be their most ambitious early era work. The scores and arrangements are labyrinthine, which is to a large degree due to the heavy use of wind instruments and keyboards.
The album opens with the grandiose, mellotron-drenched “Circus” that leaves no doubt what band you are listening to, and a great way to open the record. “Indoor Games” is a lighter, almost pop-jazzy track with lots of good sax-work from Collins. Though the most original and interesting track on the first side is undoubtedly the quirky “Happy Family”. The arrangement on this track is extremely complex and chaotic, but the catchy melody of the song still makes it very structured all the way through. “Lady of the Dancing Water” is a short ballad that is a pleasant and nice song.
The 23-minute title-track remains King Crimson’s only sidelong suite. Jon Anderson makes a short guest-appearance here as he sings the melodic and harmonic opening theme of the piece. The rest of the suite is largely instrumental, and includes the beautiful and very jazzy “Bolero” that gets relieved by “The Battle of Glass Tears”. This part is early Crimson at their best and most typical, featuring heavy sax-riffs and lots of dramatic mellotron.
“Lizard” is an exciting album of strongly jazz-influenced symphonic progressive rock that never gets into fusion-territory, but instead creates its own sound and style.
Line-up:
- Robert Fripp / guitar, mellotron, electric keyboards & devices
- Mel Collins / flute & saxes
- Gordon Haskell / bass guitar & vocals
- Andy McCulloch / drums
- Peter Sinfield / words & pictures
with
- Robin Miller / oboe & cor anglais
- Mark Charig / cornet
- Nick Evans / trombone
- Keith Tippet / piano & electric piano
- Jon Anderson / vocals (5a)
Track List:
01. Cirkus (including Entry of the chameleons) (6:29)
02. Indoor games (5:39)
03. Happy family (4:25)
04. Lady of the dancing water (2:45)
05. Lizard (23:23)
a) Prince Rupert awakes
b) Bolero – The peacock’s tale
c) The battle of the glass tears
i) dawn song
ii) last skirmish
iii) Prince Rupert’s lament
d) Big top
Link in comments.
King Crimson – In the Wake of Poseidon (1970) (@256)
10 Jun 2008
(Review from vintageprog.com, wikipedia)
No matter how successful their debut was, King Crimson was a band close to a full break up in 1970. Ian McDonald and Michael Giles left to pursue a solo career. Greg Lake stayed long enough to complete the vocal-tracks for most of the songs of the new album before he went to join Emerson, Lake and Palmer.
Among the new members of the band were keyboardist Keith Tippett and the well-known saxophonist/flutist Mel Collins. Fripp’s another childhood friend, Gordon Haskell joined in to fill the void of Greg Lake — though he only sang on one track on their new album.
King Crimson’s second album is structurally and musically very similar to the debut, but that album was so good that we surely can take it a second time too! “Pictures of a City” is this album’s “21st Century Schizoid Man”, but with a funkier sax-riff and more float in the vocal-parts. The title-track is a really beautiful, mellotron-driven symphonic progressive rock track, and sounds like a cross of “Epitaph” and the title-track from the previous record. “Cadence and Cascade” is much in the same vein as “I Talk to the Wind” but the voice of new singer Gordon Haskell made it at least sound a little bit different.
The cheerful and jazzy “Cat Food” and the very sinister instrumental “The Devil’s Triangle” (based on “Mars” from Gustav Holt’s “The Planets”) are the only tracks where the band managed to do something that they already hadn’t done on the debut, and should be admired for just that.
Although the original of course is better, “In the Wake of Poseidon” is never the less among King Crimson’s best albums.
Line-up:
- Robert Fripp / guitar, mellotron, devices
- Greg Lake / vocals
- Michael Giles / drums
- Peter Giles / bass
- Keith Tippett / piano
- Mel Collins / saxes, flute
- Gordon Haskell / vocals (3)
- Peter Sinfield / words
Track List:
01. Peace – A Beginning – 0:50
02. Pictures Of A City – 8:02
03. Cadence And Cascade – 4:38
04. In The Wake Of Poseidon – 7:58
05. Peace – A Theme – 1:15
06. Cat Food – 4:54
07. The Devil’s Triangle (i. Merday Morn- ii. Hand Of Sceiron- iii. Garden Of Worm) – 11:36
08. Peace – An End – 1:53
Link in comments.
Bad Company – Burnin' Sky (1976) (@256)
29 Apr 2008
(Review from rollingstone.com, wikipedia)
Burnin’ Sky was recorded in July and August of 1976 but its release was delayed until March of 1977 as to not compete with the band’s then-current album Run With the Pack.
