Tramline - Somewhere Down The Line (1968)

Tramline was a hard-rocking blues-based quartet, not too different from Free and other guitar-heavy outfits of the late '60s,
and for a time even shared label affiliation with the latter band. Formed by John McCoy (vocals, harmonica),
Mick Moody (guitar), Terry Sidgwick (bass, vocals), and Terry Popple (drums).
Chris Blackwell plucked them from the club scene in 1968 and signed them to Island Records,
whence they began work on their debut LP, Somewhere Down the Line (with Blackwell producing).
The band made enough worthwhile noise to get some exposure on the BBC's Top Gear, hosted by John Peel,
but the album never sold in large numbers. Island wasn't done with them, however, and in 1969 a second LP,
Moves of Vegetable Centuries, was forthcoming, this time produced by the renowned Guy Stevens
and emphasizing Moody's guitar in the mix. It didn't do any better than the first album, however,
although one cut off the album, a cover of Traffic's "Pearly Queen," got a lot of exposure to the
underground press and in prog rock circles when it earned a place on the Island sampler album You Can All Join In.
The group had split by 1970, with McCoy and Sidgwick evidently leaving music behind while Moody passed
through Juicy Lucy and Snafu before achieving huge success with Whitesnake; Popple tagged along for a time in Snafu,
as well as working with Matthew Fisher and Alan Hull, and passed through the lineup of Radiator.
.
(info by CGR)
.
1. Harpoon Man
2. National Blues
3. Sorry sorry
4. Look Over Yonder Wall
5. Rock & Roll Woman
6. Somewhere Down The Line
7. Mazurka
8. Statesborough Blues
9. Killing Floor

Line Up:
John McCoy (vocals, harmonica)
Mick Moody (guitar)
Terry Sidgwick (bass, vocals)
Terry Popple (drums)

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Laing, Hunter, Ronson & Pappalardi - The Secret Sessions (1978)

FEATURING:
Corky Laing
WITH: Ian Hunter, Mick Ronson AND Felix Pappalardi

Plus special guest appearances by Eric Clapton, Dickey Betts, Leslie West, John Sebastian and Todd Rundgren

"This record is an assortment of secret sessions," says legendary drummer Corky Laing. "It was so secret that at one time the record company couldn't even find the tapes."   

Corky Laing, best known as the thunderous drummer behind the dense magnitude of rock icon Mountain needed something of substance to dig his teeth into. And in 1978 it came to him by way of Elektra/Asylum president Steve Wax, who approached Laing with an offer to create a superstar band of sorts, assembling the best of a working all-star line up. Wax suggested Laing give Ian Hunter (Mott The Hoople) a ring in an effort to pair the two and build a nest for song writing. The partnership proved productive, with the song "Easy Money" immerging as the first creation. Its lyrics reflected a loose observation of a society drenched in sinuous overindulgence - a time Laing openly refers to as the "Champagne and Credit Card days." 
  
 Rundgren's passion for harmonies had the entire band in the recording studio immersed in vocal calisthenics for days and nights at a time. Some of the secret session's songs sprang from conversations and meetings Laing had during his many years in rock and roll. "I remember one night in LA when Greg Allman came over to my hotel after an argument with Cher. He seemed pissed out of his mind and just kept repeating, the key don't fit that lock anymore." The humor of the incident was the inspiration for the song "The Best Thing."   
On another occasion, Laing was jamming with Paul Butterfield late one night when Butterfield started playing the song "Just When I Needed You Most" written by Randy Van Wermer. The secret sessions were eventually flown to Criteria Studios in Miami where they were engineered by Steve Klein. Pappalardi came along to lend a hand and was first to suggest using Leslie West. "When we called, he was ready to roll! He was so ripe; he played some of his best stuff almost to the point of excess", enthuses Laing. In addition to the secret sessions within, two bonus tracks appear on this album that were originally on Laing's first studio effort, "Makin' It On the Street". "On My Way To Georgia", a blues-y number written by Laing and Leslie West, hosted the star studded talents of Eric Clapton and Dickey Betts. A second number, "Growing Old With Rock and Roll" still remains one of Laing's personal themes. In his never ending pursuit of musical creativity, Laing has formed a band with former Spin Doctors' guitarist and writer, Eric Schenkman, who are recording a joint project under the band name Cork. 

"Silent Movie", a slow rocker, lyrically told the story of a high school relationship run amuck and confirmed the Hunter/Laing collaboration. To fill in the musical gaps, the two sent out a flood of calls in an effort to bring in added depth and top-notch talent. And it was Mick Ronson that made the perfect fit. The need for a bass player led to Laing calling up his old Mountain band mate, Felix Pappalardi. The superstar cast was now in place. The atmosphere in the studio soon became an open party jam with cases of beer and the thick haze of reefer stoking the album tracks. Laing admits, "Those were great sessions because there were no expectations." Midway through the band's recording, Elektra/Asylum changed upper management. Laing's budget was soon cut short. A new wave of heavy hitters were filling the record racks with names like The Cars and Elvis Costello. "The project was dropped like a bad transmission", says Laing. "We took a couple months off and regrouped in Bearsville, NY in the fall of 1978, which was an exciting place to be." Laing based his operation in Levon Helm's recording studio. To help out with vocals, Ian suggested a call go out to Todd Rundgren, living close by along a narrow wooded path, remember red by Laing as a real life "Sleepy Hollow".

2011 Petrock Records [Floating World Ltd.] FLOATM6 120

Tracklist: from 1978
01. Easy Money    
02. Silent Movie - (with John Sebastian)    
03. I Ain't No Angel    
04. The Best Thing - (with Todd Rundgren)   
05. I Hate Dancin'    
06. The Outsider - (with Todd Rundgren)   
07. Just When I Needed You Most   
08. Lowdown Freedom

Bonus tracks from 1977:  
09. On My Way To Georgia - (with Eric Clapton/Dickey Betts) 
10. Growing Old With Rock 'N' Roll

Line Up:

Corky Laing - vocals, drums
Ian Hunter - vocals, keyboards
Mick Ronson - guitar, backing vocals
Felix Pappalardi - bass, backing vocals

Leslie West - guitar on tracks 4, 6 & 8
John Sebastian - harp on track 2
Todd Rundgren - organ, backing vocals on tracks 4 & 6
Eric Clapton - guitar on track 9
Dickey Betts - guitar on track 9

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>***<

Tracy Nelson-Victim of the Blues (2011)

 
Tracy Nelson - Victim of The Blues (2011)
BluesAbout.com Rating 4 Star Rating

From Steve Pick,

Part of the first generation of young whites who looked to the blues for inspiration, Tracy Nelson began her recording career 47 years ago. Her band Mother Earth was part of the San Francisco psychedelic scene, and she has recorded country, rock, blues, and soul, not to mention various combinations of these genres. Her rich, husky alto has retained its expressive power all along the way. Tracy Nelson is one of America’s greatest vocalists.
Tracy Nelson's Victim Of The Blues

After releasing You’ll Never Be A Stranger At My Door, a collection of country and western covers back in 2007, Nelson decided to revisit her blues roots for this new album. After assembling a first-rate band – including Nashville-based blues-rock guitarist Mike Henderson; long-time session fave keyboardist Jimmy Pugh (you’ve seen his name on albums by Robert Cray, John Lee Hooker, and Chris Isaak); bassist Byron House, currently of Robert Plant’s Band of Joy, and who has worked with Jorma Kaukonen and Sam Bush; and Nashville session drummer extraordinaire John Gardner (credits include Dixie Chicks, Willie Nelson, Phoebe Snow, and dozens more) – Nelson put them to work on a terrific selection of mostly Chicago blues-based old favorites. Producer Mike Dysinger does a masterful job, getting a sound where the snare drum snaps, the acoustic bass resonates through the wood, the guitar crackles, the organ breathes, and Nelson’s vocals are clear and present.

