Thursday, October 8, 2009

Catherine Ribeiro (France) - L'Amour aux Nus (Live), 1992


1. Aimer À Perdre la Raison
2. Je Ne Sais Pas
3. Ne Me Quitte Pas
4. Hyde Park J
5. Qui a Parlé de Fin?
6. La Mémoire de la Me
7. Vies Monotones
8. Carrefour de la Solitude
9. Elles
10. Suspect
11. L' Hymne À l'Amour
12. Mon Manège À Moi
13. Les Prisons du Roy
14. Les Amants d'Un Jour
15. La Goualante du Pauvre
16. Soeur Anne
17. Non, Je Ne Regrette Rien



Part 1 Part 2

Scans

Betty Carter - At The Village Vanguard, 1970


1. By the Bend of the River 1:52
2. Ego 3:04
3. Body and Soul 5:21
4. Heart and Soul 3:30
5. The Surrey With the Fringe on Top 7:38
6. Girl Talk 4:20
7. I Didn't Know What Time It Was 2:08
8. All the Things You Are :59
9. I Could Write a Book 2:18
10. The Sun Died 5:31
11. Please Do Something 3:03

Betty Carter - Vocals
Norman Simmons - Piano
Lyle Atkinson - Bass
Al Harewood - Drums

AMG:
"Betty Carter's remarkable early-'70s LPs were initially available only on her own poorly distributed label. This live date captured Carter when her voice was its most pliable, her delivery in full bloom and her range and power at their peak. She could scat with a fury and rhythmic intensity that were almost magical, then turn a slow tune like "The Sun Died" or "Body and Soul" into a showcase by emphasizing key lyrics, subtly changing each stanza, or increasing the pace at an unexpected moment. This deserves full attention, as it represents Betty Carter still evolving and perfecting her matchless technique."


1 - 11

Scans

Wednesday, October 7, 2009

Catherine Ribeiro + Alpes (France) - La déboussolée, 1980


1 La vie en bref
2 Voyage au fond de l'amour
3 La grande déglingue
4 Ne pas partir ne pas mourir
5 Dis-moi qui tu embrasses
6 La nuit des errants
7 La parole est à la victime
8 Paix 1980:
* Prélude
* 1er mouvement
* 3ème mouvement

Catherine Ribeiro - Parolier, Vocals
Francis Campello - Guitare Basse
René Werneer - Violon
Patrice Moullet - Claviers
Patrice Lemoine - Clavier
Pierre Gasquet - Percussion

AMG:
"On La Deboussole, les Alpes treads into a more conventionally accessible sound and away from the experimentalism of earlier works. In fact, the band is far more funky on this outing, with driving bass hooks on most of the tracks. There are enough peculiar touches to keep it from being so much stale pop fodder, especially with the addition of a violinist adding some old European-style charm. Unfortunately, Ribeiro's voice gets confined or lost in these less free-form arrangements. It's only on the last cut, a new version of "Paix," where she finally gets to cut loose with some of her strange and emotionally intense vocalizing, and even that piece is better heard on the album of the same name. The rest is OK, odd progressive funk music with Ribeiro's unique voice, but none of it is anywhere as distinct as the material from previous albums."

1 - 8

Scans

Maceo & All The Kings Men - Funky Music Machine, 1972


1. Funky Music Machine 3:09
2. I Want to Sing 2:52
3. Dreams 2:39
4. Feeling Alright 2:46
5. Something 5:36
6. Born to Wander 3:06
7. T.S.U. (Aristocrat of Bands) 3:20
8. For No One 3:43
9. Make It With You 3:14
10. A Funky Tale to Tell 4:08

Maceo Parker - Sax (Alto), Vocals
Jimmy Nolen - Guitar
Sweet Charles Sherrell - Bass
Melvin Parker - Drums

Discogs:
"Funk band formed of ex James Brown backing band members, who left Brown en masse in 1970.
Over the years, many of them, including band leader Maceo Parker would return to playing with Brown and The J.B.'s."


