Отправлено: 14.12.07 17:35. Заголовок: FreeFall: The Residents - Mark of the Mole, 1981 (RIO/Avant Prog) (+)
С регулярными выкладками не получается, поэтому долговременные проекты начинать больше не буду. Просто делаю здесь отдельную тему, где буду добавлять кой-чего (как было в журнале), когда появится время.
Отправлено: 25.06.08 05:47. Заголовок: Yu Grupa (Yugoslavia) - Uzivo Beograd '71, bootleg (Hard/Psych)
1 Najava (Zoran Modli) 2 Love Me Baby 3 Bio jednom jedan pas 4 Drveni most 5 Kosovski bozuri 6 Tatica 7 Ludi kamen 8 Mali medved 9 Nona 10 Lora 11 Mali Dzoj 12 Suzy Q (Boka Solo) Bonus Tracks - Studio Recordings 13 Lov na veštice 14 Mali bata za klavirom 15 Koke sa Islanda
какой размер файлов какая длительность и сопоставте с тем что это бутлерг мб это нормально
Барин
Ветеран
Пост N: 2206
Отправлено: 27.06.08 15:57. Заголовок: На диске 5 треков, п..
На диске 5 треков, потому что запись концертная и треки записаны кусками, без разбивки на композиции, по несколько штук одним блоком.
mamine
Пост N: 161
Отправлено: 27.06.08 20:58. Заголовок: Я тоже так в начале ..
Я тоже так в начале подумал,но побоялся какие нибудь песни пропустить.Спасибо за альбом.
Барин
Ветеран
Пост N: 2207
Отправлено: 28.06.08 05:24. Заголовок: Tri Atma Und Gyan Nishabda (Germany/India) - Sehnsucht Und Einklang, 1982 (World Fusion)
"A Fusion of indian rhythms and melody structures with european music, and the improvisation techniques associated with jazz and rock - Melodious, rhythmic, occasionally meditative and magical instrumental music - concertante instrumental pop music. State of the art" music without a philosophical background for a pleasant ambiente. Music for the soul and for the body.
Definitions concerning the music of a group which has remained true to its principles. Always in the peripheral zones of popular instrumental music, TRI ATMA has outlasted the seventies' Disco Wave, New Wave, New German Wave and the Anglo-Saxon pop of the 1980's. They cannot even be tied down to New Age Music, although admittedly original elements of this music direction can be discerned in their style; this is why precisely the supporters of this music trend, which has recently become so popular, are among their best friends.
This developement did not proceed without adjustments to the course. The initial recordings were still produced mainly with acoustic and analogous musical instruments and marked by Indo-European elements, while today the group works with the latest music computers and is moving away from the atmosphere of the East-West music marriage, heading towards open-future world music.
However, the acoustic guitars and tablas have remained as a permanent sound component. It is in particular the resulting tension between acoustic instruments and electronic which provides the unique aspect of this group, which is one of the few successful groups performing instrumental pop music."
Naturliche Liebe (5:07) Mikrokosmos (6:56) Grotte (3:42) O Moena (5:23) Neun Muscheln (4:48) Marchenberg (4:57) Esotera (5:05) Ruby Roy (3:42)
Jens Fischer - Guitar, Bass, Vocals Asim Saha - Tabla, Dholok, Lead Vocals Gyan Nishabda - Synthesizer, Vocals
Отправлено: 29.06.08 05:50. Заголовок: Ann Richards & the Stan Kenton Orchestra - I Hear Music, 1958 (Jazz/Vocal)
"Ann Richards was a better singer than she was often rated but her career fell short of its potential. She was self-taught on piano and started taking singing lessons when she was ten. Richards began singing professionally in the San Francisco Bay area and had a short stint with Charlie Barnet. Richards joined Stan Kenton's band for a few months in 1955; they were married and she was a part-time singer throughout their marriage (which lasted until 1961). When their marriage ended (a breakup that she never really recovered from), Richards recorded a few pleasing and swinging albums on her own for Capitol, Atco and Vee Jay; however, Richards' life became aimless, and she committed suicide at age 46."
1 Nice Work If You Can Get It 2 Fools Rush In 3 Out of This World 4 It Never Entered My Mind 5 I Hear Music 6 You Don't Know What Love Is 7 The Thrill Is Gone 8 Old Devil Moon 9 Speak Low 10 Black Coffee 11 Nobody Knows the Trouble I've Seen
Ann Richards - Vocals Stan Kenton - Piano Bill Perkins - Saxophone Stephen Perlow - Saxophone Bill Robinson - Saxophone Richie Kamuca - Saxophone Lennie Niehaus - Saxophone Sam Noto - Trumpet Bill Catalano - Trumpet Ed Leddy - Trumpet Phil Gilbert - Trumpet Kenny Shroyer - Trombone Jim Amlotte - Trombone Kent Larsen - Trombone Archie LeCoQue - Trombone Bob Fitzpatrick - Trombone Red Kelly - Bass Jerry McKenzie - Drums
Dreams, Fantasies & Nightmares: "Formed in 1969, this progressive Uruguayan group played high volume and primitively produced hard rock on their singles. Their album was more progressive with long guitar solos from Silva and rhythmic drumming from Pérez. The stand-out cuts are Solo Vey Despertando, notable for Silva's superb guitar, Ya and Mariana.
In their later years, their progress was blighted by line-up changes. Unfortunately, their album has not been reissued to date."
01. Cancion De Um Tiempo 02. Lograme 03. Manana 04. Nosotros Hoy 05. Ya 06. Solo Voy Despertando 07. Reflexion 08. Tenia Una Vez 09. Despiertas 10. Cuerpo 11. Nebulosa 12. Cuerpo (Alt.) 13. La Busqueda 14. Los Pesos 15. La Plaza 16. Maria Manana 17. De Mi Cerro 18. En La Ventana de un Bar
AMG: "This was the most controversial Tomita album, where he uses Holst's spectacular, mystical suite The Planets as a launching pad for what amounts to a simulated spaceship trip through the solar system. Hence the title The Tomita Planets, which did not deter the Holst estate from trying (unsuccessfully) to pull this recording off the market at the time. When Tomita sticks to what Holst wrote, he follows every turn and bend of the score, save for a big cut in the last part of Jupiter and an eviscerated Uranus that nearly disappears altogether. Moreover, the music — especially Venus — often does lend itself to an electronic space flight fantasy, with Tomita's arsenal of phase-shifting, flanging, pitch-bending, envelope following and reversing choral effects and more on full display. It's the stuff between movements that provoked the purists — the campy simulated mission control communications and electronic blastoff prior to Mars and the "noises" of space flight scattered throughout (including a nasty asteroid belt between Jupiter and Saturn). The most questionable idea was that of playing Jupiter's grand central theme on a tinkly electronic music box as a way to open and close the record — which some will find satirical, others touching, still others tasteless. Indeed, Tomita seems to have it in for British pomp; when this theme is played within the context of Jupiter, he interrupts it with electronic chatter between mission control and the spaceship. Ultimately, The Tomita Planets is still good electronic fun, and it launched a series of space-themed concept albums by this electronic astronaut."