Two Howlin' Wolf covers are included. “You’ll Be Mine” emphasizes the love and tenderness that was always implicit in Wolf’s original underneath all his dangerous bluster. Nelson lets the melody soar over Pugh’s tinkling piano and rigidly enticing guitar from Henderson. The latter’s solo burns particularly hard here. For “Howlin’ For My Baby,” Nelson invites her old friend Angela Strehli for a duet. Again, Henderson is pitch-perfect, using insinuating guitar chatter to hint at the sexual aggression Wolf put at the forefront. On the chorus, Nelson’s voice is almost as powerful as Wolf’s.
Jimmy Reed's Honest I Do

The other artist to earn two covers is Jimmy Reed – Nelson’s liner notes explain that she lost her virginity to “Honest I Do,” so she must pay tribute. For “Shoot My Baby,” Marcia Ball guest stars on piano and harmony vocals. You can tell Nelson is having a blast singing this which, in the hands of a female singer, stands with the Dixie Chicks classic “Goodbye Earl” as a joyous tale of revenge on the traitorous male. “I Know It’s A Sin,” like several other cuts here, benefits from the gospel-based harmony and call-and-response backing vocals provided by Vicki Carrico, Reba Russell, John Cowan, Terry Tucker, and James “Nick” Nixon.

The title track comes from a Ma Rainey number that Nelson only recently discovered. Henderson plays something billed as a banjolin, which presumably is a mandolin with banjo strings, and which sounds eerily evocative of some long-lost time outside the actual recording of blues. Nelson clearly loves the old diva blues songs of the 1920s, and she wrings every possible nuance out of this gem. Nelson is a master of dynamics – she can sing louder and with more oomph than just about anybody, but she loves to hold back and just raise the roof when it most perfectly matches the mood of the lyrics.
Muddy Waters' One More Mile

“One More Mile” is an even better example of Nelson’s way with delivery. This Muddy Waters slow blues, which she learned from an Otis Spann record, is a song about enduring suffering because of the hope for redemption which is just around the corner. Backed by the male gospel harmonies of her singers, Nelson eases into the tale, gliding into certain syllables which must be emphasized to increase the meaning of the words. Henderson’s guitar matches her, too – his solo starts with a repeated single note played for several bars as if it can’t escape its fate before it suddenly breaks free with the promise of greater experience. Nelson sings the final verse loud and lean with the expectation that her man is finally coming home.

Nelson does such a great job of picking songs. Percy Mayfield’s “Stranger In My Own Home Town” is a sad tale of mysterious rejection; Nelson sounds confused and lonely, but determined to get through this depth. Joe Tex’s classic early-1960s soul gem “The Love You Save (May Be Your Own)” allows Nelson to nail the sense of determination in the face of his past hurts, and the desire to give advice to prevent others from making the same mistakes. She gives such a clinic on how to inhabit a lyric with this song, how to save her powers for the perfect moments rather than starting off belting out at the top of her lungs. It should be required listening for every contestant (and judge) on American Idol.

“Lead A Horse To Water” is a wonderful soul song which Nelson thought had to be an obscure oldie but which turns out to be by contemporary songwriter Earl Bridgeman. Nelson brings all her experience to the line, “I never said that I know it all but I’m wise beyond my years,” setting up the painful realization that “You can lead a man to knowledge but you can’t make him think.” Pugh and Henderson drench their instruments in reverb which adds to the entrancement of the recording.
Steve's Bottom Line

Tracy Nelson makes absolutely no wrong moves in this stunning return to the blues of her youth. Victim Of The Blues is one of those records that instantly displays its warmth and pleasures, and then slowly reveals even more depth of emotion with each listen. After all these years, Nelson has only improved in her ability to express her passionate love for the blues. (Delta Groove Music, released April 19, 2011)

---------------------------------------------
Victim of the Blues finds Nelson fully embracing her blues and gospel roots on an inspired program of material that features songs by Jimmy Reed, Otis Spann, Howlin' Wolf, and Ma Rainey, along with appearances by special guests Angela Strehli and Marcia Ball.


Tracklist:

01. You'll Be Mine
02. Lead A Horse To Water
03. Shoot My Baby
04. I Know It's A Sin
05. Victim Of The Blues
06. Howlin' For My Baby
07. One More Mile
08. Stranger In My Own Home Town
09. The Love You save
10. Feel So Bad
11. Without Love

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>***<

Manuel Gottsching-Inventions For Electric Guitar(1970)

5.0 out of 5 stars Ash Ra Tempel - 'Inventions For Electric Guitar' (Spalax) 
By Mike Reed VINE™ VOICE

Originally released in 1975, rather this be a Manuel Gottsching solo title, or an actual Ash Ra Temple album, I loved what this CD has to offer. Though it may be somewhat over my head, I was quite impress with this piece. Couldn't get enough of the trance-guitar 'gem' {sort to speak} "Echo Waves" (17:45), the smoothly played "Quasarshere" (6:34) - is Gottsching paying tribute to Robert Fripp or what? and the awesome "Pluralis" (21:36). Maybe a bit diiferent than the very early Ash Ra Tempel goodies like their self-titled debut, 'Seven Up' and 'Join Inn', but still a listening experience. Highly recommended.
_____________________________

5.0 out of 5 stars Flawless!!!!!!!! 
By shadowmaster

No keyboards just the magic of Gottchings electric guitar, you can hear thousands of sounds from his 6 string gadget and unbelievably succesful. Even the guitar sequencers are pulsating. If you think these are just tape loops and sounds of like an electric saw that is a Fripp trademark, well you are mistaken, this is like baumann and schmoelling tangerine dream- heavy, angry and rocking!!

___________________________________


 5.0 out of 5 stars Manuel Gottsching "MASTERWORK", 
By
Eddie O. Phillips 
   

This is a very wonderful recording by one of the pioneers of early german progressive music.Manuel had worked with Klaus Schulze earlier on and I think personally they really feed on each other as Lennon and Mccartney had done with the Beatles.This music is for relaxing and turning off your mind to meditate to your own desire with the music setting the atmoshere. I have heard a lot of music and this has some of the most ethereal moments that i have ever heard. I do wish that Manuel would remaster and put out the 6 disc set of the Private tapes at a resonable price this would give eveyone a good listening experience. The cd The new age of earth should not be overlooked.
**************************************

more info here: http://www.psychemusic.org/Germany.html

Track Listings
1. Echo Waves
2. Quasarsphere
3. Pluralis 

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>***<

Groundhogs - Groundhogs Night Live (1994)[2CD set]

---

Live, released in 1994 

Editorial Reviews
Full title, Groundhog Night-Groundhogs Live. UK only 18-track double-disc release. Talking Elephant Records. 2006.
*******************************************
 ..../....re-formed Groundhogs live in concert in the 1990s. The sound is very heavy, and heavily electric, with amplification more suited to late 1960s/early 1970s arena rock than mid-1960s blues-rock. Thus, the covers of standards like Muddy Waters' "Still a Fool," "No More Doggin'," and "I Want You to Love Me," and Willie Dixon's "Shake For Me" won't be to every taste, although McPhee's own established showcases, such as "Split Pts. 1 and 2" and "Thank Christ for the Bomb," fare reasonably well, and we even get a pleasing, restrained run through of "Groundhog Blues."

Tracks Listing

Disc 1:
1. Shake for Me (3:36)
2. No More Doggin' (7:37)
3. Eccentric Man (5:01)
4. 3744 James Road (6:56)
5. I Want You to Love Me (4:54)
6. Garden (5:32)
7. Split, Pt. 1 (8:06)
8. Split, Pt. 2 (8:00)

Time 49:42


Disc 2:
1. Still a Fool (8:15)
2. I Love You Miss Ogyny (5:46)
3. Thank Christ for the Bomb (3:00)
4. Soldier (4:15)
5. Mistreated (7:17)
6. Me and the Devil Blues (4:14)
7. Cherry Red (12:22)
8. Groundhog Blues (4:01)
9. Been There, Done That (3:20)
10. Down in the Bottom (5:52)

Time 58:22

Total time 108:04

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>***<

Tasavallan Presidentti - Lambertland 1972

5 stars Stuart Nicholson's excellent book "Jazz Rock: A History", has only a few faults, one of which is its too abbrieviated history and analysis of the European jazz rock scene. One or two clues to what has been omitted, will be found from listening to this record. Tasavallan Presidentti are one of those seemingly obscure bands who contributed to jazz rock's development. Even so, they were briefly popular in the UK because of "Lambertland".

