giovedì 24 settembre 2015

Spencer Davis Group - Eight Gigs a Week - The Steve Winwood Years (Island Records Box Set 2CD) 1996

Review by Richie Unterberger : This two-CD, 51-song set covers virtually everything the group recorded with Steve Winwood in the lineup from 1964-1967. The gap between the band's best and worst material was considerable; quite a few of their R&B covers are surprisingly routine, and the occasional cuts that don't have Winwood on lead vocals are downright pedestrian. Because of this inconsistency, the general fan's better off with the Rhino best-of, if it can be found. If you want to get more, though, this is the first and last place to go, with all the hit singles, everything from their three albums, an early EP, some B-sides, and a couple of previously unissued tracks. And some of the obscure material is really good, whether in a straight R&B/blues or more soulful vein. Be aware that the version of "Gimme Some Lovin'" here is the less dynamic, original British mix, minus some backup vocals and percussion.

01.Dimples  2:20
02.I Can't Stand It  2:10
03.Jump Back  1:44
04.Here Right Now  3:13
05.Searchin'  2:38
06.Midnight Train  2:41
07.It's Gonna Work Out Fine  3:03
08.My Babe  2:39
09.Kansas City  4:19
10.Every Little Bit Hurts  3:28
11.Sittin' & Thinkin'  2:57
12.I'm Blue (Gong Gong Song)  2:41
13.She Put The Hurt On Me  2:40
14.I'll Drown In My Own Tears  4:27
15.I'm Getting Better  2:11
16.Goodbye Stevie  2:22
17.Strong Love  2:15
18.Georgia On My Mind  4:40
19.It Hurts Me So  2:55
20.Oh! Pretty Woman  3:20
21.Look Away  2:41
22.This Hammer  2:15
23.Please Do Something  2:23
24.Keep On Running  2:47
25.Let Me Down Easy  3:00

01.Somebody Help Me  2:02
02.Watch Your Step  2:53
03.Nobody Knows You When You're Down And Out  3:52
04.Midnight Special  2:14
05.When I Come Home  1:58
06.High Time Baby  2:41
07.Hey Darling  4:46
08.I Washed My Hands In Muddy Water  2:36
09.You Must Believe Me  2:45
10.Trampoline  2:27
11.Since I Met You Baby  3:27
12.Mean Woman Blues  3:14
13.Dust My Blues  2:37
14.When A Man Loves A Woman  3:10
15.Neighbour Neighbour  3:19
16.On The Green Light  3:05
17.Stevie's Blues  3:48
18.Take This Hurt Off Me  2:45
19.Stevie's Groove  2:45
20.I Can't Get Enough Of It  3:43
21.Waltz For Lumumba  4:19
22.Together Till The End Of Time  2:51
23.Gimme Some Lovin'  2:59
24.Back Into My Life Again  2:26
25.I'm A Man  2:56
26.Blues In F  3:27

Muff Winwood - Bass
Pete York - Drums
Steve Winwood - Organ, Lead Guitar, Piano, Harmonica, Vocals
Spencer Davis - Rhythm Guitar

mercoledì 23 settembre 2015

Bangor Flying Circus - Bangor Flying Circus (One Way Records) 1969 REPOST

Biography : Signed by Dunhill, the trio's self-titled 1969, debut teamed them with producer George Badonsky. Musically "Bangor Flying Circus" wasn't anything spectacular. On the positive side, DeCarlo and Wolinski were both decent, if anonymous singers; the trio's performances never less than professional. Unfortunately, with Wolinski writing the majority of material (De Carlo credited with one song), selections such as 'Violent Man', 'A Change In Our Lives' and their gawdawful elevator music instrumental cover of The Beatles' 'Norwegian Wood' reflected a surprisingly pedestrian AOR feel. Occasional jazzy touches on tracks like 'In the Woods' and the skat segments in 'Ode To Sadness' and 'Someday I'll Find' didn't help much either. In spite of those shortcomings, well constructed heavy-psych album from a Chicago trio, with meaty guitar riffs and full organ sounds. This kind of music was done to death in the early 70s, but "Bangor Flying Circus" was made in 1969 and it's still fresh and innovative.
The extended use of organ does not make this proto-prog, which continually gets off to an active jazz-rock (especially noticeable on the last track). Interestingly, the bassist, and is responsible for the keyboard at the same time, with these tools, "led by the show." Above all, they are wonderful melodic, but fully disclosed during improvisations. It's a very well balanced album. Review by adamus67 