Although Burnin’ Sky is firmly slotted into the comfortable menace of Anglo blues-rock growl, some credit is due Bad Company for loosening up sufficiently to nudge the limits of hard-rock convention. While it’s less than a break-through in terms of songwriting or musicianship, Burnin’ Sky does sport a crisp, streamlined sound and a noticeable softening of the band’s synthetic macho posing.
The title track lays down all of the comfortable parameters: dramatic major-chord drone, “ominous” vocals and the spare, elemental thud of the rhythm section, which is less boomy this time around thanks to engineer Chris Kimsey. Mick Ralphs continues to play full, hard chords and simple solo lines, but his rhythm and fills are becoming more sophisticated, while the nearly constant use of a phasing device gives his instrument much more effective bite.
“Morning Sun”, which follows, provides the usual hard-to-soft contrast with a traditional lament built on an acoustic 12-string figure. Unfortunately, vocalist Paul Rodgers’ lyrics on this, “Leaving You” and the quasiphilosophical “Like Water” still tend toward the instantly forgettable. A master at the art of the faceless lyric, Rodgers fashions safe little modules of contemporary thought that are really little more than skeletal reference points for Rodgers’ husky melisma slides.
This functional view of lyrics short-circuits during the album’s most perverse track, the jam/dirge “Master of Ceremony”, a two-chord organ-guitar vamp redolent with the inevitable. This sortie is dominated by really embarrassing lyrics on brotherhood (“You can be a redneck Jewish man, that’s all right with me”) and a distorted, meandering sense of phrasing. And what a perfect defamatory touch to start off with a quote from “Mystery Train”, the sacrosanct Presley classic.
Tasteless as it is, it is tracks like “Master of Ceremony” and the charming reggae spoof “Everything I Need” that give Burnin’ Sky its spark. The humor may seem a bit forced at times, but at least they’re trying.
Line-up:
* Mick Ralphs – Guitar, Keyboards
* Paul Rodgers – Guitar, Accordion, Piano, Vocals
* Boz Burrell – Bass
* Mel Collins – Saxophone
* Tim Hinkley – Keyboards
* Simon Kirke – Drums
Track List:
01. Burnin’ Sky – 5:09
02. Morning Sun – 4:06
03. Leaving You – 3:23
04. Like Water – 4:19
05. Knapsack – 1:20
06. Everything I Need – 3:23
07. Heartbeat – 2:37
08. Peace Of Mind – 3:25
09. Passing Time – 2:30
10. Too Bad – 3:52
11. Man Needs Woman – 3:45
12. Master Of Ceremony – 7:13
Link in comments.
King Crimson – Islands (1971) (@256)
23 Sep 2007
(Review from progarchives.com)
‘Islands’, released in 1971 and was King Crimson’s fourth studio record. The band has changed a lot in the meantime and left only Robert Fripp and Pete Sinfield as original members, who signed all the tracks, but the two instrumentals together. From the more symphonic outfit of the beginnigs, the band moved into jazz rock with Mel Collins on sax, Boz Borrell on bass and lead vocals and Ian Wallace on drums, plus some guest artists from the jazz-rock field like Keith Tippet and Marc Charig. The overall athmosphere is the typical Frippish one of tension, threat and danger which he supports all through the record with his trashing biting guitar play, alternating with some sweeter passages.
‘Formentera Lady’ starts of slowly with a bowed bass, flute, piano and chimes and a first beautiful theme, alternating with a second theme over a funky ostinato bass line, that will later on be elaborated by guitar, mellotron, a sax solo and soprano vocallizes blending into….
‘Sailor’s Tale’, a syncopated up-tempo jazz instrumental with flute and sax , giving way to a slower heavy funk rhythm change over which Fripp plays thrashing razor blade chords and a threatening mellotron.
‘The Letters’ starts with a delicate guitar, a mournful melody, before the brass section and distorted guitar come crashing in, followed by a baritone sax solo and a second part with angry desperate vocals ponctuated by the guitar and an A Capella outro.
‘Ladies Of The Road’ starts a as a slow blues with guitar and tambourine, followed by a howling tenor sax and heavy drums until the chorus gives place to a Beatles like Barbershop vocal arrangement and a sax solo.
‘Gulls’ is a classical elegy for strings and oboe, a sweet melody played by the oboe over pizzicato strings.
‘Islands’ the title song presents a perfect balance of lyrics and music a masterpice of Fripp and Sinfield. A beautiful melody accompagnated by piano and flute and leaving place to a second theme played by cornet and a harmonium and then by mellotron and oboe. All the second half of the long track functions as a long outro over a distant and discret rhythm a cornet solo, harmonium and mellotron chords fading slowly out.