1 Mars, The Bringer of War 10:55 2 Venus, The Bringer of Peace 8:38 3 Mercury, The Winged Messenger 5:24 4 Jupiter, The Bringer of Jollity/Saturn, The Bringer of Old Age 17:25 5 Uranus, The Magician/Neptune, The Mystic 9:45
AMG: "The definitive Parliament-Funkadelic album, Mothership Connection is where George Clinton's revolving band lineups, differing musical approaches, and increasingly thematic album statements reached an ideal state, one that resulted in enormous commercial success as well as a timeless legacy that would be compounded by hip-hop postmodernists, most memorably Dr. Dre on his landmark album The Chronic (1992). The musical lineup assembled for Mothership Connection is peerless: in addition to keyboard wizard Bernie Worrell; Bootsy Collins, who plays not only bass but also drums and guitar; the guitar trio of Gary Shider, Michael Hampton, and Glen Goins; and the Becker brothers (Michael and Randy) on horns; there are former J.B.'s Fred Wesley and Maceo Parker (also on horns), who were the latest additions to the P-Funk stable. Besides the dazzling array of musicians, Mothership Connection boasts a trio of hands-down classics — "P-Funk (Wants to Get Funked Up)," "Mothership Connection (Star Child)," "Give Up the Funk (Tear the Roof off the Sucker)" — that are among the best to ever arise from the funk era, each sampled and interpolated time and time again by rap producers; in particular, Dr. Dre pays homage to the former two on The Chronic (on "The Roach" and "Let Me Ride," respectively). The remaining four songs on Mothership Connection are all great also, if less canonical. Lastly, there's the overlapping outer-space theme, which ties the album together into a loose escapist narrative. There's no better starting point in the enormous P-Funk catalog than Mothership Connection, which, like its trio of classic songs, is undoubtedly among the best of the funk era."
1 P-Funk (Wants to Get Funked Up) 7:41 2 Mothership Connection (Star Child) 6:13 3 Unfunky UFO 4:23 4 Supergroovalisticprosifunkstication 5:03 5 Handcuffs 3:51 6 Give Up the Funk (Tear the Roof off the Sucker) 5:46 7 Night of the Thumpasorus Peoples 5:10 8 Star Child (Mothership Connection - promo radio version)
George Clinton - Vocals Raymond Davis - Vocals Clarence "Fuzzy" Haskins - Vocals Calvin Simon - Vocals Grady Thomas - Vocals Boom - Horn Michael Brecker - Horn Randy Brecker - Horn Joe Farrell - Horn Maceo Parker - Horn Fred Wesley - Horn Glen Goins - Guitar, Vocals Gary Shider - Guitar, Vocals Michael Hampton - Guitar Bernie Worrell - Synthesizer, Keyboards Bootsy Collins - Bass, Guitar, Percussion, Drums, Vocals Cordell Mosson - Bass Gary "Mudbone" Cooper - Percussion, Drums, Handclapping Ramon Tiki Fulwood - Percussion, Drums Jerome Brailey - Percussion, Drums Debbie Wright - Handclapping Sidney Barnes - Handclapping Pamela Vincent - Handclapping Reginald Rasputin Boutte - Handclapping Bryan Chimenti - Handclapping Archie Ivy - Handclapping Taka Khan - Handclapping
Отправлено: 03.07.08 05:49. Заголовок: Freddie Hubbard - Rose Tattoo, 1983
AMG: "Recorded for the Japanese label Baystate and long unavailable outside of the Asian market, Rose Tattoo remains one of Freddie Hubbard's most obscure sessions, but admirers of the trumpeter's early-'80s return to his musical roots will find much to appreciate here. Backed by pianist Kenny Barron, drummer Joe Chambers, bassist Cecil McBee, and tenorist Ricky Ford, Hubbard maintains a serene, feather-light approach across the set, often muting his trumpet to further bolster the mellow groove — his solos float with the beauty and elegance of monarch butterflies, soaring in and out of standards like the opening 'When You Wish Upon a Star' and 'Embraceable You.'"
1 When You Wish Upon a Star 2 Poor Butterfly 3 My Romance 4 Embraceable You 5 Rose Tattoo 6 Time After Time 7 My Foolish Heart
Freddie Hubbard - trumpet Ricky Ford - tenor sax Kenny Barron - piano Cecil McBee - bass Joe Chambers - drums
Отправлено: 04.07.08 05:25. Заголовок: Split Enz (New Zealand) - Second Thoughts (Art Rock)
AMG: "After Mental Notes failed commercially, the band left for England to rework the tracks with Roxy Music's Phil Manzanera producing. Second Thoughts is an eccentric album filled with the theatrics that gained the band its early notoriety. Mainly new versions of old songs, the album adds some new tracks such as the brilliant "Late Last Night" and "Woman Who Loves You." Released in America and the U.K. as Mental Notes with a modified cover."
1 Late Last Night 4:04 2 Walking Down a Road 5:28 3 Titus 3:16 4 Lovey Dovey 3:08 5 Sweet Dreams 5:07 6 Stranger Than Fiction 7:06 7 Time for a Change 4:06 8 Matinee Idyll (129) 2:57 9 The Woman Who Loves You 6:55
Phil Judd - Guitar, Mandolin, Vocals Eddie Rayner - Keyboards Jonathan Michael Chunn - Bass, Piano (3) Tim Finn - Vocals, Piano (6) Noel Crombie - Percussion, Spoons Robert Gillies - Trumpet, Saxophone Paul Emlyn Crowther - Drums + Miles Golding - Violin Ian Sharp - Cello Phil Manzanera - Producer
Отправлено: 05.07.08 06:45. Заголовок: Jacques Brel (Belgium) - Les bourgeois, 1962
AMG: "Singer/songwriter Jacques Brel created and performed a catalog of literate, thoughtful, and theatrical songs that brought him a large, devoted following in France. His audience eventually extended internationally, making him a major influence on English-speaking writers and performers including Leonard Cohen and David Bowie, while translations of his songs were recorded by a wide range of performers from the Kingston Trio to Frank Sinatra.
Born in Brussels, Belgium, on April 8, 1929, Brel was the son of Romain Brel, who worked in an import-export firm, but later became co-director of a company that manufactured cardboard cartons, and Elisabeth (Lambertine) Brel. He began playing the guitar at the age of 15. After quitting school, he took a job in his father's plant in August 1947. During this period, he became increasingly interested in music, beginning to perform while a member of a church youth group and starting to write his own songs. In 1952, he first performed on local radio, and in February 1953 he was signed by Philips Records, which released his debut single, "La Foire"/"Il Y A," in March. Its modest success led to professional bookings locally and, soon, a move to Paris, where he built up a following in the clubs. In July 1954, he made his first appearance at the prestigious Olympia Theater in Paris, followed by his first French tour, and at the end of the year Philips released his debut album, a nine-song, 10" LP called Jacques Brel et Ses Chansons. More touring followed, and he achieved a commercial breakthrough in 1956 when his song "Quand On N'A Pas Que l'Amour" (later adapted into English as "If We Only Have Love"), released on an EP, became a hit, reaching number three in the French charts. His subsequent LP releases were Jacques Brel 2 (1957), Jacques Brel 3 (1958), and Jacques Brel 4 (1959).
In 1960, Brel earned a U.S. release with American Début on Columbia Records, a compilation of Philips tracks. In France, he switched from Philips to the recently formed Barclay Records in March 1962, his first LP release for the label being the live album A l'Olympia 1962, followed by his first studio album in four years, Jacques Brel Accompagne Pas François Rauber et Son Orchestra. After performing mainly in French-speaking territories, he was becoming a star worldwide and touring internationally much of the year. In February 1963, he made his U.S. performing debut at Carnegie Hall in New York. American poet and singer Rod McKuen began writing English lyrics to Brel's songs, and the Kingston Trio recorded "Seasons in the Sun," McKuen's version of a song Brel had titled "Le Moribond," on their Time to Think LP in 1964. That year in France, Jacques Brel, Vol. 6 and another live album, Olympia 64, appeared.
In 1965, Reprise Records licensed tracks from Barclay for a U.S. release called Jacques Brel, and Brel returned to Carnegie Hall on December 4. In 1966, Damita Jo recorded "If You Go Away," McKuen's version of the Brel composition "Ne Me Quitte Pas," and it reached the charts. The wistful song, with its alternating happy and sad lyrics and lush melody, became a pop standard recorded by dozens of singers, including Tom Jones, Frank Sinatra, and Neil Diamond. Also in 1966, Judy Collins put an English-language version of Brel's "La Colombe" ("The Dove") on her In My Life album (Joan Baez covered the same song the following year on her album Joan), and Glenn Yarbrough sang "The Women" ("Les Biches") on his LP The Lonely Things. Philips Records, meanwhile, weighed in with an American Brel compilation, The Poetic World of Jacques Brel.