Sonet distributed the vinyl version in the UK around 1973, with a sticker on the cover, stating "....Tasavallan Presidentti are a tidied up Traffic...". As selling aid, it told the potential buyer more about the band's earlier albums and much less about the music here. With "Lambertland" TP had developed well beyond the jazz-tempered, psychedelic rock of Traffic, and produced this minor classic of fusion. This is jazz fusion that evolved in the typical European way: rock musicians taking in jazz influences (cf. much of American jazz rock was jazz musicians taking on board rock rhythms and electrification). Let's examine one of my all time favourite jazz rock tunes, as a an example of this album .

'The Bargain' is a rock tune that within a few bars has become jazz. Fade up an urgent drum shuffle, quickly sax and wah wah guitar overlay the drums, provided by Jukka Tolonen and Pekka Pöyry respectively - both as solo musicians nowadays have reputations equal to Jan Akkermann - at least amongst those who know their albums. Then a beautiful interplay of guitar with sax, giving a call and response with the vocalist. The lyrics are well sung in English beit in the blue rock style of the period - a lesson learned from fellow Finnish musicians Wigwam; if you want to break the British and US market sing in English. Lines of verses initially sound disconnected - but listen well these are words about shoe-shine boys, bargains, street hustle. This upbeat tune lingers long in the memory and for me, simply has stood the test of time, as does all this album.
---------------
4 stars After TP's second album (not the one with Pekka Streng), it became clear that their vocalist Frank Robson would not continue as the leading vocalist. This eventually lead to the fact, that Eero Raittinen joined the band. While I still don't quite understand why - his voice is considerably more suitable for a blues outfit - it did help this album to become a totally unique item. His voice is generally seen as the worst part of this album, but nowadays it's pretty much impossible for me to imagine anyone else singing here. As for the music, well, it's mostly brilliant. Jukka Tolonen was at the top of his game in 1971-1973, his inspired guitar playing is nothing short of spectacular. It's futile and pointless trying to compare Tasavallan Presidentti to anyone, but it seems I'm doing it anyway. Imagine Soft Machine on stage with the guys from Colosseum joining in, and add a rough, bluesy vocalist singing with a bizarre accent to the mix, and you'll have a slight idea of what this sounds like. Pekka Pöyry on flute & sax gives his own special touch to the album - his flute playing is often soft and gentle, but the man is no slouch with the saxophone either. Don't get me wrong though, Lambertland is ultimately a pretty raw and wild album - you won't find anything similar to the "slicker" and slightly over-produced approach of Return To Forever and Weather Report. All in all, when it comes to "primitive" jazz-rock, it rarely gets any better than this. Lambertland is not a perfect album by any means, but it's more than worthy of the price tag. 4,5 stars

Just a quick note to say that TP's other albums are very dramatically different to this effort - not as progressive, not as good.
-------------------------



Tracks:
1. Lounge
2. Lambertland
3. Celebration Of The Saved Nine
4. The Bargain
5. Dance
6. Last Quarters
Bonus Tracks:
7 - Selvä näkijä
8 - Sisältäni Portin Löysin

Musicians:

- Jukka Tolonen / guitar
- Eero Raittinen / vocals
- Pekka Pöyry / saxophone, flute
- Måns Groundstroem / bass
- Vesa Aaltonen / drums
Releases information

LP: Love Records LRLP 60 (1972) / CD: Love/Siboney LRCD 60 (1990) and 2010!

LOG

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:>***<

Wishbone Ash - Living Proof (Live In Chicago) 1992

Live, released in 1992

LIVE IN WINDY CITY (USA 1992) (AKA "LIVE IN CHICAGO & LIVING PROOF)

(extrait from review progarchives.com)

4 stars My kind of... live album

This 1992 set has been re-released a number of times under slightly different titles, but in every case the tracks are identical. The line up has the classic twin guitars of Ted Turner and Andy Powell supported by Andy Pyle (bass) and Ray Weston (drums). This would be Ted's last appearance on an album by Wishbone Ash.

For those hoping to hear a succession of songs from the band's early years, the set list will be something of a disappointment. On the plus side, there are three tracks from the legendary "Argus" (perhaps predictably "The king will come", "Throw down the sword" and "Blowin' free") but apart from those the oldest track is "Living proof" from 1980's "Just testing". Other than those four songs, the set list focuses on Wishbone Ash's then latest releases "Nouveau Calls" (1987), "Hear to hear" (1989) and ""Strange affair" (1991).

The sound quality is best described as adequate, the bass being too up front in the mix, dominating the proceedings throughout. The vocals on the other hand sound a bit feint and suffer from unintended echo. It is a pity really, as the band's performance is excellent throughout, with fine vocal harmonies and of course truly top rate guitar work.

After the crowd pleasing opener, a slightly extended version of "The King will come", the band introduce a couple of tracks from their then latest album "Strange affair". Both of these ("Strange affair" and an extended "Standing in the rain") are rollicking affairs, the latter including some particularly excellent lead guitar. There seems to be some unaccredited keyboards on these tracks, the following "Lost cause in paradise" also opening with what appeared to be sampled sounds.

"Throw down the sword" is naturally a highpoint in mid-set, the following "In the skin" from the instrumental album "Nouveau Calls" (get it? - No vocals) being substantially extended from its studio counterpart through improvisation. Likewise, "Why don't we" (from "Here to hear") is given a spirited 8 minute run through, the twin guitars offering wonderful echoes of the past.

As we approach the conclusion of the album, a third track from "Argus", "Blowing free" is dusted off and given an 8½ minute workout. The song has lost none of the energy it had when it first appeared, indeed this version may well be the definitive live rendition. The album closes with "Living proof" from "Just testing", a track which appears to be a live favourite but which leaves me rather cold.

In all though, this is a superb live album featuring the classic twin lead guitars of Wishbone Ash. The track list may be largely unfamiliar to those who lost the band after the mid 1970's, but the songs here are all worthy of the Wishbone Ash name, and indeed many benefit from exposure to the live environment.



Tracks:

1. The King Will Come (7:18)
2. Strange Affair (5:36)
3. Standing In The Rain (6:13)
4. Lost Cause In Paradise (4:57)
5. Keeper Of The Light (3:42)
6. Throw Down The Sword (6:03)
7. In The Skin (8:33)
8. Why Don't We (7:55)
9. Hard Times (4:54)
10. Blowing Free (8:29)
11. Living Proof (5:25)

Total time 69:05

Musicians:

- Andy Powell / Guitar and vocals
- Ted Turner / Guitar and vocals
- Andy Pyle / Bass
- Ray Weston / Drums

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>***<

Zzebra - Panic (1975)

ZZebra play a varied blend of progressive rock, jazz, African rhythms and fusion, performed by an outstanding line-up of musicians. The intensity and passion with which the band plays is inspiring, and while I may not totally love every bit of it, generally the music is extremely high quality, so I hope this review might encourage some others to look into tracking a copy down. I find this album far superior to the debut album, which has a much higher profile and seems to be considered the better of the two.
-------------------
By 1976, and the release of their second album, Panic, they had reinvented themselves into an altogether more sanguine outfit. Yeadon and Smith had left the band, replaced by keyboard player, Tommy Eyre and guitarist Steve Byrd. Joining them was vocalist Alan Marshall (later to appear on Alan White’s 1976 solo album, Ramshackled). The group are still doing what straight songs but there’s a greater maturity in the lyrics and Marshall’s soulful delivery on the hit-and-run funk of Put A Light On Me is hard to argue with.