01.Violent Men 6:08
02.Come On People 4:11
03.Ode To Sadness 6:07
04.Concerto Four Clouds 5:26
05.A Change In Our Lives 4:16
06.Someday I'll Find 5:15
07.Mama Don't You Know 3:20
08.In the Woods 4:20
09.Norwegian Wood 6:08

David Wolinski - keyboards, vocals, bass, percussion
Alan Decarlo - guitar, vocals, percussion
Michael Tegza - drums, percussion

domenica 20 settembre 2015

Mandrill - Mandrill (Collectables Records) 1971

Biography : One of funk's most progressive outfits, Mandrill paid the price for their ambitions in commercial returns -- not that they never earned a reputation or an audience, but their expansive, eclectic vision often worked better when given an album's worth of room to roam, rather than being condensed into hit singles. Mandrill's jam-heavy brand of funk was liberally infused with Latin, Caribbean, and jazz influences, plus blues, psychedelia, African music, and straight-up rock. Their freewheeling approach was a definite influence on the Parliament-Funkadelic collective (an early incarnation of which actually served as their opening act), and their grooves have been sampled by numerous hip-hop acts in modern days. Mandrill was formed in Brooklyn in 1968 by brothers Ric Wilson (sax, vocals), Lou Wilson (trumpet, vocals), and Carlos Wilson (trombone, vocals), all of whom were born in Panama and raised in the Bedford-Stuyvesant neighborhood by musically inclined parents. Ric Wilson had already taken up a career as a cardiologist when the group officially formed; the brothers had performed together for quite some time, rehearsing at the beauty salon where their mother worked. Taking their name from the variety of West African ape (because of its distinctive, colorful face and well-developed, family-oriented social organization), Mandrill soon added keyboardist Claude "Coffee" Cave, guitarist Omar Mesa, bassist Bundie Cenas, and drummer Charlie Padro. They signed with Polydor and released their eponymous debut album in 1970, displaying the influence of the burgeoning jazz-rock and Latin rock movements in addition to soul and funk. For the follow-up, 1972's Mandrill Is, Fudgie Kae Solomon replaced Cenas on bass, and the group scored its first hits with "Ape Is High" and "Git It All." With new drummer Neftali Santiago, Mandrill scored their biggest hit with 1973's Composite Truth, which also produced their highest-charting single, "Fencewalk." This incarnation ranked as the classic Mandrill lineup, but didn't take long to splinter; after 1974's Just Outside of Town (which featured the hit "Mango Meat"), guitarist Mesa left (citing "spiritual reasons") and was replaced by Dougie Rodriguez, formerly of Santana. After the soundscape-heavy double-LP Mandrilland, disputes over the Wilson brothers' control of the band led to the departure of every non-Wilson member save for Claude Cave. Leaving Polydor, Mandrill cut two albums for United Artists with a session rhythm section over 1975-1976, and subsequently caught on with Arista. Their label debut, 1977's We Are One, proved to be their biggest hit since Composite Truth, spawning the club hits "Funky Monkey" and "Can You Get It"; it also marked the temporary return of Santiago on drums, the addition of another brother, Wilfredo "Wolf" Wilson, on bass, and the debut of guitarist Joaquin Jessup. Two more albums for Arista followed over the next two years (New Worlds and Getting in the Mood), and the band also handled the soundtracks for the Muhammad Ali flick The Greatest (1977) and the cult gang film The Warriors (1979). Mandrill went on to cut one more album, Energize!, for Montage in 1982 before disbanding. Fudgie Kae Solomon later died of a drug overdose.