Brel announced his retirement from concert work in 1966, giving a final series of shows in Paris at the Olympia in the fall, but after that he had six months of performances internationally to fulfill. These included appearances in the U.S., where Reprise issued Encore, another compilation drawn from Barclay, and Vanguard Records had Le Formidable Jacques Brel. His last concert came on May 16, 1967. He was not, however, retiring from other kinds of performing: he continued to record, his next LP appropriately being titled Jacques Brel '67 (though it turned out to be his last new studio album for a decade); he starred in his first feature film, the non-musical drama Les Risques du Metièr, before the end of the year (with nine more movies to follow through 1973, some featuring his music); and he also turned to the legitimate stage, translating and taking the leading role in a French production of the American musical Man of la Mancha that opened in Brussels on October 4, 1968, and moved to Paris, where it ran from December until June 1969. (A cast album was released.)
Overseas, meanwhile, his name was given greater prominence by a New York stage production in which he did not appear, an off-Broadway revue of his songs that, keying off of speculation about his decision to stop touring, was called Jacques Brel Is Alive and Well and Living in Paris. It opened at the Village Gate in Greenwich Village on January 22, 1968. Songwriter Mort Shuman and playwright Eric Blau had translated Brel's lyrics more closely than McKuen, conveying in English the pathos and wit of his story-songs, and the effect was overwhelming — the revue played nearly 2,000 performances, becoming one of the longest-running off-Broadway shows in history. Columbia Records released a double-LP box set of the complete show as an original cast album. The revue was revived on Broadway, in 1972 and 1981, and off-Broadway in 2006, and it was turned into a film in 1975, with Brel himself making a cameo appearance. The success of Jacques Brel Is Alive and Well and Living in Paris increased Brel's profile in English-speaking countries. In England, American expatriate Scott Walker's recording of "Jackie" (aka "La Chanson de Jacky") from the show hit the charts the month before the New York opening, reaching the Top 40. (Marc Almond's revival, drawn from his tribute album Jacques, made the British Top 20 in 1991.) "Jackie" was included on Walker's debut solo LP, Scott, which also featured Brel's "Mathilde," "Amsterdam," and "My Death" ("La Mort"), and Walker also put Brel songs on his subsequent albums Scott 2 (1968) and Scott 3 (1969). Other British Brel fans included David Bowie, who released a version of "Amsterdam" as a B-side single in 1973 while also performing "My Death" in concert, and the Sensational Alex Harvey Band, which titled an album after Brel's song "Next" ("Au Suivant") in 1973. In the U.S., Judy Collins recorded "Marieke" for her Whales & Nightingales album in 1970; Frank Sinatra put "I'm Not Afraid" (a McKuen lyric for "Fils De") on the B-side of a single in 1971; Dionne Warwick scored a chart entry with "If We Only Have Love" in 1972; and at the end of 1973 Terry Jacks released a revival of "Seasons in the Sun" that hit number one in both the U.S. and the U.K., followed by a chart entry with his version of "If You Go Away."
Brel himself, meanwhile, continued to appear in French films, making his screenwriting and directorial debut with Franz in 1972 and memorably taking his final starring role opposite stone-faced Lino Ventura in Edouard Molinaro's 1973 black comedy L'Emmerdeur (released in the U.S. with the title A Pain in the A-), which was remade in 1981 with Jack Lemmon and Walter Matthau as Buddy Buddy. In July 1974, having bought a yacht, Brel set off on what was intended to be a circumnavigation of the globe. But in October, while in the Canary Islands, he was diagnosed with lung cancer. He went to Brussels for an operation to remove part of his left lung. After recovering, he returned to his boat and continued on his journey. In November 1975, he reached the Marquesas Islands, where he decided to stay. He returned to France in July 1977 to record a new album, Brel, issued in November. The LP became a massive hit, reportedly selling 650,000 copies on its first day of release and eventually topping two million copies. Suffering a recurrence of cancer, Brel again returned to France in July 1978 for treatment, but he died three months later at the age of 49. In France, Brel's reputation as one of the major singers and songwriters of the 20th century is secure. In the English-speaking world, his influence is limited by the language barrier and by his musical taste in traditional pop and cabaret, rather than the predominant style of the second half of the century, rock. Nevertheless, his lyrics, delving into personal, dark, and adult subjects, are in keeping with the trend toward frankness and seriousness of popular songwriting from Bob Dylan on and even anticipate that trend. As such, Brel is something of a French older brother to the likes of Dylan, Leonard Cohen, and all the confessional singer/songwriters who followed them. At the same time, his work, as translated into often bowdlerized English (especially in the McKuen versions), has extended his influence as a songwriter across genres. In addition to those already mentioned, the list of performers who have recorded Brel's songs is an amazingly broad selection of rock, pop, jazz, and country artists, including Karen Akers, Shirley Bassey, Acker Bilk, Ray Bryant, Glen Campbell, Ray Conniff, John Denver, Dion, Celine Dion, the Fortunes, Robyn Hitchcock, Shirley Horn, Julio Iglesias, Jack Jones, Cyndi Lauper, Brenda Lee, Ute Lemper, Vera Lynn, Al Martino, Paul Mauriat, Helen Merrill, Ronnie Milsap, Nana Mouskouri, Olivia Newton-John, Freda Payne, Pearls Before Swine, Mitch Ryder, the Seekers, Dusty Springfield, Bobby Vinton, Andy Williams, and Nancy Wilson. "
Les Bourgeois Les Paumes du Petit Matin Le Plat Pays Zangra Une Île Madeleine Bruxelles Chanson sans Paroles Les Biches Le Caporal Casse-Pompon La Statue Rosa Il Neige sur Liege Pourquoi Faut-Il que les Hommes s’Ennuient?
Отправлено: 05.07.08 08:35. Заголовок: Спасибо,Володя!Обилие незнакомых имён просто поражает!+
Ну просто нет возможности всё скачать!Хотел бы спросить,Володя,у тебя нет такой пластинки - PETER YARROW - PETER?Год,если не ошибаюсь 1972.
Барин
Ветеран
Пост N: 2215
Отправлено: 05.07.08 17:36. Заголовок: Не, нету, его сольны..
Не, нету, его сольные вообще ни разу не попадались.
Барин
Ветеран
Пост N: 2216
Отправлено: 06.07.08 03:41. Заголовок: The Plastic People of the Universe (Czech Republic) - Kolejnice duni, 1977-1982 (RIO/Avant Prog)
ProgArchives: "This collection of tracks come from various source between 77 and 82 (this is the eighth chapter in the Globus International series on the PPOTU) and but does not include the album Passion Play, the album following the “famous” Egon Bundy’s Happy Hearts Club Banned , which was the only album of theirs that managed to sneak through the Iron Curtain and get a release in France (only there, unfortunately). The group was still enduring police repression and some members spent up to 18 months in the Party’s jails, while their manager will spend more than 8 years of his life in there for his RnR beliefs. Led by the powerful and scary-looking (a completely broken and deformed nose gracing the centre of this hairy shagged face) saxman Vrastislav Brabenec and the no less impressive and hairy (but less ugly) violin player Jiri Kabes. Leading off is the 28 minutes-long 100 Bodies (a recount of a Warsaw Pact massacre ending the Spring Of Prague and we are in a typical minimal Velvet Underground and Can groove where the band improvises over a slowly evolving beat, even if the “song” has four different stages and sometimes interesting chord changes. The 20-mins Dopis Magorovi is much the same as its predecessor with some really insane digressions into madness, notably through the piano and the violin, but also through the myriad of artistes fighting the regime in one way or another. There is even one line yelled by anarchist and avant-garde script and playwright (and future president by popular acclaim after the communist regime fell) Vaclav Havel. An absolutely astounding track!