Eyre’s Death By Drowning creates an tonally ambiguous world from Fender Rhodes fade-ins, subtle use of synth and a ghostly soprano sax accompaniment from Quincy. Though short, it’s richly impressionistic comparing well to the early duets of Zawinul and Shorter.

The instrumental version of You’ve Lost That Loving Feeling may be a touch smooth for some tastes but it’s another seductive Fender-Rhodes fest with chords ebbing and flowing from speaker to speaker. Steve Byrd’s superbly spiky acoustic guitar solo ensures the track avoids being too sentimental for its own good. Just 17 years old at the time of recording, Byrd gives an excellent account of himself with cutting embellishments on La-Si Si-La So So and biting additions to the anthemic Liamo.

Brimming with confidence and a sense of purpose, Panic is the most coherent and cohesive of the two first albums they released and the one by which Zzebra should be judged.

Cd reissue: Disconforme DISC 1955 CD  [1999]
 
Tracks Listing

1 Panic 4:34
2 You've Lost That Lovin' Feeling 6:10
3 Karrola 3:59
4 Liamo 5:54
5 Death by Drowning 2:58
6 Tree 6:01
7 Put a Light on Me 4:59
8 La Si Si - La So So 5:12

Musicians


Loughty Amao - percussion, sax, flute, vocals
Liam Genockey - drums, vocals
Dave Quincey - sax
Terry Smith - guitar
Steve Byrd - guitar
Tommy Eyre - keyboards, flute, vocals
Alan Marshall - vocals
John McCoy - bass 

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>***<

The Mermen - At The Haunted House (1995)

genre:Pop/Rock
styles: Instrumental Rock, Surf Revival

From the opening salvo of "Pull of the Moon"'s hellaciously swirling guitar riff, the Mermen's Live at the Haunted House reveals itself as an atypical live record. Culled from a series of frequent appearances between 1991-1994 on Phil Dirt's surf show (broadcast on Los Altos Hills, CA's KFJC-FM), this 74-minute tour de force captures all the majestic reverb, lovely tonality, and loose humor that made this San Francisco trio cult favorites in the mid-'90s. As if acknowledging its unusual, live-in-the-studio limitations, Live at the Haunted House contains seven numbers never released on Mermen studio albums -- including the perennial showstopper "Casbah," on which guitarist Jim Thomas uses his whammy bar as a virtual finger trampoline. "Slo Mo HVO" is shorthand for the band's wonderfully languid take on the "Hawaii Five-O" theme, while "Quiet Surf" and "Gulch of Spleens" (an original song unavailable elsewhere) each pulse with reserved sway. Finally, there is "The Whales Are Coming and Boy Are They Pissed," a meaty sloppy joe of surf standards, classic rock staples, Yiddish traditionals, and American show tunes. Bits of "Miserlou," "Paint It Black," "Hava Nagila," and "America" all provide high points throughout the track's 11 minutes and 32 seconds, none of which are as nutty as exhausted drummer Martyn Jones' faint screams of "Hurry up!" before the marathon medley's raging coda. Other feathers in Live at the Haunted House's cap are the updated versions of two songs from the band's distortion-free 1989 debut, Krill Slippin': "Lonely Road (Krill Slippin')" and "Splashing With the Mermaid"; each brims here with additional warmth. Contrarily, the five songs that also appear (in different versions) on Food for Other Fish seem peripheral to the cause at hand; the apparent thrust of this album is to showcase songs unavailable elsewhere. Keeping that in mind while not expecting a live best-of set is perhaps the best way to enjoy this quirky, yet ultimately essential Mermen collection.
------------------

Tracklisting:

     1. Pull Of The Moon (feat. Desperately Seeking Mandy, Brandy, Amber & Sam)    12:34    
     2. Honeybomb    6:09    
     3. Lonely Roard (Krill Slippin)    3:38    
     4. Casbah - America    5:06   
     5. Into The West - Be My Noir    10:45    
     6. My Black Bag    5:45    
     7. Gulch Of Spleens    3:40    
     8. Quiet Surf    2:49    
     9. The Whales Are Coming & Boy Are They Pissed    11:32   
   10. Unknown    2:22    
   11. Splashing With The Mermaid    3:30    
   12. Penetration    3:15    
   13. Slo Mo HVO    2:42    
 
     Time :73:46

Line Up:
Martyn Jones     Drums
Jim Thomas     Guitar
Allan Whitman     Bass

Led by guitarist Jim Thomas, and supported by Allen Whitman on bass and Martyn Jones on drums, the Mermen are a San Francisco surf-rock trio formed in 1989 and considered to be part of the “3rd Wave” of instrumental surf music, which is loosely associated with the 1994 Quentin Tarantino film Pulp Fiction for including two Dick Dale songs in its soundtrack.

more info:
http://www.totallyguitars.com/thelisteningpost/the-mermen/

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>***<

Stretch - You Can't Beat Your Brain For Entertainment 1976

Elmer Gantry’s actor friend Richard O’Brien (who wrote the ‘Rocky Horror Show’) conceived the thought-provoking album title, and this was the second Stretch album of 1976 vintage. It shows just how much good music was produced by many British bands that tended to get overlooked in their time.

The material for 'You Can't Beat Your Brain For Entertainment’ was written while the band was on the road and includes ten slices of solid, soulful rock with a great R&B edge.
(http://www.repertoirerecords.com/artists/stretch/you-cant-beat-your-brain-for-entertainment/)



Genre: Rock
Style: Blues Rock, Classic Rock
℗ 1976 Anchor Records
© 2006 Repertoire Records West Germany 
The package is embedded unfolding sheet with information about the band and track listing.

Tracklist:

1. Fixin' to Die
2. If the Cap Fits
3. Way Life Is
4. That's the Way the Wind Blows
5. Hold up the Light
6. Can't Get Enough
7. Hold On
8. Put Your Hands Up
9. Love's Got a Hold on Me
10. Feelin' Sad

Duration 39:00

Line Up:



    Bass Guitar, Backing Vocals – Steve Emery 
    Drums – Jeff Rich
    Lead Guitar, Acoustic Guitar, Slide Guitar, Backing Vocals – Gregory Kirby
    Lead Vocals, Electric Guitar, Backing Vocals, Harmonica – Elmer Gantry

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Zager & Evans - 2525 (Exordium & Terminus) + Zager & Evans (1969)

Editorial Reviews
Zager & Evans had a # 1 hit with "In The Year 2525" in 1969. The album containing that hit, 2525 (Exordium & Terminus), reached # 120 on the Billboard charts that same year. We now combine that album with their second eponymous album, Zager & Evans.

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4.0 out of 5 stars FINALLY ! 
By Jim Z VINE™ VOICE

Well gang , here it is. A "legal" release of these (sadly) one-hit wonders of the 60's. "In The Year 2525" is , of course , the high point of this duo's output , but there is so much more to discover , or in my case , revisit than just that one classic song.
Having owned the original vinyls for many years , I have been forced to listen to pops and clicks for far too long. The releasing label has issued quality product for many a year , and I was comfortable that this would be up to their usual standards.
I'm glad to report that it is.
Although the liner notes are non-existent , it is all about the music here. Some of the selections are dated (and humorous to listen to now) , but both albums are full of finely-crafted and performed songs.
If you are a fan of 60's folk / semi-psych music , you will be pleasantly rewarded with this release. ENJOY!
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 5.0 out of 5 stars Finally! Zager & Evans two classic albums make it to cd!, January 15, 2013
By
Karl Anderson "Global Recording Artists" (San Francisco) 

This review is from: 2525 (Exordium & Terminus)/Zager & Evans (Audio CD)
Finally we see 2525 and Zager & Evans make it to CD. Zager & Evans is only remembered for the classic hit 2525 but if dig deeper and give these two albums a chance I think you will be pleasantly surprised. Granted 2525 is the strongest cut on the two LP's there is still plenty of fertile ground to enjoy on both albums. This is it for Zager & Evans. Danny Zager started a guitar company after these two albums and makes great guitars still to this day. Very nice remastering on it. Two very rare albums from the 60's finally make there appearance on CD! Pick this one up and enjoy some lost gems from the 1960s.
_______________________________________________