01.Mandrill 4:23
02.Warning blues 4:34
03.Symphonic revolution 5:18
04.Rollin' On 7:42
05.Peace and love - Movement I 1:50
06.Peace and love - Movement II 1:46
07.Peace and love - Movement III 2:14
08.Peace and love - Movement IV 6:03
09.Peace and love - Movement V 2:06
10.Chutney 3:06

Carlos Wilson - Flute, Trombone, Guitar, Vocals
Lou Wilson - Percussion, Trumpet, Flugelhorn, Vocals
Ric Wilson - Saxophone, Percussion, Vocals
Claude Cave - Keyboards, Vibraphone, Percussion, Vocals
Bundie Cenas - Bass, Percussion, Vocals
Omar Mesa - Guitar, Percussion, Vocals
Charles Padro -Drums, Percussion, Vocals

sabato 8 agosto 2015

David Crosby (with Jerry Garcia Phil Lesh & Mickey Hart) - Live At The Matrix December 1970 (2014 Remastered)

Biography : During the rehearsals and recording sessions for If I Could Only Remember My Name, David Crosby and three members of the Grateful Dead – Jerry Garcia, Phil Lesh and Mickey Hart – played three dates at San Francisco’s Matrix club, December 15th, 16th & 17th, 1970. These rare recordings, from an afternoon rehearsal and an evening live show, capture this unique configuration performing a variety of Dead, Byrds and Crosby material with pretty good sound considering the casual nature of the get-together. The afternoon session is a great, fly-on-the-wall band rehearsal, as Crosby leads the Dead core through arrangements of “Eight Miles High” and “Cowboy Movie.” While there are instances of overloaded mics and sloppy exploration, once the band gets into a groove, and Garcia starts to take off, it’s a joyous sound indeed. The fusion of Crosby’s and Garcia’s styles is more pronounced than what would eventually be heard on If I Could Only Remember My Name… and is all the better for it. Blissed out expansions of DC’s “Triad” and “The Wall Song” are a delight. The live show has circulated as the Dec. 15th show since it first surfaced, though the rehearsal is thought to be from the 16th, based on some of Crosby’s dialog during the tapings. The band alternately called themselves David & The Dorks, David & The Ding-A-Lings and Jerry & The Jets, but were originally billed at the Matrix as Jerry Garcia & Friends. There’s more Crosby in the archives.

01.Drop Down Mama 4:17
02.Cowboy Movie 9:46
03.Triad 9:47
04.The Wall Song 7:52
05.Bertha 4:14
06.Deep Elem Blues 7:14
07.Motherless Children 9:01
08.Laughing 10:38

David Crosby - Vocals, Guitar
Jerry Garcia - Vocals, Lead Guitar
Phil Lesh - Bass
Mickey Hart - Drums

sabato 1 agosto 2015

Aera - Humanum Est & Hand und Fuss 1974 - 1976

Biography : AERA is a band from Germany who performs progressive fusion in the style of NUCLEUS, EMBRYO and DZYAN. Spacey guitar passages are the strongest characteristic in their music, as well as good flute and saxophone passages. They have 6 albums, of which "Humanum Est" is considered their best effort. Bruno Aun

Aera come from the great tradition of Bavarian jazz-rock oriented progressive bands like Embryo, Missus Beastly, Munju, Moira, etc., with a style unique to that area, originating as a highly inventive fusion band, with strong percussion, driving rhythms and lots of space for solos from guitar, sax and flute. Whilst lead by Muck Groh they recorded two albums: HUMANUM EST which presented a most proficient instrumental band with a strong identity, with multi-tracked guitar riffing and near on ever-present wind solos, and then HAND UND FUSS, which was a touch more varied, due to the addition of violin and with Lucky Schmidt dealing more forceful rhythms in a jazzier concoction... - "The Crack In The Cosmic Egg"

Aera from Munich belonged to a group of bands with tight connections to Embryo (others were Missus Beastly, Munju, Real Ax Band, Snowball and some more). Several members of these band frequently exchanged between each others bands during their existence. Not surprisingly they all played a similar and typical musical style, a kind of German fusion/jazz rock with strong sax and flute. Such kind of music is thus dominant on all Aera LPs as they did not change too much throughout the years. If one likes Embryo in their middle seventies period (with Mal Waldron and Charly Mariano), before they went into the ethno-field, one might give also Aera a try. - Achim Breiling, New Gibraltar Encyclopedia Of Progressive Rock