The following 8-min+ Phil Esposito track is a weird (even stupid) vocal montage depicting the Philadelphia Flyers hockey player and his exploits in beating up the Czechoslovak team in the final of the 76 Canada Cup over quasi-African musical chaos and chants. While rather funny and amusing at first, this track will not stand much repeated listening without hitting your nerves. Between the Czech team won that cup and the writing of this silly if hilarious track, I suppose that they made it 2 – 0. After such a silly session, Metastaze (you’d think these guys had a jail wish, uh ;-) is an absolute delight with the delicate and inventive drum beat being surfed upon by the brass instruments and a jumpy bass, the whole thing having a delightful Eastern Gypsy-jazz flavour without being overpowering, but dying in an ugly sax death throe. Probably one of the band’s best moments in their long provocative career, but this track was certainly more challenging than “derangesome”.
The short title track is another track reminiscent of those many groups (past but mostly future) that made a specialty of that Gypsy-Jazz or Jazz-Manouche. The closing Socialne Blizci (social XXX) is yet another piece like the preceding two, and by now, the group was in full swing into its proggiest years.
This collection is certainly one of the country/continent’s most important release as it is the not-so silent witness of the fight against totalitarianism and this comes from one of the most politically-engaged groups ever: Plastic People Of The Universe. Essential and outstanding stuff."
Отправлено: 07.07.08 05:38. Заголовок: Enrico Rava (Italy) - Il Giro Del Giorno in 80 Mondi, 1972 (Free Jazz)
Wikipedia: "Enrico Rava (born August 20, 1939 in Trieste, Italy), is a jazz trumpeter. He originally played trombone, before changing to the trumpet after hearing Miles Davis. His first commercial work was as a member of Gato Barbieri' s Italian quintet in the middle of the 1960's; in the late 1960' s he was a member of Steve Lacy's group. 1967 Rava moved to New York City. He has played with artists such as Carla Bley, Jeanne Lee, Paul Motian, Lee Konitz and Roswell Rudd.
In the 1970's and 1980's he worked with Pat Metheny, Michel Petrucciani, John Abercrombie, Joe Henderson, Richard Galliano, Miroslav Vitouš, Andrea Centazzo, Joe Lovano, Gil Evans and Cecil Taylor.
With trumpeter Paolo Fresu, Rava recorded a series of four CDs on the influence of Bix Beiderbecke, Louis Armstrong, Chet Baker, and Miles Davis (Bix, Pop, Shades of Chet, Play Miles Davis). Also of note are his recordings Rava, L'Opera Va' and Carmen; his own interpretations of operatic arias and overtures. In 2001, he founded a new quintet with pianist Stefano Bollani, and toured with Gato Barbieri and Aldo Romano. In the trio Europeans he is working with German bass-player Eberhard Weber and Swiss percussionist Reto Weber."
1 C.T.'s Dance 5:29 2 Back to the Sun 5:09 3 Xanadu 4:32 4 Attica 2:24 5 Il Giro del Giorno in 89 Mondi 7:11 6 To Start With 5:13 7 Olhos de Gato 3:15
Enrico Rava - Trumpet Bruce Johnson - Guitar Marcello Melis - Bass Chip White - Drums
Отправлено: 08.07.08 06:26. Заголовок: The Mandrake Memorial (USA) - Puzzle, 1970 (Psych)
"The Mandrake Memorial came together sometime in the late 60's in Philadelphia. This talented bunch has released three excellent albums between 1968-1970, quite an impressive output in creative terms. Any collector of 60's Psychedelia will tell you that Puzzle, Mandrake's ambitious third and final album, is regarded today as one of the greatest psychedelic albums.
Stylistically similar to some of the Boston bands of that era (Ultimate Spinach in particular), Mandrake Memorial's digging into complex trippy Psychedelia has in a way anticipated progressive rock.
From the opening track 'Earthfriend Prelude' and throughout this magnificent artistic album, Puzzle blends tripped out orchestral experimentation with quasi-religious music. Fusing drum crescendos, whispers, weird effects and choirs, with a high degree of instrumentation, we're talking about an ambitious early concept album."
1. Earthfriend Prelude 2. Earthfriend 3. Just A Blur (Version 1) 4. Hiding 5. Just A Blur (Version 2) 6. Tadpole 7. Kyrie 8. Ocean's Daughter 9. Volcano Prelude 10. Volcano 11. Whisper Play 12. Bucket Of Air 13. Children's Prayer 14. Puzzle 15. Just A Blur (Version 3) 16. Something In The Air 17. Musical Man
Craig Anderton - Guitar Randy Monaco - Bass, Vocals Kevin Lally - Drums
Отправлено: 09.07.08 05:19. Заголовок: Steve Harley & Cockney Rebel - In Pursuit Of Illusion (Live In Bremen 27-1-76) (Glam)
AMG: "In the hierarchy of '70s punk and new wave-influenced singer/songwriters, Graham Parker inevitably takes a backseat to the likes of Elvis Costello and Joe Jackson, despite predating (and perhaps inspiring) them both. Steve Harley isn't even an afterthought. While Harley's roots lie in the ill-defined glam rock scene of the early '70s his quirky blend of pop and rock peppered generously with cynicism and hyperbole isn't too far removed from those who succeeded him. So it could be said that he not only takes a backseat to the under appreciated Parker, he is invariably forced to sit on the hump. This is not a reflection of Harley's music, but merely an indicator of the popularity that has eluded him. Thanks to films like The Full Monty and Saving Grace a renewed interest in his music has taken place. His biggest hit "Make Me Smile (Come up and See Me)" has adorned the soundtrack of those two pictures. This album recorded live in Bremen, Germany in 1976 features that song as well as his other more recognizable pieces, like "Mad Mad Moonlight" and "Here Comes the Sun." Some extended and improvisational jams ("Sling It") add a dimension to his music that is generally absent on his studio recordings from the same period. Like many of the Burning Airlines releases which are derived from obscure live performances, the sound quality is lacking clarity and balance but doesn't necessarily detract from the excitement and energy inherent in the respective live shows"
1. Mad Mad Moonlight 2. Make Me Smile (Come Up And See Me) 3. Red Is a Mean Mean Colour 4. Here Comes the Sun 5. Sweet Dreams 6. Psychomodo 7. Sling It 8. Sebastian
Steve Harley - guitar, vocal Lindasay Elliot - drums, percussions Jim Cregan - lead guitar George Ford - bass Stuart Elliot - drums Joe Partidge - guitar Duncan MacKay - keyboards
AMG: "Progressive rock outfit Gypsy began its existence as the Minneapolis-based pop band the Underbeats, formed in 1964 by guitarist James Johnson, bassist Doni Larson, and drummer Tom Green. With the subsequent addition of singer/guitarist Enrico Rosenbaum, the group regularly performed throughout the Twin Cities circuit, scoring a handful of local hits including "Footstompin'," "Annie Do the Dog" and "Book of Love." Keyboardist James "Owl" Walsh was recruited after Johnson was drafted for military service in 1969; upon his discharge, Johnson returned to the Underbeats lineup, and the quintet relocated to Los Angeles soon after, where they landed a gig as the house band at the famed Whiskey-a-Go-Go. Rechristened Gypsy, they began pursuing a heavier, more complex sound inspired by the rise of British progressive rock, though often compared to the music of Santana. After replacing Green with drummer Jay Epstein, the band signed to the Metromedia label, issuing their self-titled double-album debut in 1970 and earned considerable FM airplay with the tracks "Gypsy Queen" and "Dead and Gone." Larson and Epstein exited Gypsy prior to recording the follow-up, 1971's In the Garden, cut with bassist Willie Weeks — who later resurfaced in the Doobie Brothers — and drummer Bill Lordan. Randy Cates assumed bass duties for 1972's Antithesis, Gypsy's first album for new label RCA; however, upon releasing 1973's Unlock the Gates, the group dissolved, reforming just long enough to play the Super Jam '77 concert at St. Louis' Busch Stadium. A year later Walsh formed a new Gypsy lineup, issuing The James Walsh Gypsy Band on RCA to little notice; in 1996 — once again the sole original member — he assembled another Gypsy unit, releasing 20 Years Ago Today. While Lordan went on to play with Robin Trower, Rosenbaum died September 10, 1979 after a long battle with drug abuse; he was just 36 years old." "Though nothing else on Gypsy's debut album came quite up to the standard of the opening number, the whole album is enjoyable for connoisseurs of jazzy progressive rock. That opening number, "Gypsy Queen," was the band's musical and commercial highlight, an organ-driven and harmony-laden blast of great progressive pop. Elsewhere on this album, the band blends Santana-like guitar and organ riffs with vocals and arrangements reminiscent of early Chicago in their better moments. Much of this is first-rate, and if "Gypsy Queen" weren't on this album, cuts like "The Vision" or "Standing in My Loneliness" would still make it worth having. The ensemble work is so impressive that it's hard to single out a particular player for praise, though James "Owl" Walsh's keyboard playing is particularly inventive. In retrospect, it's hard to believe that this debut didn't make a bigger splash when it was first released. Gypsy's work has held up very well compared to most albums from this era, and is still a delightful listen."