This vastly underrated album of King Crimson’s discography, is a great fusion of elements from their previous two albums mixing the lyrical style of “In the Wake of Poseidon”, and the orchestration and improvisation found on “Lizard”.
Line-up:
- Robert Fripp / guitar, mellotron, pedal harmonium and sundry implements
- Mel Collins / flute, bass flute, saxes and vocals
- Boz Burrell / bass guitar, lead vocals and choreography
- Ian Wallace / drums, percussion and vocals
- Peter Sinfield / words, sounds and visions
with:
- Keith Tippet / piano
- Paulina Lucas / soprano
- Robin Miller / oboe
- Mark Charig / cornet
- Harry Miller / string bass
Track List:
01. Formentera Lady (10:14)
02. Sailor’s Tale (7:21)
03. The Letters (4:26)
04. Ladies Of The Road (5:28)
05. Prelude: Song Of The Gulls (4:14)
06. Islands (11:51)
Link in comments.
Alan Parsons Project – Ammonia Avenue (1984) (@256)
07 Sep 2007
(Review from allmusic, wikipedia, progarchives.com)
One of the most interesting aspects about the Alan Parsons Project is the band’s ability to forge a main theme with each of its songs, while at the same time sounding extremely sharp and polished. Much of this formula is used in Ammonia Avenue, only this time the songs rise above Project’s overall message due to the sheer beauty of the lyrics partnered with the luster of the instruments.
Ammonia Avenue was originally intended to be released as a double album with their next album, Vulture Culture’s material forming the second record. The title of the album was inspired by Eric Woolfson’s visit to Imperial Chemical Industries (ICI) in Billingham England, where the first thing he saw was a street with miles of pipes, no people, no trees and a sign that said ‘Ammonia Avenue’. The album focused on the possible misunderstanding of industrial scientific developments from a public perspective and a lack of understanding of the public from a scientific perspective.
The enchanting saxophone of Mel Collins on “Don’t Answer Me” adds to its lonely atmosphere, while the briskness of Eric Woolfson’s wording throughout “Prime Time” makes it one of the Project’s best singles. On “You Don’t Believe,” the seriousness of the lyrics works well with the song’s energetic pace. The subtlety of the ballad comes to life on the elegant “Since the Last Goodbye,” which focuses on a failed attempt at a relationship. With Ammonia Avenue, the sum of the parts is greater than the whole product, which can’t be said for all of the Alan Parsons Project’s albums. Vocalists Eric Woolfson, Chris Rainbow, Lenny Zakatek, and Colin Blunstone equally shine, placing their talents above and beyond the album’s main idea.
Line-up:
- David Paton / bass
- Stuart Elliott / drums & percussion
- Ian Bairnson / guitars
- Eric Woolfson / keyboards
- Alan Parsons / fairlight prog.
- Mel Collins / saxophone
- Andrew Powell / orchestra arrangements and conduction
Track List:
01. Prime Time (5:03)
02. Let Me Go Home (3:20)
03. One Good Reason (3:36)
04. Since The Last Goodbye (4:33)
05. Don’t Answer Me (4:11)
06. Dancing On A Highwire (4:22)
07. You Don’t Believe (4:26)
08. Pipeline (3:56)
09. Ammonia Avenue (6:30)
Link in comments.
Philip Lynott – The Philip Lynott Album (1982) (@256)
18 Jul 2007
(Review from amazon)
In 1982 Lynott’s second solo album (again recorded with a lot of guest stars) was released.
“Old Town” is the major single off this record for good reason. It has that wistfulness that the best of Thin Lizzy is known for — a song about lost love, longing and rememberence. “Little bit of water” , “Cathleen” , and “Together” are other highlights. The album also included the “Top of the Pops” theme song version of “Yellow Pearl”.
Coupled with “Solo in Soho” this album is a good taste of Philip Lynott for the Thin Lizzy fan and people who have a passing interest in this fabulous songwriter.
Lynott also did some solo touring in support of his album.
Track List:
01. Fatalistic Attitude (4:31)
02. The Man’s A Fool (2:58)
03. Old Town (3:27)
04. Cathleen (3:34)
05. Growing Up (5:00)
06. Yellow Pearl (Top of the Pops Version) (2:58)
07. Together (3:39)
08. Little Bit of Water (3:35)
09. Ode to Liberty (The Protest Song) (5:48)
10. Gino (4:10)
11. Don’t Talk About Me Baby (4:30)
Link in comments.
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)
Link in comments.
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)
Link 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.
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)
Link in comments.
(Review from amazon)
(Review from progarchives.com)
(Review from vintageprog.com, wikipedia, progarchives.com)
(Review from progarchives.com)