After leaving the flute-centered Ihre Kinder in 1972, guitarist Muck Groh formed the jazz-rock Aera. Similar in sound to mid-period Embryo, Ihre Kinder relied heavily on flutes and saxophones. The band's first album, the all-instrumental Humanum Est, was entirely written by the guitarist. However, by the time of their second album Hand Und Fuss (1976), the musical leadership of the band had switched to wheelchair-bound saxophonist and flautist Klaus Kreuzeder, who included vocals on some of his songs. Although the group disbanded not long after their sophomore effort, Kreuzeder reformed the group in 1978 and released four albums before ending the group for good in 1982. Geoff Orens, AMG

AERA has been a little-known band hailing from a small Bavarian village called “Mechelwind” (hence the title of one track on their second album). Similar to related band EMBRYO members were coming and going but originally the band consisted of guitarist Muck Groh (IHRE KINDER), bass player Dieter Bauer (2066 AND THEN), drummer Wolfgang Teske and wheelchair-bound Klaus Kreuzeder on sax and flute. They issued altogether four studio albums and one live one with changing line-ups and exhibiting different music styles. Their first two releases which can be obtained as a 2-in-1 CD (being a very worthy purchase that luckily I happen to own) are basically revealing a lively jazz-rock sound at times with extended jammin’ not that far away from EMBRYO, KRAAN or NUCLEUS. Their debut “Humanum Est” here in review was already quite an impressing demonstration of their musical prowess though still lacking a bit of variation which is nicely compensated by the addition of their second one on the CD-reissue. The six fully instrumental compositions, all written by guitarist Muck Groh can be basically described as guitar-dominated laid-back virtuoso jazz-rock with some blues and folk tossed in. Very noteable are Kreuzeder’s presentations on sax and flute, two instruments belonging to my favourites in that kind of music. Though being by all means a very noteworthy debut and a highly enjoyable album especially on second side of this record the music seams to become a bit meandering and repetitive. Thus without his counterpart “Hand und Fuss” “Humanum Est” might appear slightly disappointing for advanced Krautrock fans after a few spins. Nevertheless AERA can be considered as another very interesting band within the rich German progressive scene of the 70’s. Moreover it has been one of those making music just for fun without any commerial concern what’s demonstrated very well by the fact that their debut has been rejected by all commercial labels forcing them to publish it on their own one “Erlkonig”. By the way for those wondering what the oddly sounding titles actually mean: they are some sensible nonsense partly in ancient Bavarian idiom that is even incomprehensible to some native speakers like me. Dieter Fischer,

Without any doubts “Hand und Fuss” has been the more sophisticated and varied one of AERA’s first two albums. From the original line-up only Groh and Kreutzeder was left-over and their sound gained a lot from the addition of violinist Christoph Krieger. Musical leadership has been taken over more or less by Kreutzeder and composing has been shared between Groh and the new bass player Peter Malinowski . Their new drummer Lucky Schmidt managed to bring much more forceful rhythms with a jazzier orientation into their music. Musicianship by all band members is here absolutely outstanding and each of the seven compositions is a little gem on its own. Highlights are the highly diversified “Mechelwind”, the inventive “Elephen Elephants” with an amazing drum solo and the bolero-type “Kamele On”. But the remaining tracks are really not inferior at all to those ones. Maybe worth mentioning that Klaus Kreutzeder presents some jazzy scat singing on “Ad Absurdum”, actually the only “vocals” apart from some weird yowling in the finish of the last track.
Finally it’s just left to say for me that I’d highly recommend AERA’s second album to any Kraut- and Jazz-rock fan best achieved by buying the CD-reissue which combines both of their first two releases for highest value/money ratio. Dieter Fischer,