1. Gypsy Queen Part I (4:21) 2. Gypsy Queen Part II (2:33) 3. Man of Reason (2:59) 4. Dream If You Can (2:48) 5. Late December (4:12) 6. The Third Eye (4:55) 7. Decisions (8:16) 8. I Was So Young (4:00) 9. Here In My Loneliness (3:10) 10. More Time (5:35) 11. The Vision (7:30) 12. Dead and Gone (11:07) 13. Tomorrow Is The Last To Be Heard (5:48)
Enrico Rosenbaum - guitar, vocals James Walsh - keyboards, vocals James Johnson - guitar, vocals James Epstein - drums Doni Larson - bass Preston Epps - percussion Jimmie Haskell - string arrangements
Отправлено: 11.07.08 06:00. Заголовок: The Young Lions, 1960 (Jazz/Hard Bop)
AMG: "Irvin Shaw wrote the novel The Young Lions from which this post-to-hard bop all-star band took their name, launching the moniker of a generation of Wynton Marsalis-led followers in the '80s. Wayne Shorter on tenor sax, Frank Strozier on alto sax, Lee Morgan on trumpet, Bobby Timmons on piano, Bob Cranshaw on bass, and either Louis Hayes or Albert "Tootie" Heath on drums comprise the original Lions, a one-shot band who set the standard for the Blue Note-Riverside-based players who would follow in their path. There's a true democratic, shared value and responsibility evident in every sonic phase of this recording, but it is Shorter who wrote all the material. His "Seeds of Sin" is a sweet, swinging shuffle full of original harmonic thought. "Scourin'" displays a head-nodding swing inspired by quarter-note walking bass courtesy of the unflappable Cranshaw, and wondrous sax-trumpet unity. Timmons' huge, funky piano chords lead to all three horns strutting joyously in melodic agreement during "Fat Lady"; the solos perfectly display the individualism of Shorter's piquant tenor, Morgan's brash trumpet, and Strozier's slightly strained alto before a brief trading of fours with the unidentified drummer. Shorter's tenor is up front, with Morgan on the second melody and Strozier following along for the tightly structured "Peaches & Cream," which is not a team effort until the very last note. Over 11 ½ minutes, "That's Right" proffers an easy, bluesy 12-bar swing in a jam vehicle, with Timmons as pied piper, the horns shouting out in unison, chord punctuations from the pianist, and doo wop accents for the solos. Morgan uses a mute, and Shorter's tenor is fluid as a country stream. There are three alternate takes: A fourth try of "Seeds" is five seconds longer and not only sweet, but a little sour; on a third rendition of "Scourin'," the 35-second bass intro is omitted as Shorter's tenor digs right in and less unison is evident; and with an extra 24 seconds, the third taping of "Fat Lady" only differs in solo content. This is a classic, and one every modern jazz fan should have. The liner notes, written by Cannonball Adderley, are also priceless; they discuss the "glorification of mediocrity," a rip on Dick Clark, country-pop, comformity, and railing against modern jazz naysayers. The notes also include other poignant observations that still ring true today. Interesting reading, ultimately interesting music."
1 Seeds of Sin (5:42) 2 Scourn' (5:56) 3 Fat Lady (5:00) 4 Peaches and Cream (6:50) 5 That's Right (11:35) 6 Seeds of Sin (5:46) (alternate take) 7 Scourn' (6:15) (alternate take) 8 Fat Lady (5:23) (alternate take)
Lee Morgan - trumpet Wayne Shorter - tenor sax Bobby Timmons - piano Louis Hayes - drums Albert "Tootie" Heath - drums Frank Strozier - alto sax
Progarchives: "Amon Duul were a huge musical collective that had a spectacular appearance in a tv-show in 1968. Before they put out their first album they split though, and one half set off to form Amon Duul 2 (see there). The others kept the name Amon Duul and in 1969 published the first Krautrock album ever, "Psychedelic Underground". It was very badly produced, and the music consisted of long improvisations, but after this album no other band needed to have an inferiority complex. Their second official album "Paradieswärts Duul" (1970) is much better produced and has a folky touch. The albums "Collapsing - Singvögel Ruckwärts", "Disaster" and "Experimente" stem from the same session as "Psychedelic Underground" and are of similar nature; they were published after the band had split up already. "
1. Special Track Experience No. 1 (4.30) 2. Special Track Experience No. 2 (0.32) 3. Special Track Experience No. 3 (5.17) 4. Special Track Experience No. 4 (2.28) 5. Special Track Experience No. 5 (2.41) 6. Special Track Experience No. 6 (1.11) 7. Special Track Experience No. 7 (5.47) 8. Special Track Experience No. 8 (2.11) 9. Special Track Experience No. 9 (3.45) 10. Special Track Experience No. 10 (1.42) 11. Special Track Experience No. 11 (1.54) 12. Special Track Experience No. 12 (1.24) 13. Special Track Experience No. 13 (3.49) 14. Special Track Experience No. 14 (2.48) 15. Special Track Experience No. 15 (1.29) 16. Special Track Experience No. 16 (5.10) 17. Special Track Experience No. 17 (0.50) 18. Special Track Experience No. 18 (2.06) 19. Special Track Experience No. 19 (6.29) 20. Special Track Experience No. 20 (1.07) 21. Special Track Experience No. 21 (2.46) 22. Special Track Experience No. 22 (3.08) 23. Special Track Experience No. 23 (2.33) 24. Special Track Experience No. 24 (1.08)
Angelica Filanda - Vocals, Percussion Helge Filanda - Congas, Anvil Ella Bauer - Vocals, Percussion Rainer Bauer - Guitar, Vocals Ullrich Leopold - Bass Peter Leopold - Drums Uschi Obermaier - Percussion Wolfgang Krischke - Piano, Percussion
AMG: "Delaney & Bonnie's brand of soul-rock was firmly in place by the time of this 1969 album, the only one they recorded for Stax. Their following albums would gain greater exposure, but there's not much difference between this record and those subsequent efforts, except perhaps that this is more soul-oriented and less rock-oriented. That's not too surprising considering that members of Booker T. & the MG's are playing on most of the cuts, though a few were done in Hollywood with Leon Russell on keyboards and Carl Radle on bass. The material was a mixture of original songs and compositions from top Stax writers such as Steve Cropper, Isaac Hayes, and David Porter, though generally the songs weren't as grittily powerful or memorably hook-laden at the best stuff to come out of Stax in the late '60s. The cover of "Piece of My Heart" was bound to pass relatively unnoticed in the wake of Janis Joplin's wrenching hit cover of the song (with Big Brother & the Holding Company), and "Hard to Say Goodbye" seems like an attempt to push their sound in a slightly poppier direction, though not at all a bad one."