Track List:

1. In the Year 2525 (Exordium Terminus)
2. Woman
3. Bayoan
4. I Remember Heide
5. Fred
6. Cary Lynn Javes
7. Less Than Tomorrow
8. Taxi Man
9. Self
10. In the Land of Green
11. Overture
12. In My House
13. During Rem
14. Reginald Ludwig
15. The Plastic Park
16. The Candy Machine
17. Mister Turnkey
18. She Never Sleeps Beside Me
19. Cruches
20. Listen to the People 

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Embryo - Turn Peace (1989)

Peter Michael Hamel, Roberto Detree and Christian Burchard are now so far apart that hardly anyone remembers: they started off together in 1967 at the “Song Parnass” in Munich -each moving in his own direction. Christian built up Embryo, Roberto from Brasil created his own idea of latin-american music and Peter wrote “Kassandra” and “Organum” and made compositions which are still disconcerting for the established avantgarde of Donaueschingen and Darmstadt (avantgardistic and establishment are no contradiction in those places). It is both revealing and quite moving to hear how much the three had to communicate when they got together for Embryo’s Twentieth. Back in 1967/68 Christian Burchard was the vibraphonist of Mal Waldron, the pianist who played with Billie Holliday and John Coltrane and who at least the Japanese recognize for the great musician he is. Just how good the Mal-Chnstian alliance still works can be heard on this record. It is a pity that the other great American musician who was involved in the Embryo evolution – Charlie Mariano – is not to be heard on the record. But in a way he is: when Roland Schaeffer plays the nagasuram, an oboe-like instrument that Mariano studied for years in South India (and so often played with Embryo), you think on hearing Mariano himself, until you realize that it is Roland playing in his own special way – more independent and technically superior. Of course Embryo’s important countries are represented on this record. Marocco by El Houssaine Kill, Nigeria by the Yoruba Dun Dun Ensemble of Lamidi Ayankunie and his friends and India by T.A.S. Mani with his College of Percussion.

The Gimbri, a sort of primitive bass, is played by Houssaine, a Berber. Initially, the playing technique is from Gambia and non other than Jimi Hendrix was influenced by it. The Dun Dun is called piano of the Yorubas and that is how Lamidi plays it, as if it was no drum but a key instrument with a sound range of more than an octave. Erin is the name of the village where the three Nigerians come from and the recording was made in Constance, Germany, so that is the reason for the title “Erin in Constance”.

And the Karnataka College from Bangalore with its incredible intricate yet smoothly interwoven rhythmic layers and lines, is simply one of the world’s most perfect percussion groups and schools -as can be heard in “Rama’s Seven”. If you could hear Kali, the great Indian godness, mother of fire, death and life, I imagine she would sing just like Rama Mani. And there is another point that has to be made: if Christian Burchard and the Embryo musicians had made us aware of only the Karnataka music we should he greatful just for that but they have done the same for us with musicians from all over the world.

I think there isn’t even a group in America that lives World Music like Embryo. It can only be played if you live it, together with the musicians in their own countries and cultures. Those who think they can do without end up sooner or later playing canned music, where World Music has often lead to. That is the reason why I do not wish Embryo a further twenty years. But an Embryo of the Nineties is what I would like for myself and for the numerous friends of the group throughout the world and above all for Embryo themselves!

(Review from spacelook.de)

Studio Album, released in 1989

Tracks Listing

1. Marque's Song (7:03)
2. Velly Velly Good (9:52)
3. Pang (3:02)
4. Rama's Seven (5:25)
5. Govinda (3:24)
6. Abdul (4:16)
7. Präperierte 20 Jahre später (11:01)
8. Erin in Konstanz (3:08)
9. Hob Ou Salam (8:18)
10. Barks (3:39)
11. Lonely Nights (13:10)

Total Time: 71:18

Musicians

- Ojetunde Ajayi / vocals (8)
- Rabiu Ayandokun / dun dun drum (8-9)
- Lamidi Ayankunle / bata drum (8)
- Hermann Breuer / trombone (6)
- Roman Bunka / oud, guitar, bass (1 to 5), 11)
- Christian Burchard / drums, vibes (1-2-4 to 8, 10-11)
- Paolo Cardoso / bass (6-10-11)
- Roberto Detrée / guitar (7)
- Julius Golombeck / guitar (8)
- Geoff Goodman / guitar (3-6)
- Gerlad Hartwig / percussion (3)
- Peter Michael Hamel / prepared piano (7)
- Edgar Hofmann / saxophone (10)
- Chris Karrer / guitar (8)
- El Houssaine Kili / gimbri, vocals (9)
- Marque Löwenthal / piano (1-2), keyboards (5)
- Rama Mani / vocals (5)
- T.A.S. Mani / mridangam (5)
- Paramashivam Pilai / tavil (1-2-3)
- Larry Porter / piano (3)
- Allan Praskin / saxes (3-6-10)
- Locko Richter / bass (2)
- Dieter Serfas / drums (5-6-8-10-11)
- Roland Schaeffer / nagasuram (1-2)
- Michael Schöne / bass (1-2)
- Shashikumar / mridangam (5)
- Ramesh Shotham / tavil (5)
- Abdul Wahab / percussion (6)
- Mal Waldron / piano (6-10-11)
- Monty Waters / Alto saxophone (6)

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Mahavishnu Orchestra - Unreleased Tracks From Between Nothingness & Eternity(1973)

5.0 out of 5 stars Surprise! 
By W. T. Haight II
Amazon Custower;
Shame on Columbia records for keeping this hidden for 40 years. They seem to have a fetish for this sort of thing. After all, they allowed what we now have as "The Lost Trident Sessions" to languish unseen for 25 years. It was live versions of the major songs from that recording which Columbia released as the original "Between Nothingness & Eternity." This second volume from that same concert contains a shorty from "Trident" and three pieces each from "The Inner Mounting Flame" and "Birds Of Fire." But these are not simply readings of familiar tunes. This is a band at the pinnacle of its estimable powers. Each player is a brilliant soloist, but also a team player who comps for the others. The guys have stretched and squashed these pieces, smacked them flat and thrown them over, popped them inside out and played them backwards. They've wrung as much joy, peace, exuberance, anguish, anger and laughter from them as possible, until they resemble the originals at times, but also not at all. This is muscular music which calls to mind a world record athletic performance: its tempos are furious, its harmonies angular and shifting, its rhythms thunderous yet intricate, its execution serving precision and inspiration equally. It will hit you in the solar plexus and knock the wind straight out of you.

Five stars is not nearly enough for this music. How about several hundred each for Billy, Rick, Jan, Jerry and Johnny Mac. And another hundred for Rex Bogue's (RIP) magnificent double rainbow, the finest example possible of the right guitar for the right player


Features the original classic line-up of the band

1. Hope (2011 Master)                     1:47    
2. Awakening (2011 Master)            14:08      
3. You Know, You Know (2011 Master)     7:12    
4. One Word (2011 Master)            18:30    
5. Stepping Tones (2011 Master)     2:01    
6. Vital Transformation (2011 Master)     6:16    
7. The Dance Of Maya (2011 Master)     14:04


One of the premiere fusion groups, the Mahavishnu Orchestra were considered by most observers during their prime to be a rock band, but their sophisticated improvisations actually put their high-powered music between rock and jazz. Founder and leader John McLaughlin had recently played with Miles Davis and Tony Williams' Lifetime. The original lineup of the group was McLaughlin on electric guitar, violinist Jerry Goodman, keyboardist Jan Hammer, electric bassist Rick Laird, and drummer Billy Cobham. They recorded three intense albums for Columbia during 1971-1973 and then the personnel changed completely for the second version of the group. In 1974, the band consisted of violinist Jean-Luc Ponty, Gayle Moran on keyboards and vocals, electric bassist Ralphe Armstrong, and drummer Narada Michael Walden; by 1975 Stu Goldberg had replaced Moran and Ponty had left. John McLaughlin's dual interests in Eastern religion and playing acoustic guitar resulted in the band breaking up in 1975. Surprisingly, an attempt to revive the Mahavishnu Orchestra in 1984 (using Cobham, saxophonist Bill Evans, keyboardist Mitchell Forman, electric bassist Jonas Hellborg, and percussionist Danny Gottlieb) was unsuccessful; one Warner Bros. album resulted. However, when one thinks of the Mahavishnu Orchestra, it is of the original lineup, which was very influential throughout the 1970s. ~ Scott Yanow, Rovi
The Mahavishnu Orchestra, in its original incarnation, lasted just four years, but in that brief time, the pioneering quintet set both the template and the high-water mark for fusion music. No band ever rocked as hard in a jazzy place as guitarist John McLaughlinís charging ensemble.