Aera was a very capable, occasionally excellent, German band that specialized in largely instrumental music that straddled the fence between jazz-rock and progressive rock. Their debut LP, Humanum Est, leans more toward the progressive rock end of the spectrum. It features the riff-based compositions of guitarist Muck Groh, who was previously in Ihre Kinder - a progressive folk-rock band. Listening to this LP, it's not hard to fathom Groh's involvement in folk music: he's fond of his twelve string, and his intricate leads and solos on that instrument bring Dan Ar Bras to mind. On the electric 6-string, he leans toward a Jeff Beck / Janne Schaffer sort of approach - he's not really a jazz guitarist, but an accomplished soloist in a creative blues-rock vein. The bulk of Aera's jazz influence at this point could be credited to the band's other main soloist, soprano saxophonist / flutist Klaus Kreuzeder - he's quite good. On the minus side, the rhythm section (drummer Wolfgang Teske and bassists Dieter Bauer and Peter Malinowsky) is somewhere between wooden and serviceable. Groh, Kreuzeder (now on alto sax, in addition to flute and soprano sax), and Malinowsky (who also does brief novelty vocals on 2 tracks) are aboard for Aera's 2nd LP, Hand und Fuss. New members include violinist Christoph Krieger and drummer Lucky Schmidt. Though Krieger is decent enough - he sounds pretty nice in unison with Kreuzeder, and he provides an additional solo voice - it is Schmidt's dynamic, jazzy kit work that really kicks Hand und Fuss up several notches above Humanum Est. Several of the compositions (all by Groh, or Groh and Malinowsky) have a vague Mahavishnu feel. As a guitar soloist, however, Groh still resembles Ted Nugent more than he does John McLaughlin. Kreuzeder's playing is even stronger than on Humanum Est - an amazing feat when you consider that he is confined to a wheelchair. The great variety and increased complexity of the compositions is the most appealing aspect of this recording - it's hard to imagine fans of instrumental progressive rock and jazz-rock not liking this LP. Though Hand und Fuss may not floor you with jaw-dropping chops and astounding technique, there's a folksy warmth to it that I find lacking in much of the fusion / progressive genre. The music on Hand und Fuss is undeniably charming, imaginative, distinctive, and still bears repeated listening. For many, this will be their finest moment. Dave Wayne, New Gibraltar Encyclopedia Of Progressive Rock

Humanum Est 1974
01.Papa Doing 8:22
02.Demmerawäng 7:07
03.Hodibbel 5:37
04.Sechs Achtel 10:45
05.Jonas Schläft 4:20
06.Alois' Flötending 2:26

Hand und Fuss 1976
07.Mechelwind 9:24
08.Alabaster Keaton 3:06
09.Wrdlbrmfd 5:33
10.Elephen Elephants 8:40
11.Herbstzeitlos 2:27
12.Ad Absurdum 5:06
13.Kamele On 5:35

Wolgang Teske - drums
Klaus Kreuzeder - saxophone & flute
Dieter Bauer - bass
Muck Groh - guitar
Peter Malinowsky - bass
Christoph Krieger - violin
Lucky Schmidt - drums, vocal
Als Gast Onkel Latzi - Bariton-saxophone & oboe

giovedì 30 luglio 2015

M.O.T.U.S. - Machine Of The Universal Space (2010 Flawed Gems) 1972

Biography : Psych Jazzy Prog (France), Original release 1972. Feat. Ian Jelfs , future member of french prog group "Alice". Prog rock with jazz influences. In some tracks you can here strong influences of early Caravan. Some guitar parts are in style of early Allan Holdsworth playing. Great Hammond organ sounds in classic rock style. Guitar and vocalist play before (with Mell Collins) in legendary Circus band.

M.O.T.U.S. were a French progressive band that had a very English sound, due largely to the fact that they had an English singer in Ian Jelfs (formerly of the UK band Circus). Their material was heavish, with quite a few jazzy chord progressions and guitar parts. To be honest with you, their material was pretty good, but nothing to get all that excited about, and their sound was maybe like a cross between early Caravan (with the organ style) and some of the more "rock-based" Vertigo acts.

The only album from the Frech progressive quartet (inc. one British member) appeared on the market in 1972 (on a small Connection label) and featured English lyrics sung by Ian Jelfs - former guitarist of the UK progressive rock formation Circus (of Mel Collins fame). This rare album will certainly delight the majority of fans of early Caravan, Traffic and Brian Auger's Trinity (circa 1970) - with dominant and powerful Hammond organ sounds; tight rhythm section and impressive, jazzy guitar licks (somewhat similar to Allan Holdsworth and Robert Fripp). This LP doesn't contain any fillers and certainly belongs to the top of the early 70's French progressive rock. This CD has been carefully remastered (from original source) and sounds deliciously! Flawed Gems