1 It's Been a Long Time Coming 2 We Can Love 3 Everybody Loves a Winner 4 Just Plain Beautiful 5 Pour Your Love on Me 6 A Right Now Love 7 My Baby Specializes 8 Things Get Better 9 Hard to Say Goodbye 10 Piece of My Heart
Delaney Bramlett - Guitar, Vocals Bonnie Bramlett - Vocals William Bell - Vocals Eddie Floyd - Vocals Isaac Hayes - Vocals Booker T. Jones - Keyboards Bobby Whitlock - Keyboards, Vocals Steve Cropper - Guitar Donald "Duck" Dunn - Bass Al Jackson, Jr. - Drums
Progarchives: "Highly recommended for all music buffs! Whether or not you like prog, this CD is accessible to most people (I think) and it could be a good entry point to the band. Almost all tracks are excellent except: “Do You Care”, “Want You To Be Mine” (too poppy and boring), “Who’s Fooling Who” and “Rain in May”. “Starlight Dancer” is wonderful. It has a very melodic opening, influenced heavily by a classical music. This song indicates the trademark of Kayak music, I think. “Phantom of the Night” is another excellent track with touchy melody and tight structure; great orchestration. “Anne” has a nice opening choir and good happy mood music. I like the use of pan-pipe sound (may be produced thru keyboard). Well, I don’t want to elaborate into greater detail – just buy the CD and enjoy the easy listening prog music produced from this CD."
1. Lyrics (3:40) 2. Mammoth (2:55) 3. See See the Sun (4:11) 4. Wintertime (2:50) 5. We Are not Amused (3:00) 6. Chance for a Lifetime (2:45) 7. Still my Heart Cries for You (4:33) 8. Do You Care (2:55) 9. Starlight Dancer (4:53) 10. Want You to Be Mine (3:30) 11. Ruthless Queen (4:49) 12. Phantom of the Night (5:01) 13. Anne (4:08) 14. Spetters (3:24) 15. Periscope Life (3:24) 16. Total Loss (4:12) 17. Seagull (4:10) 18. The King's Enchanter (2:25) 19. Who's Fooling Who (3:42) Extra tracks: 20. Rain in May (3:37)
Ton Scherpenzeel - keyboards, backing vocals Pim Koopman - drums, percussion, backing vocals Max Werner - lead vocals, mellotron, drums, percussion, backing vocals Cees Van Leeuwen - bass Johan Slager - guitars, backing vocals Bert Veldkamp - bass, backing vocals
Отправлено: 15.07.08 06:19. Заголовок: Joy Bryan - Joy Bryan Sings, 1957 (Jazz/Vocal)
AMG: "Joy Bryan only made two albums in her career and that is a real pity for she was a subtle and talented jazz singer. This CD reissue brings back her earlier date, a septet outing arranged by Marty Paich and including such fine sidemen as trumpeter Jack Sheldon, altoist Herb Geller and Bob Enevoldsen on valve trombone, clarinet and bass clarinet. Bryan performs a dozen standards with the most unusual selections being "Down the Old Ox Road," "Mississippi Mud" and a rare early vocal version of "'Round Midnight." Excellent music."
1. I Was Doin' All Right 3:00 2. 'Round Midnight 3:13 3. My Shining Hour 1:50 4. When The World Was Young 3:56 5. Mississippi Mud 3:13 6. My Heart Stood Still 2:45 7. You're My Everything 2:31 8. When It's Sleepy Time Down South 3:48 9. Swinging On A Star 3:11 10. What Is There To Say 2:35 11. Down The Old Ox Road 3:07 12. I Could Write A Book 2:07
Joy Bryan - Vocals Bob Enevoldsen - Clarinet, Clarinet (Bass), Trombone (Valve) Herb Geller - Clarinet, Sax (Alto) Ronnie Lang - Clarinet, Sax (Alto), Sax (Baritone) Jack Sheldon - Trumpet Marty Paich - Piano Red Mitchell - Bass Mel Lewis - Drums
Отправлено: 16.07.08 07:03. Заголовок: Dr. Z (UK) - Three Parts To My Soul, 1971 (Prog)
Progarchives: "DR. Z. is an obscure early 70's English trio whose LP version of their only album now fetches in the 3-digit price range (only 80 copies were sold at the time, the rest of the pressings were trashed by their record company). A cd version of the album, released by Vertigo in 1991, features a couple of extra tracks.
The dominant mood of the album ("Three Parts to my Soul") is set by a percussive harpsichord that is alternately majestic and militaristic – imagine the sound of a Keith EMERSON harpsichord concerto if Carl PALMER matched him note for note on a kettle drum. The lyrics, dealing with occultism and the evil of man, are far better written than the music, which sounds rather clumsy and awkward to our modern ears. At its most inventive and textured, the album is a fine example of early 70's prog at its darkest. It has simple rhythms and the music is peculiarly obsessive, with very long piano and organ solos, baroque melodies and satanic lyrics.
Strictly for serious collectors of dark, early 70's curios willing to overlook a highly mangled production."
1. Evil Woman's Manly Child (4:47) 2. Spiritus, Manes et Umbra (11:51) 3. Summer for the Rose (4:32) 4. Burn in Anger (3:25) 5. Too Well Satisfied (5:49) 6. In a Token of Despair (10:31) 7. Lady Ladybird (2:46) 8. People in the Street (3:08)
Keith Keyes - piano, harpsichord, organ and vocals Bob Watkins - drums & percussion Rob Watson - bass guitar
Отправлено: 17.07.08 06:15. Заголовок: Dr. John (USA) - In The Right Place, 1973 (R&B)
AMG: "Dr. John finally struck paydirt here and was certainly In the Right Place. With the hit single "Right Place Wrong Time" bounding up the charts, this fine collection saw many unaware listeners being initiated into New Orleans-style rock. Also including Allen Toussaint's "Life," and a funky little number entitled "Traveling Mood," which shows off the good doctor's fine piano styling, and with able help from the Meters as backup group, In the Right Place is still a fine collection to own."
1 Right Place, Wrong Time 2:55 2 Same Old Same Old 2:43 3 Just the Same 2:53 4 Qualified 4:50 5 Traveling Mood 2:51 6 Peace Brother Peace 2:50 7 Life Toussaint 2:31 8 Such a Night 2:57 9 Shoo Fly Marches On 3:17 10 I Been Hoodood 3:14 11 Cold Cold Cold 2:37
Mac Rebennack - Organ, Percussion, Piano, Vocals Allen Toussaint - Guitar, Keyboards, Tambourine, Vocals (bckgr) Gary Brown - Horn, Sax (Alto), Electric Saxophone Art Neville - Organ, Keyboards Leo Nocentelli - Guitar David Spinozza - Guitar George Porter, Jr. - Bass Ziggy Modeliste - Drums Ralph MacDonald - Percussion Jessie Smith - Vocals (bckgr) Robbie Montgomery - Vocals (bckgr) The Meters - Rhythm Bonaroo - Horns
AMG: "Nosferatu is the first of three scores for silent horror movies the French group Art Zoyd recorded between 1989 and 1997. Friedrich Wilheim Murnau's classic Nosferatu served as the first guinea pig and it worked wonderfully. This happened at a time when performing new music over screenings of silent films had yet to become a trend in avant-garde circles (in the mid- to late '90s), although this particular film was enjoying a revival of sorts (metallers Helstar released an album by the same title in 1989). The group managed to remain true to Murnau's chef-d'oeuvre while delivering a genuine Art Zoyd platter. The lineup is the same as for 1987's Berlin, but the ideas have matured. Taking a cue from the previous album's "A Drum, a Drum," the music includes vocal passages, some sung by Thierry Zaboitzeff in a low, gravely, hellborn voice, others being pre-recorded children's choir parts. The 60-minute suite follows the film scene by scene, but it stands marvelously well on its own. Keyboards are definitely dominating the sound, with touches of cello and saxophone added for an extra Gothic feel. Often fast-paced and exhilarating, the music consists of interlocking rhythmical motifs on keyboards punctuated by orchestral cues, percussion, or acoustic instruments. Melodies are few; the grandeur and drama rarely let go. The CD is rounded up by the three-part, 17-minute "Vorgänge," ballet music for the Salzburg Vorgänge Bewegungstheater. If you don't notice the track number on the CD player, you'll think you're still in Nosferatu. This album is generally more inspired, varied, lively, and less-complacent than Faust and Häxan, Art Zoyd's two other film soundtracks. Highly recommended, even to those who despise the group's post-1983 output."