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posted by Val on 06/2013 on B H&H

Om - 2009 - God Is Good

The recruitment of the new drummer Emil Amos (formally of the band Grails) has brought around a new sound to the band Om. When I first heard the news that Chris Hakius had left the band and had quit drumming all together I was worried that Om was over. This however was not the case. Al found a new drummer to join Om and I must say he has fit in very well. Amos brings a different style of drumming to Om. As opposed to Hakius who’s drumming was very repetitive, Amos’s drumming is full of twists and turns. Just listen to the drum fills on “Meditation is the Practice of Death”. Not to mention the fact that his drum kit sounds just amazing!

God is Good is composed of four songs. The first song entitled “Thebes” is a crushing 19 minutes of pure hypnotic doom. It also incorporates something new for an Om album – the addition of other instruments aside from the bass and drums. Thebes starts out with a tambura that drones on and on and flows just right with the song. Al proceeds to come in with some very slow bass licks. These bass licks fill your mind and are perfect for meditating to. “Descends supine grace of the luminant” is the first verse that comes out of Al’s mouth. I swear Al Cisneros must have the one of the greatest voices I have ever heard. Then the drums arrive, when hearing these drums I am reminded of a far away land, perhaps somewhere in the Middle East. There is something very tribal about these drums. About 8 minutes into the song things change. A single distorted bass note changes the whole atmosphere, from a relaxing hypnotic jam to a stupendously loud world of riffs and amazing drumming.

The second song “Meditation is the Practice of Death” is another great song. Al’s bass pummels on and on. There are plenty of strong drum fills. Al’s vocals are everflowing and make you just want to bob your head up and down for the whole song. Near the end of the song there is another instrument added into the mixture of bass and drums – a flute. The flute really brings out the best of this track and I am glad that Om decided to add more instruments into this album.

The album ends with two Cremation Ghats. The first of the Cremation Ghat’s is fast and upbeat. Al’s bass provides a funky and fun head nodding flow. While the drums and claps can really get you into the song. The song is also accompanied by some nice chants of Al and another vocalist who brings in some very high-pitched vocals. Despite these vocals being so high-pitched, they fit right in with the song. The second Cremation Ghat is a slow droning song. The tambura is back and mixes very well with the song. While I was listening to this song I found myself wondering what a Cremation Ghat was exactly. So I did a little research. In South Asia “ghat” refers to a series of steps leading down to a body of water. Now, I suppose to become a cremation ghat a body is cremated by the water, allowing the ashes to be washed away. This is kind of what Cremation Ghat II does to you. It’s like it washes away your entire being. At the end of this album I feel much replenished. That may sound strange, but that’s just the feeling this album gives me.

It seems that everything about this album just flows together. It really must be one of the greatest releases of 2009. If you’re looking for music that slows you down and puts you in trance – start listening to this album. In fact, I would recommend that you start listening to this band all together.
- Onod, December 1st, 2009
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1.     Thebes                                     19:09       
2.     Meditation Is the Practice of Death     06:52      
3.     Cremation Ghat I                     03:12       instrumental
4.     Cremation Ghat II                     04:58       instrumental
     

                              Time 34:11


line up:

Al Cisneros     Bass, vocals
Emil Amos     Drums    

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Aretha Franklin - Spirit In The Dark 1970

The 1970s were somewhat a new beginning for Aretha Franklin. By this time, she had ended her turbulent marriage with former manager Ted White, and at this point, when it came to originals, she was front and center as songwriter. And also this period would bring some of her most significant albums of the early 1970s.

In August of that year, Franklin released her nineteenth album (and sixth for Atlantic), Spirit in the Dark. Produced by Tom Dowd, Arif Madrin and Jerry Wexler, the album featured the hit cover of Ben E. King’s, “Don’t Play That Song (You Lied)”. Her version was certified gold, while topping the R&B charts. Like King’s version, it also peaked just one position shy of the pop top 10.

Most of Spirit of the Dark were covers, all of which Franklin would definitely make her own, including B.B. King’s “The Thrill is Gone”, the Carole King and Gerry Goffin-penned, “Oh No Not My Baby”, and the jazz-pop standard “That’s All I Want From You”. But five tracks would be originals. Four of them was solely written by Franklin, including the title track (which peaked at number 3 and 23 on the R&B and pop charts, respectively), “Try Matty’s”, and “You and Me”. One track, “Pullin’” was co-written by Franklin sister Carolyn.

Despite positive reviews and two hit singles, Spirit in the Dark became Franklin’s first album not to peak in the pop top twenty, as it would hit number twenty-five on Billboard’s 200 Album Charts. On the R&B side, it peaked at number two. But overtime, the album would go on to be considered to be one of her best. It was re-issued in 1994, had one of it’s songs (“Try Matty’s”) featured in the movie, Waiting to Exhale, and was even sampled by Kanye West.



1     Don't Play That Song    
2     The Thrill Is Gone (From Yesterday's Kiss)    
3     Pullin'    
4     You And Me    
5     Honest I Do    
6     Spirit In The Dark    
7     When The Battle Is Over    
8     One Way Ticket    
9     Try Matty's    
10     That's All I Want From You    
11     Oh No Not My Baby    
12     Why I Sing The Blues  

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Satin Whale - Whalecome - Live (1978){2CD}

 Essential: a masterpiece of rock music(33%)
    Excellent addition to any rock music collection(33%)

Satin Whale biography
The German band 'Satin Whale' was founded around 1971 in the region of Cologne by Thomas Brück (bass, vocals), Gerard Dellmann (keyboards), Dieter Roesberg (guitar, sax ,flute, vocals) and Horst Schöffgen (drums). Their first record 'Desert Places' was released in 1974 on the green 'Brain' label, musically a typical example of German Seventies rock not unlike their stablemates 'Grobschnitt' and 'Jane' for the harder edge, with guitar and organ jams.
During a rock contest in 1974 ('Rocksound 74') 'Satin Whale' was elected the most popular German band. For the second release 'Lost Mankind' 1975 new drummer Wolfgang Hieronymi joined and the band changed to the 'Teldec' label, continuing musically in the same direction as their first record, with 'Jethro Tull' inspired flute-work. The band then went on tour as a support act for 'Barclay James Harvest'. This had a direct influence on their music and their third record 'As A Keepsake' was inspired by BJH, less rock and more symphonic influenced pop.
Their consequent tour served for the double live 'Whalecome', which showed the good musicianship of the band, giving room to extended improvisations, especially on the 17-minute long 'Hava Nagila. In the same year 'Satin Whale' released 'A Whale of Time', a good record especially the title track, an instrumental with a great string arrangement. In 1979 the band composed the soundtrack for the German movie 'Die Faust In Der Tasche' by director Max Willutzki. As the film was a popular and with their popularity rising the band released the same year 'On Tour'. In 1980 'Satin Whale' released 'Don't Stop The Show',their last and commercial record, together with Ex Triumvirat singer Barry Palmer and the band split up in 1981.
'Desert Places' ,' Lost Mankind' and 'Whalecome' are recommended.