01.Let It Get Higher 3:41
02.Summer Song 3:36
03.Ba'albeck Stone 3:39
04.Out in the Open 3:50
05.Green Star 3:22
06.Taihnanaco Road 3:10
07.Aldebarente 4:54
08.Mesopotamie Natale 5:40
09.Proxima 2:41

Ian Jelfs - guitar, lead vocal
Michel Coeuriot - organ, keyboards, vocal, percussion
Gilles Papiri - bass guitar, percussion
Philippe Combelle - drums, percussion

martedì 28 luglio 2015

John's Children - A Strange Affair (2CD 2013 Cherry Red Records) 1966 - 1970

Biography:John's Children were a 60's Pop-Art-Mod-Psyche influenced group from Leatherhead, England. The group consisted of Andy Ellison on lead vocals, John Hewlett on bass guitar, Geoff McClelland on guitar, who was later replaced by Marc Bolan, and Chris Townson on drums. This excellent 2cd collection consists of all of the band's singles, as well as solo singles by Andy Ellison, alternate versions & mixes, instrumental tracks, as well as their infamous, much maligned "The Legendary Orgasm Album". Disc one consists of 26 tracks with a duration of nearly 70 minutes, while Disc 2 offers up a generous 75 minutes. So, there is much to discover and savor here for any fan of 60's Mod-Psyche tunes. One effect of some 45 years looking back is putting all of these tunes offered here a more focused and insightful perspective. This package includes an excellent 24 page booklet written by Andy Ellison, which is adapted from his forthcoming autobiography. The notes reveal a track-by-track journey through each and every tune, as well as providing some absolutely astounding and insightful background and history of this infamous group. I must admit that the excellent booklet with it's excellent revelations definitely sealed the deal between grading this collection 5, rather than 4 stars. John's Children became infamous for their live shows which featured outrageous anarchy as they fought each other on stage, used fake blood and feathers for shock effect, trashed their instruments, and ultimately were banned and thrown off a tour in Germany when they incited the crowd to riot and trash the venue they were playing in. There are many accounts of how they actually upstaged The Who, themselves, during this German tour. Unfortunately, the riot police had to intervene and essentially all of their instruments and equipment were destroyed by the demented, frenzied, crowd. They even had to flea Germany with the riot police in close pursuit. Pete Townsend, himself, commented that they were "too loud and destructive". Well with that as poignant background, let us focus on the music on these 2 discs. The legendary manager Simon Napier-Bell took over as manager and wanted the group to take up a "Flower-Power_Psychedelic" identity. Disc 1 includes all of their singles & rarities, while disc 2 includes the "Legendary Orgasm Album", as well as bonus tracks that include said alternate versions, mixes, demos, and instrumentals. One major perk here are 3 different versions of the superb single, "A Midsummer Night's Dream", with it's dreamy refrain of "petals & flowers-petals & flowers". Napier-Bell was aiming for early "Flower-Power" with this single. What is even more interesting here is that the record label Track Records only made a box or 2 of only 25 copies of the single for the press and the band. Unfortunately, Chris threw most of his like Frisbees into the fields behind John's house in Leatherhead. It is now one of the most collectible singles of all time and changes hands for close to a fortune. Actually, a copy of the single was auctioned for 3,7000 pounds back in 2002! Would you care to bid for one now? Moving along to their very much maligned "Orgasm" L.P., which was their only studio Album, it was projected for release in March, 1967, but it's US release