1. L'oeuf du serpent (3:40) 2. L'agent Renfield (3:17) 3. Le voyage de Harker (4:03) 4. Le matin (1:40) 5. Le château (4:14) 6. Nosferatu (2:42) 7. L'oeuf du serpent II (3:00) 8. Rumeurs (2:35) 9. Rumeurs II (2:56) 10. Anaphase (4:08) 11. Le maitre arrive (2:24) 12. Rumeurs III (2:39) 13. Les docteurs (2:28) 14. La peste (3:14) 15. Livre des vampires (1:47) 16. Anaphase II (4:38) 17. Le maitre est mort (3:23)
Отправлено: 19.07.08 06:14. Заголовок: Sun Ra - The Futuristic Sounds of Sun Ra, 1961 (Free Jazz)
AMG: "Sun Ra's only release for the Savoy label is a gem. Recorded in October of 1961, this is probably the first recording the Arkestra made after arriving in New York. As such, you're dealing with a smallish Arkestra (seven main instrumentalists, joined by vocalist Ricky Murray on "China Gate") that's still playing the boppish, highly arranged music characteristic of the Chicago years (1954-1961). Ra sticks to acoustic piano for the entire session, but various percussion instruments are dispersed throughout the band, giving a slightly exotic flavor to some of the tunes. John Gilmore plays bass clarinet on a couple tunes (as well as some great tenor solos), and Marshall Allen's flute playing is excellent, as always. This album was produced by Tom Wilson, who also produced the first Sun Ra LP, Jazz by Sun Ra (1956) for the Transition label, later reissued by Delmark as Sun Song (Wilson later went on to sign the Mothers of Invention to Verve and "electrified" Bob Dylan). With the exception of "The Beginning," all the tunes are very accessible. This is one to play for the mistaken folks who think the Arkestra did nothing but make noise. Excellent."
1 Bassism 4:09 2 Of Sounds and Something Else 2:55 3 What's That? 2:17 4 Where Is Tomorrow? 2:51 5 The Beginning 6:32 6 China Gates 3:24 7 New Day 5:53 8 Tapestry from an Asteroid 3:04 9 Jet Flight 3:16 10 Looking Outward 2:52 11 Space Jazz Reverie 4:54
Sun Ra - Piano Ricky Murray - Vocals John Gilmore - Clarinet (Bass), Sax (Tenor), Bells Marshall Allen - Flute, Sax (Alto), Sax (Tenor), Bells Pat Patrick - Sax (Baritone), Bells Bernard McKinney - Trombone, Euphonium, Bells Ronnie Boykins - Bass, Bells, Double Bass Willie Jones - Percussion, Drums
AMG: "The debut album from Stackridge consists of nine curiously light folk-tinged tracks, with elements of progressive rock cropping up here and there in the friendly Canterbury style. Their music takes on the classic storytelling route, but is bolstered and heightened by instruments like violins, flutes, cellos, trumpets, and the distinct sound of the harmonium played by Andrew Creswell-Davis. Both James Warren and Creswell-Davis take turns at singing such merry lyrical excerpts as "40 missing floorboards, 50 frantic far-out mice below," sounding attractively waggish and peculiarly quaint in doing so. Without coming off as overly Celtic or far too English, Stackridge culminates the humor and the essence of figurative devices and lays them out within the field of woodwind and stringed instruments. With barely any percussion, songs like "Percy the Penguin" and "The Three Legged Table" carry out their jovial entendres to the eloquence of hand-plucked piano strings and a trio of trumpets. Their refined singing style helps each song render its own character and eccentricity when added to the numerous instruments. The albums that followed such as Friendliness and The Man in the Bowler Hat housed the same poetic components as their first release with the music sounding more progressive and slightly commercial. "
1. Grande Piano (3:23) 2. Percy the Penguin (3:42) 3. Three Legged Table (6:49) 4. Dora the Female Explorer (3:48) 5. Essence of Porphyry (8:05) 6. Marigold Conjunction (5:00) 7. West Mall (2:27) 8. Marzo Plod (3:07) 9. Slark (14:08)
Andy Creswell-Davis - guitar, keyboards, vocals, bass Michael “Mutter” Slater - flute, vocals Mike Evans - violin, cello Billy “Sparkle” Brent - drums James Warren - vocals, guitar
Отправлено: 21.07.08 07:01. Заголовок: Peter Tosh (Jamaica) - Legalize It, 1976 (Reggae)
AMG: "After years of being overshadowed by Bob Marley, Peter Tosh left the Wailers to pursue a solo career. Released in 1976, Legalize It is a bold statement that Peter Tosh had arrived and was a creative force in his own right. Although he explores some issues of spirituality, this is Tosh's most lightweight album in the sense that it is his least political. This is not meant as a criticism — in fact, Tosh's playfulness and joy ("Ketchy Shuby") only add to the album's charm. He does make political statements (the title track celebrates and promotes the use of marijuana), but they are done with a sense of humor and a melodic infectiousness that belie his sincere concern for the issues. Tosh incorporates many instruments and mixes slower ballads with upbeat grooving tunes. The album's highlight is "Why Must I Cry," a multi-layered song (co-written with Bob Marley) that conveys a sense of personal failure when fighting an uphill battle, whether it be against injustices of the world or within the confines of a relationship. Legalize It cemented Tosh's position as a giant in reggae, and the album is one of the best albums of the genre."
1 Legalize It 4:35 2 Burial 3:54 3 What'cha Gonna Do? 2:25 4 No Sympathy 4:35 5 Why Must I Cry 3:08 6 Igziabeher (Let Jah Be Praised) 4:37 7 Ketchy Shuby 4:53 8 Till Your Well Runs Dry 6:09 9 Brand New Second Hand 4:03
Peter Tosh - Guitar, Keyboards, Vocals Robbie Lee - Harmonica, Harp Donald Kinsey - Guitar Al Anderson - Guitar Tyrone Downie - Keyboards Robbie Shakespeare - Bass Aston Barrett - Bass Carlton "Carlie" Barrett - Drums Rita Marley - Vocals Judy Mowatt - Vocals Bunny Wailer - Vocals
AMG: "With regular collaborator Anna Nacher as the featured vocalist on a number of this album's tracks, while bassist Gulinski appears as well, Atman takes a slight turn to a more rocking side of things on Tradition. Admittedly, it's 'more rocking' by degrees than anything else, but even if the only strong rhythm on the opening "39 I Ching" comes from Gulinski's bass, the core trio's intense performance is still a wonder to hear. Nacher's sometimes keening, sometimes cool vocals make it that much more compelling, getting Tradition off to a fine start. Other combinations of Nacher and a touch more brusque rock power surface on "Tensegretty" and other numbers. Otherwise, the hushed, powerful sense of drama and mystery from Personal Forest remains paramount, with crystalline guitar (and other stringed instruments) leading the way, especially on the album's lengthy centerpiece "The Talking Meadow (Story)." The band's focus on 'deep ecology' continues unabated throughout the album, with one number called "Lullaby for Rainbow Warrior," after the bombed flagship of Greenpeace. Similarly, such titles as "The Theatre of Mist" (with a marvelous series of performances on many instruments, from miniharmonium to Slovakian pastoral fujara) and the two enveloping numbers "Natural Landscapes" show Atman as focused as ever on both their work and inspiration. An especially inspired number here is a cover of Jimi Hendrix's "Third Stone from the Sun." Given a brisk, quick reading from the performers, with percussion provided by bells and gong and a mix of acoustic and electric guitars both, it takes the elements of unearthly majesty from the original and gives the old warhorse one of its best reinterpretations in years. Tradition concludes with a live improv jam, "Kosovo," a short piece that incorporates everything from near-complete silence to clattering percussion, feedback and Nacher's wailing."