The German band 'Satin Whale' was founded around 1971 in the region of Cologne by Thomas Brück and Gerard Dellmann. Their first record 'Desert Places' was released in 1974 on the green 'Brain' label, musically a typical example of German Seventies rock. The band then went on tour as a support act for 'Barclay James Harvest'. This had a direct influence on their music and their third record 'As A Keepsake' was inspired by BJH, less rock and more symphonic influenced pop.
Their consequent tour served for the double live 'Whalecome', which showed the good musicianship of the band, giving room to extended improvisations.
Progarchives

Songs / Tracks Listing

01. No Time to Lose (5:26)
02. Song For Thesy (4:10)
03. Maree (4:53)
04. Desert Places (8:24)
05. Reverie (2:22)
06. Holidays (5:58)
07. A Bit Foolish - A Bit Wise (6:05)
08. Crossing The Line (9:56)
09. Reminiscent River (4:10)
10. Goin´ Back To Cologne (3:30)
11. Hava Nagila (17:40)
12. Perception (18:38)
13. Sweet Little Sixteen (5:40)

Total Time: 96:53

Line-up:
- Thomas Bruck / bass, vocals
- Gerald Dellman / organ, piano, keyboards
- Wolfgang Hieronymi / percussion, drums
- Dieter Roesberg / guitar, wind, guitar (12 string), slide guitar

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Rare Bird - As Your Mind Flies By 1970

AllMusic Review by Jo-Ann Greene  

The legendary Charisma label's first signing was a Rare Bird indeed, a prog rock band without a guitarist in sight. The quartet's 1970 debut eponymous album launched the label, while "Sympathy" gave it its first hit. As Your Mind Flies By soared into the shops later that year, sadly the original lineup's swan song. Boasting the rhythm section of lead singer/bassist Steve Gould and drummer Mark Ashton, and keyboardists Dave Kaffinetti and Graham Field on electric piano and organ, the group was far removed from the showboating likes of Yes and ELP. Obviously, however, the group were keyboard driven, and boasting a surprising diversity of sound and style. The gentle, dreamy "Down on the Floor," for instance, is offered up in Baroque fashion, with the keyboards imitating harpsichords. In contrast, the triumphant "Hammerhead" was a heavy hitting hard rocker, interlaced with airy flute passages and what sounds like, but isn't, wah-wah and soaring guitar solos. In places, "I'm Thinking" was almost pop-flecked, and slips around a number of styles, all of which perfectly dovetail Gould's blues belting vocals. The opening "What You Want to Know" even boasts a riff ripped straight from "Sympathy from the Devil," another power-packed bluesy number with a difference. But it was the epic, side-length "Flight" that really sent Rare Bird soaring. Here the band showcased its distinctiveness, as the almost-20-minute song courses along Gould and Ashton's driving rhythm. Divided into four sections, the piece takes to the sky on a series of stunning arpeggios, quickens, then darkens. Organs burst out of the shadows, a church choir sails in, a phenomenal dual takes place between the surf guitar-ing electric piano and the psych-mad organ, before the Bird flitters into experimental avant-garde territory, then brings it all home with a flourish of vocals and organ. This reissue lovingly remasters the original set, and adds a pair of mono versions of the album's tracks, as well as the haunting and previously unreleased "Red Man."
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Esoteric Records ECLEC 2002 ( Release Date September 10, 2007 )

1 What You Want to Know               5:57    
2 Down on the Floor                   2:35    
3 Hammerhead                           3:31    
4 I'm Thinking                           5:35    
5 Flight: As Your Mind Flies By
 / Vacuum / New Yorker / Central Park          19:43    
6 What You Want To Know (Mono Single Version) 5:57    
7 Hammerhead (Mono Single Version)           3:23    
8 Red Man (Bonus track)                          3:39

Time:50:20

Line Up:

Dave Kaffinetti - Keyboards, Piano (Electric), Synthesizer
Graham Field - Organ, Keyboards
Mark Ashton - Drums, Vocals
Steve Gould -      Bass, Guitar, Guitar (Bass), Saxophone, Vocals

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First posted by Val on B H&H

Nektar - A Tab In The Ocean 1972

Formed in November 1969 and still going strong
3 Gold album presentations (when gold was 250,000 sales)
18 albums to their credit
Charting albums in the USA and album of the year in Europe
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 5.0 out of 5 stars Nektar - 'A Tab In The Ocean' 
By
Mike Reed "Mike Reed" (USA) 
(VINE VOICE)  
This review is from: A Tab In The Ocean Deluxe Edition 2-disc (Audio CD)
Initially saw the light of day in 1972, as this is Nektar's most accomplished record - even to this date. Believe this is the band's second lp. At first I couldn't put down this (much-welcomed) 2-CD expanded reissue. Couldn't get enough of the sixteen-minute ground-breaking (in a sense) out-standing timeless progressive gem title cut "A Tab In The Ocean", the powerful "Waves" and "King Of Twilight". First time I heard disc one - it sort of reminded me of maybe Yes-meets-Emerson Lake & Palmer. Disc two continues to show Nektar's true musical genius with tunes like "New Day Dawning", the brilliant "Gooday" and "The Life I've Been Leading". This was my first time of hearing the 'original' album version of the song "A Tab In The Ocean" - previously, I have only heard it on their 'Live 2002' 2-CD piece that I purchased awhile back shortly after I finally gained full-access to the Internet. Again like it's follow-up 'Sounds Like This' - 'A Tab In The Ocean' appears to have several pressings / versions of this CD available. Highly recommended for fans of early Genesis, Emerson Lake & Palmer, pre-1975 Pink Floyd and Supertramp.
----------------
 5.0 out of 5 stars Nektar is Great, June 2, 2012
By
Music lover 

This review is from: A Tab In The Ocean Deluxe Edition 2-disc (Audio CD)
I Just Received A Tab in the Ocean.I've Wanted This Album For While now and With the Bonus (Boston Tapes Recordings)It Doesn't Get Any Better.It Came Fast.Professional Packaging.Don't Pay Any Attention to These One Star Reviews.Very Satisfied.Thanks.
_______________________

Tracklist :

CD1
01. A Tab In The Ocean (16:50)
02. Desolation Valley/Waves (8:13)
03. Crying In The Dark (6:28)
04. King Of Twilight (4:20)

CD2 - In The Beginning - The Boston Tapes
01. New Day Dawning (5:36)
02. Do You Believe in Magic (3:39)
03. Candlelight (4:00)
04. Gooday (8:53)
05. The Life I've Been Leading (4:35)
06. Where Did You Go (5:27)
07. Sealed With A Kiss (3:55)
08. Our Love Will Last Forever (4:53)

- Roye Albrighton / guitars, vocals
- Mick Brockett / liquid lights
- Allan Freeman / keyboards, backing vocals, Mellotron
- Ron Howden / drums, percussion, backing vocals
- Derek "Mo" Moore / bass, vocals

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First posted by Val on B H&H

Jefferson Airplane - Live at the Fillmore Auditorium 10 -16 -1966

Jefferson Airplane - Live at the Fillmore Auditorium 10/16/66: Early & Late Shows - Grace's Debut

Live, released in 2010

Songs / Tracks Listing

1. The Other Side Of This Life (6:33)
2. Let's Get Together (4:20)
3. Let Me In (3:40)
4. Don't Let Me Down (4:59)
5. Run Around (4:04)
6. It's No Secret (3:57)
7. Tobacco Road (5:26)
8. Kansas City (7:23)
9. Bringing Me Down (3:29)
10. And I Like It (6:13)
11. High Flyin' Bird (4:10)
12. Thing (10:01)
13. 3/5 Of A Mile In 10 Seconds (6:17)

Total Time 70:32



Line-up / Musicians

Grace Slick / vocals, piano, organ, recorder
Marty Balin / vocals, rhythm guitar
Paul Kantner / rhythm guitar, vocals
Jorma Kaukonen / lead guitar, rhythm guitar, vocals
Jack Casady / bass guitar, fuzz bass, rhythm guitar
Spencer Dryden / percussion

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First posted by Val on B H&H

Laîs - Douce Victime (2004)

Laïs is a Belgian group that creates folk, and world music consisting of polyphonic close harmony songs, occasionally a cappella, based on self-composed melodies with lyrics dating back to the Middle Ages. "Laïs" is a Celtic word, meaning "voice".