was blocked by The Daughters Of The American Revolution, who objected to its title! It was finally released in September, 1970, but did not sell well at that time. I remember buying the cd version which was put out by the British label Cherry Red in 1997 and being quite impressed by the tracks, which I thought were a live concert but was actually overdubbed screams taken from The Beatles Soundtrack of "A Hard Day's Night". I should mention that the 1997 release was a reissue of a 1982 release. I still find it very appropriate for parties, as the sound is not that good but the excitement somehow rings through quite well.I should mention that Marc Bolan replaced Geoff McClelland as the group's lead guitarist but was only with John's Children for a matter of 4-5 months. But Marc did manage to contribute some quality sides before he left to pursue his Tyrannosaurus Rex era, and then later his T. Rex glitter era. The group's 1st single, originally titled "Smashed! Blocked!", was re-titled "The Love I Thought I'd Found" because of its druggy connotations as the BBC were worried about the word "blocked", which was slang for being high on amphetamines. Their 2nd single, "Just What You Want-Just What You'll Get", includes a start/stop rhythm, manic backing vocals, and early, pioneering backwards guitar. "Desdemona" is a quality track, which was released just after Marc had just joined, but, unfortunately, it got banned in both the USA & the BBC, deemed unsuitable to play due to the line, "lift up your skirt and fly". At this point one could not help but wonder when, if ever, these guys could catch a break. Moving along to another strong track, which is often considered as Marc's finest moment lyrically, we get "Sara, Crazy Child". Listening to repeated plays of this track, one can almost sense the further development of Marc's Glitter Stage. Other strong tracks included are, "Come And Play with Me In The Garden", "Go-Go Girl", which was another tune penned by Bolan, "Jagged Time Lapse", and 2 versions of "Hippy Gumbo", one sung by Andy, as well as one sung by Marc. Ellison's fine liner notes proclaim "I once asked Marc what "Hippy Gumbo" was about but he just looked at me and said, "I don't know, man!". So I never asked him about his lyrics again". This collection also includes 3 rather rare demos from 1965, as done by an early incantation of the group by The Silence, "Down Down", Cold On Me", and "Forgive Me If I'm Wrong". All 3 tracks display a promising future sound for John's Children. The 2nd disc, which features "The Legendary Orgasm Album", also includes some very insightful alternate versions. Included in these are an alternate version of "Strange Affair", which includes backing vocals by none other than Dusty Springfield, Rod Stewart, and Madeline Bell! I've listened to this collection over 20 x over the past 3 weeks and I still find it very good to excellent. I always hear new sounds that add to each listening. I should stress that for this collection, for the most part, the producers have gone back to the original vinyl sources. Included in the booklet, there is an excellent quote by manager Simon Napier-Bell. It reads, "The group never quite achieved the success I thought they should, which may have been my fault, or perhaps theirs, or maybe just the way the record business always requires a bit of extra luck whoever you are, and not everyone gets it. Listening to these tracks confirms how good they could be musically, and it's great to hear them again after all this time. For me-a memory of very happy times" In summing up, A Strange Affair-Indeed! All fans of The Small Faces Decca-era, early Who, early Kinks, and The Misunderstood should appreciate this excellent release. Highly Recommended!