1. 39 I Ching 04:34 2. The Theatre Of Mist 06:54 3. Third Stone From The Sun 03:32 4. Natural Landscapes (1) 02:56 5. Free-P 03:44 6. Tensegretty 04:08 7. The Talking Meadow (Story) 16:15 £1.50 8. Natural Landscapes (2) 02:42 9. Lullaby For Rainbow Warrior 03:24 10. The North Of The World 04:36 11. In Your Head (Dust) 01:40 12. The (Live) Theatre Of Mist 07:32 13. Kosovo 03:12
Anna Nacher - Guitar, Vocals Marek Styczynski - Vocals, Zither, Bells, Tambor, Fujara, Flute, Darabouka, Ceramic Drum Marek Leszczynski - Dulcimer, Vocals, Bells, Rattles Piotr Koleck - Guitar, Baby Toys Tomasz Radziuk - Bass Tomasz Gulinski - Vocals, Miniharmonium, Gong
Отправлено: 23.07.08 05:44. Заголовок: Glenn Miller Goes to War!, 1944
1 In the mood 2 Stardust 3 Tuxedo junction 4 Now I know 5 String of pearls 6 Poinciana 7 Long ago and far away 8 Is you is or is you ain’t my baby? 9 Great day 10 Moonlight serenade (theme)-I sustain the wings 11 Caribbean clipper 12 Now I know 13 Salute to the aerial reconnaissance photographers 14 Miller Medley: Songs my mother... 15 Join the W.A.C. 16 There are yanks
Progarchives: "The English band KALEIDOSCOPE (not to be confused with American band KALEIDOSCOPE which existed at the same time and played basically psychedelic rock too) is an almost forgotten band from the late sixties and early seventies.
The band started its recording activities in 1967 as KALEIDOSCOPE, but the band was formed back in 1963 with the name THE SIDEKICKS and changed to THE KEY later. In the beginning, the line-up was Eddie Pumer on guitar, Steve Clark on bass and Danny Bridgman on drums, but they later needed a new vocalist and Peter Daltrey joined (he played keyboards too). They played local venues and released singles, but when they signed a contract with Phillips, they changed the name of the band and started playing their own psychedelic rock compositions instead of the covers they used to play before. The combination of Pumer's musical arrangements and Daltrey's lyrics was the main power of the group.
In 1967 was released their first album, 'Tangerine Dream'. The album comprises fine psychedelic songs with experimentations and arrangements like many of the top psychedelic and early progressive bands from that age (THE BEATLES, PINK FLOYD, THE MOODY BLUES). They got lots of airplay and recorded many BBC sessions, but didn´t sell well. They eventually released more singles, like 'Jenny Artichoke', which was a success, but sold poorly, and another album, 'Faintly Blowing'. It was released in 1969, showing a progression of it's predecessor in terms of sound. Although still psychedelic, the compositions were getting more progressive. The album unfortunately failed to chart.
They released a final single, 'Balloon', before changing the name to FAIRFIELD PARLOUR and becoming totally progressive oriented. The band didn't achieve success and they were unlucky at the time, failing to chart and having problems (including some sabotage) in all great gigs they had, including the famous Isle of Wight, which they were the responsibles for the 'Theme Song' of the festival (released under the name of I LUV WIGHT).
WHITE FACED LADY was their last album, recorded in 1971 partly with the help of Mike Pinder, from THE MOODY BLUES. The album was a conceptual double-album with many orchestral arrangements. The band had a deal with Vertigo at that time, but the responsible quit Vertigo and moved to CBS. So they were to release it on CBS, but CBS refused to release their album and it stayed shelved for twenty years, being released in 1991 by a label they created just to release the album, Kaleidoscope Records, under the name of KALEIDOSCOPE, although recorded under the FAIRFIELD PARLOUR encarnation of the band. The band split in 1972 due to the lack of results and luck (they were offered less than 20 dollars to play the last gigs). So this was the end of this great psychedelic and progressive rock band which had talent to be one of the major progressive rock acts of their age but died prematurely due to bad luck in the crucial moments. It is highly recommended because they were one of the first progressive rock bands that evoluted with the genre and made a fantastic work, mainly their excellent conceptual album 'White Faced Lady'."
(Fairfield Parlour) From Home to Home, 1970 Aries In My Box Bordeeaux Rose (Original) By Your Bedside Soldier Of The Flesh I Will Always Feel The Same Free Emily Chalk On The Wall The Glorious House Of Arthur Monkey Sunnyside Circus The Drummer Boy Of Shiloh Just Another Day Caraminda Song For You I Am All The Animals Bordeeaux Rose (New version) Baby, Stay For Tonight Eye Witness Let The World Wash In
Peter Daltrey - vocals, piano, mellotron, harpsichord, organ, tambourine Eddy Pumer - vocals, classical, acoustic twelve string and electric guitars, mellotron, organ, harpsichord Steve Clark - bass guitar, flutes Dan Bridgeman - vocals, drums, pedal tympany, tubular bells, tambourine, bongos
White-Faced Lady, 1971 Overture Broken Mirrors Angel's song: "Dear Elvis Presley..." Nursey, Nursey Small song - Heaven in the black row Burning bright The matchseller The coronation of the fledgling All hail to the hero White-Faced Lady Freefall Standing Diary song: The indian head Song from Jon Long way down The locket Picture with conversation Epitah: Angel
Peter Daltrey - vocals, keyboards Eddie Pumer - guitar Steve Clark - bass, flute Dan Bridgeman - drums
AMG: "Kaleidoscope were arguably the most eclectic band of the psychedelic era, weaving together folk, blues, Middle Eastern, and acid more often and seamlessly than any other musicians. The California group were formed under the nucleus of multi-instrumentalists David Lindley and Chris Darrow in the mid-'60s. Adding fiddle, banjo, and various exotic string instruments such as the oud and saz to the traditional rock lineup, Kaleidoscope complemented their experimental sounds with taut and witty (if lyrically eccentric) songwriting. Other important members were Solomon Feldthouse, who specialized in the Turkish-style instruments, and Chester Crill, who, to make documentation just that much more difficult, sometimes used odd pseudonyms like Fenrus Epp.
With the exception of their mawkish forays into old-timey music, Kaleidoscope's work holds up well. Their first three albums were their best, highlighted by the lengthy tracks "Taxim" and "Seven-Ate Sweet," which are groundbreaking fusions of Middle Eastern music and rock. Kaleidoscope were a popular live act, even incorporating some flamenco and belly dancers into their performances. But in commercial terms their very eclecticism probably worked against them. Hit singles, too, were a difficult proposition for such a versatile group to get to grips with, although several of their 45s were pretty good. One of the best, "Nobody," was a most unusual fusion of R&B and psychedelia that found the group backing veteran rock and blues greats Larry Williams and Johnny "Guitar" Watson.
Kaleidoscope's eclecticism may have been a by-product of numerous personnel changes throughout the last half of the '60s that would make the construction of a family tree a most unwieldy task. Darrow, in fact, only lasted a couple of albums; in 1970, shortly after their fourth album, they split up. Several of the group's more important contributors reunited for an album in 1975 (although Lindley played only a small part); there was another reunion record in 1988."
1 Lie to Me 2:10 2 Let the Good Love Flow 2:10 3 Killing Floor 2:44 4 Petite Fleur 3:29 5 Banjo 3:37 6 The Cuckoo 4:15 7 Seven-Ate Sweet 11:37
David Lindley - Banjo, Guitar, Violin, Vocals Solomon Feldthouse - Clarinet, Guitar, Vocals, Jumbus Fenrus Epp - Violin, Keyboards Stuart Brotman - Bass, Vocals Paul Lagos - Drums, Vocals Max Buda - Harmonica Templeton Parcely - Organ, Violin, Vocals
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