History

Laïs' career started in 1994, when Jorunn and Annelies, together with Soetkin Collier (who later became a vocalist with the Belgian folk music group Urban Trad), performed a song at a folk festival in Gooik, near Brussels. Nathalie joined the group somewhat later. They had their breakthrough after their appearance at Folk Dranouter, near Ypres, in 1996.

Their debut CD album, sung a capella as well as accompanied instrumentally by the folk rock band Kadril, was released in 1998. They performed at the Klein Karoo Nasionale Kunstefees in Oudtshoorn, South Africa (1996), at Vorst Nationaal, Belgium (1998), Canada, France (1999) (as a supporting act for Sting), Spain (1999, 2000), the Netherlands and China (2001). During the summer of 2000 they performed at important festivals in Belgium such as Pinkpop and Rock Werchter. In 2001 they made a much acclaimed return to the festival at Dranouter.

In 2003 they made a mini tour along Flemish churches and chapels, singing a capella with the vocal support of Ludo Vandeau. This resulted in the CD "A la capella".

In April 2004 they released their third CD to the market under the title Douce Victime, with covers from Jacques Brel and Herman van Veen. This time it not only contained a capella songs but also Cajun music, the London Chamber Orchestra and some World Music influences. It was recorded at the legendary Abbey Road Studios in London.

Members

The female vocal trio part of Laïs are three young women from Kalmthout:

    Jorunn Bauweraerts
    Annelies Brosens
    Nathalie Delcroix

They are accompanied by four men:

    Fritz Sundermann (electric and acoustic instruments, harmonium)
    Hans Quaghebeur (squeezeboxes, hurdy-gurdy, whistle)
    Ronny Reuman (percussion)
    Bart Denolf (electric and acoustic bass)
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01. Marie Madeleine                                  02:53
02. Rinaldo                                          03:25
03. Jasio u pana                                     02:41
04. Wanhoop van een wees                             03:38
05. De klacht van een verstoten minnares             04:30
06. Opzij                                            03:05
07. Marieke                                          02:59
08. La plus belle de céans                           03:36
09. Al béole 17                                      04:07
10. De 3 maagdekens                                  02:34
11. Dormez dormez                                    03:07
12. Hymne                                            01:34

Total Playing Time 38:14

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First posted on B H&H by Val

Epitaph - Danger Man (1982)

After Epitaph’s American experiences in the 70’s (3 tours in the USA) it is hardly surprising that this is considered their most commercial album. Recorded at the Hitpoltstein Studios in Bavaria in February of 1982, it is indeed heavily influenced by the American rock of the time. It’s release the same year unfortunately coincided with the height of the Neue Deusche Welle, resulting in it being buried and forgotten until the brilliant remastering by Friedel Muders at Fuego and Roger Wahlmann at Cliff Studios gave it a new lease of life. Danger Man now sounds as though it was recorded yesterday, not 28 years ago. A special treat on this remastered album is the inclusion of two bonus tracks. Good Times is the only cover version Epitaph ever made. Written by the legendary George Young (big brother of AC/DC’s Angus and Malcolm) it was originally recorded by The Easybeats in 1968. The other bonus track is a live version of Ain´t No Liar recorded at the Musiktheater Piano in Dortmund on the 91th of Nov 2011 .This funky, reworked version of Epitaphs concert favourite includes part of Long Live the Children. just to show the epitaph is still alive and kicking after 40 years on the road A further note of interest is that the band hated the original cover design, but the label ignored their veto. This time around a great album has a great cover.


Track Listings:


1. Long Live the Children
2. Heartless
3. High Wire
4. Snake Charmer
5. Small Town Girl
6. Ain't No Liar
7. Let Me Know
8. The Daughter
9. Good Times (Bonus)
10. Ain't No Liar (Bonus) (Live)


Cliff Jackson - Lead Vocals, Guitars
Heinz Glass - Guitars
Bernie Kolbe - Lead Vocals, Bass
Norbert 'Panzer' Lehmann - Drums

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First posted by Val on Between Hell And Heaven

Korai Öröm - Korai Öröm 1995

Korai Öröm - Korai Öröm

      Psychedelic/Space Rock 


Korai Öröm biography
Imagine a more organic-sounding OZRIC TENTACLES where the electronics, synths and drum machines are replaced by a didgeridoo, the occasional chant and lots of percussion. This tripped-out Budapest outfit comprises a dozen or so musicians whose albums consist of improvised material recorded on stage and then remixed in the studio. They are known for their dynamic live concerts (often in unusual places such as around swimming pools or in the great outdoors) accompanied by video projections. Their SANTANA-like percussion and wicked, trance-like grooves actually make their music quite danceable. In the words of one of their founding members, Emil Biljarszki: ".(our) CD's are good but sterile, better to come to our concerts and let's feel together that things, which happen from themselves and make us stay alive."

Unfortunately, the band never title any of their albums or even their album tracks, which makes it difficult to refer to any of them individually. A general description would be long-flowing, cosmic space-rock jams with hypnotic atmospheres and superb percussion, with bits of trumpet and flute added on. The fusion-like atmosphere, the blend of Eastern and jazz influences and the constant interplay between burning guitar leads, synths and bass all make for an exhilirating listening experience which fans of OZRIC TENTACLES can't fail to appreciate..

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Review by Joolz
SPECIAL COLLABORATOR Honorary Collaborator
4 stars This is Korai Öröm's debut album, and a fine effort owing much to the organic textures of Brainticket and the more modern synths-and-samplers of Ozric Tentacles. These comparisons are valid, but the addition of unexpected instruments like brass, didgeridoo and jaws harp take them into the realm of ethnic-fusion veering through psych work-outs, via latin percussion to tribal-dance [think Baka Beyond]. It says something for the skill of the musicians that they can successfully combine elements from so many different disparate cultures and come up with a sound that is not only unique but entertaining too. Guitar, bass and drums form a familiar rock foundation for this mélange of sound, but surprisingly keyboards play a muted role.

Typically, the music employs slow atmospheric build-ups using ethereal flute and other ambient textures, leading to classic jams built on repetitive rock beats and delicate fills, though lacking the searing energy of bands like Hawkwind. Neither do the jams descend into endless wall-of-sound space-grooves as the traditional instruments are given space to breathe and flourish without ever becoming over-extended, while the power is often diffused by additional assorted percussion that accompanies many sequences.

The album abounds with exciting sounds and inventive ways of integrating them into a musical collage, yet ultimately it fails to be entirely satisfying, as if they have all these ideas but haven't quite worked out how they want to use them. Great for use as a backdrop for some other activity, but less stimulating as a listening experience than some of the band's later work. Partly, this can be attributed to lack of structure and vocals, and for me, is a common complaint with instrumental music of this kind.


From Progarchives.com, the ultimate progressive rock music website : http://www.progarchives.com/album.asp?id=3881


1. 1 (7:48)
2. 2 (12:35)
3. 3 (10:01)
4. 4 (4:11)
5. 5 (7:49)
6. 6 (4:17)
7. 7 (8:59)
Total Time: 55:24

Line Up:

Biljarski Emil / keyboards
Csányi Viktor / drums
Jöcsik János / percussion
Nádasdi Zsolt / percussion
Vécsi Tibor / vocals, bells
Horváth György / guitar
Takács Péter / guitar, vocals, trumpet, flute
Kilián Zoltán / bass
Palzs Miklós / dorombének, fuyara, doromb, didgeridoo, fütéscsö
Vajdai Vilmos / didgeridoo, marimba
Lukács Levente / saxophone

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Korai Öröm-1995