Tracklist CD1 Singles & Rarities:
*John's Children
01.The Love I Thought I'd Found 3:01)
02.Strange Affair 2:06
03.Just What You Want - Just What You'll Get 3:01
04.But She's Mine 1:59
05.Desdemona 2:24
06.Remember Thomas À Becket 2:20
07.Midsummer Night's Scene 2:35
08.Sara, Crazy Child 2:04
09.Come And Play With Me In The Garden 2:17
10.Go-Go Girl 2:09
11.Jagged Time Lapse 2:47
*Andy Ellison
12.Arthur Green 3:42
13.It's Been A Long Time 3:21
14.Fool From Upper Eden 2:54
15.Another Lucky Lie 1:57
16.You Can't Do That 2:48
17.Cornflake Zoo 2:03
18.Help! 2:29
19.Casbah Candy 2:02
20.Hippy Gumbo 2:08
*The Silence
21.Down Down 3:00
22.Cold On Me 3:04
23.Forgive Me If I'm Wrong 4:06
*John's Children
24.Mustang Ford 2:24
25.Not The Sort Of Girl You Take To Bed 2:27
26.Sally Was An Angel [Vocal] 3:11

Tracklist CD2 Orgasm & Bonus Tracks:
01.Killer Ben 2:29
02.Jagged Time Lapse 3:12
03.Smashed! Blocked! 3:19
04.You're A Nothing 3:33
05.Not The Sort Of Girl 2:07
06.Cold On Me 2:50
07.Leave Me Alone 3:11
08.Let Me Know 3:25
09.Just What You Want - Just What You'll Get 3:32
10.Why Do You Lie 5:06
Bonus Tracks:
11.Strange Affair (Alternate Mix) 2:02
12.But She's Mine (Alternate Mix) 2:00
13.The Love I Thought I'd Found (First Version) 3:09
14.Desdemona (''Why Do You Have To Lie'' Version) 2:24
15.Remember Thomas À Becket (Alternate Version) 2:36
16.Midsummer Night's Scene (Alternate Version) 2:37
17.Sara, Crazy Child (German Single) 2:28
18.Jagged Time Lapse (Alternate Version) 2:48
19.It's Been A Long Time (Stereo Mix) 3:10
20.You Can't Do That (Acetate Version) 2:59
21.Hippy Gumbo (Marc Bolan Vocal) 2:36
22.Not The Sort Of Girl You Take To Bed (Alternate Version) 2:41
23.Sally Was An Angel (Instrumental) 3:11
24.Come And Play With Me In The Garden (Instrumental) 2:10
25.The Perfumed Garden Of Gulliver Smith (Instrumental) 2:41
26.Midsummer Night's Scene (Alternate Mix) 2:37 

Andy Ellison - vocals
Geoff McClelland - guitar
Marc Bolan - guitar
John Hewlett - bass guitar
Chris Townson - drums, guitar

lunedì 27 luglio 2015

Dragonwyck - Chapter 2 (2006 World in Sound) 1972

Biography : In 1972, Dragonwyck became the Saturday night house band at The Viking. The Viking Saloon was a loud, packed, smoke filled rock club that featured live entertainment, hard liquor and a rowdy crowd six nights a week. It was THE place to get drunk,get high and listen to loud bands. Dragonwyck’s popularity at The Viking led to engagements at other Cleveland clubs (Otto’s Site, Tom Jones Backroom, The Crazy Horse, The Spectrum, The Avon and Amherst Jail Night Clubs, The Cove at Geneva on the Lake) and a series of High School and College concerts.
After 8 months of performing their new sound live, Dragonwyck set out to record a new album. As copies of the Dragonwyck II album began to circulate in early 1973, the interest of the press, audiences and agencies became much greater. As people began to realize the talents of the band,they began playing better venues and drawing larger crowds.,they performed at the Cleveland Agora (the premier venue in the area), with “Dan Hicks and his Hot Licks” and opened for the newly formed English band, “FOGHAT”.
With Dragonwycks’ unusual musical arrangements and lead singer Bill Petijohn’s stage theatrics, the bands live concerts were drawing more and more attention. By 1974,they moved to much larger clubs, added weeknight shows sponsored by Budweiser Beer at Cleveland’s House of Bud.
Concert dates supporting THE EDGAR WINTER GROUP and GOLDEN EARING added to Dragonwyck’s offers to tour nationally. However, John Hall had a promising career as a design engineer and had no desire to travel outside of the Northern Ohio area. Not wanting Dragonwyck to miss opportunities that were being presented to them, he asked to be replaced..Having found Hall’s replacement in keyboardist, Jerry Moran,whose playing was harder and more rock orientated than that of Hall’s orchestrated approach. Dragonwyck recorded a single,“Lovin’ The Boys” b/w “The Music” in 1974. Shortly after this release the band broke up. - When World In Sound Records,released in 2004 the music of Dragonwyck, Tom Brehm felt like doing it again. In 2006 he set up his 1968 original Dragonwyck guitar, a Gibson 335, and with other World In Sound musicians,the right line-up is found to return back on stage with the music written between 1968-73.
Dragonwyck personnel 2006: Tom Brehm - Guitar, Vocals; Steff Bollack - Drums; Karsten Kullinna - Bass; Josh Maccoy - Vocals; Winfried Rimbach-Sator - Keyboards. Review by my friend adamus67

01.Kimberly 0:32
02.He Loves You 3:18
03.Fire Climbs 6:41
04.Relics 5:11
05.Freedom Son 3:57
06.Lady 3:47
07.Run To The Devil 3:45
08.Dead Man 4:15
09.The Music 3:14
10.Forever Only Last A Little While 4:40
11.Lovin' The Boys (Single 74) 3:14
12.The Music (Single 74) 3:07

Tom Brehm - guitars
Bill Pettijohn - vocals
John Hall - keyboards
Mikey Gerchak - bass
Jack Boessneck - drums


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Welcome to the Electric Music for a Mind and Body

Welcome to the Electric Music for a Mind and Body