1 - 10

Scans

Tuesday, October 6, 2009

Speed, Glue & Shinki (Japan) - Eve, 1971


Mr. Walking Drugstore Man (5:25)
Big Headed Woman (6:15)
Stoned out of my Mind (6:01)
Ode to the Bad People (4:53)
M Glue (2:43)
Keep it Cool (4:17)
Someday We'll All Fall Down (5:23)

Shinki Chen - guitars
M. Glue (Masayoshi Kabe) - bass
Joey 'Pepe' Smith - drums, vocals

"Speed, Glue & Shinki made two albums of hard/psychedelic rock mayhem (with elements that we can call nowadays as “proto-stoner”) in the early seventies. Speed, Glue & Shinki were: Joey “Speed” Smith (ex-Zero History, future member of Juan dela Cruz) - vocal/drums, Masayoshi “Glue” Kabe (ex-Food Brain, ex-Golden Cups) - bass and Shinki Chen (ex-Food Brain, ex-Bebes and Yanagida Hiro collaborator) - guitars. Drummer Joey Smith also sang the lead vocals and wrote most of their druggy lyrics. Joey Smith was an American Vietnam War refugee/awol soldier in the Phillipines and was discovered by Shinki Chen playing in a Japanese shopping mall with Zero History, and Chen then suggested that they join with Japanese bassist Masayoshi Kabe (whom Chen knew from Foodbrain and earlier because they had the same manager) to form Speed, Glue & Shinki.
By album two, however, Kabe had left the band and a new “Glue” was brought in-future Juan dela Cruz member and Joey Smith’s friend Michael Hanopol. Hanopol replaced Kabe on bass and co-wrote several of the songs on their s/t sophomore album -including the ending synth suite- with Smith."

1 - 7

Scans

Silberbart (Germany) - 4 Times Sound Razing, 1971


1. Chub Chub Cherry (4:23)
2. Brain Brain (16:16)
3. God (10:07)
4. Head Tear of the Drunken Sun (12:00)

Hajo Teschner - vocal, guitars
Werner Klug - bass
Peter Bahrens - drum, percussion

Progarchives:
"An other lost psychedelic gem. Originally published in 1971 on Philips, Silberbart's first and only effort called "4 Times Sound Razing" represents a propulsive, blasting heavy rock experience with furious psychedelic freakouts. Very closed to Guru Guru extended jams with lot of intuitive sounds. The band is led by the "killer" guitarist/ vocalist Hajo Teschner. Silberbart have been formed as a power trio for a maximum of dynamic/driven epic songs. An important contribution."

1 - 4

Scans

Mahogany Rush (Canada) - Strange Universe, 1975


1 Tales of Spanish Warrior 4:57
2 The King Who Stole (...the Universe) 3:57
3 Satisfy Your Soul 3:17
4 Land of 1000 Nights 4:44
5 Moonlight Lady 4:08
6 Dancing Lady 3:11
7 Once Again 3:34
8 Tryin' Anyway 3:45
9 Dear Music 4:19
10 Strange Universe 6:58

Frank Marino - Guitar, Keyboards, Vocals
Paul Harwood - Bass, Guitar
Jimmy Ayoub - Percussion, Drums

AMG:
"Mahogany Rush was to Jimi Hendrix what jazz saxophonists Sonny Stitt and Ernie Henry were to Charlie Parker — loving disciples, but not outright clones. Without question, Hendrix was a major influence on the hard rock power trio; you could hear it in leader Frank Marino's singing as well as his electric guitar playing. But ultimately, Mahogany Rush sounded like itself. One of the best studio albums that Mahogany recorded in the 1970s was Strange Universe, a hard rock/heavy metal classic that is as melodic as it is forceful. As aggressively as Mahogany rocks on gems like "Tryin' Anyway," "Dancing Anyway," and "Dear Music," this 1975 LP never fails to be musical. One hears overtones of progressive rock, psychedelic rock, and jazz-rock fusion on much of the material, and Mahogany's lyrics aren't the typical boy-meets-girl fare; in fact, the threesome explores gothic fantasy themes on "Land of 1000 Nights," "Tales of the Spanish Warrior," and other cuts. There are no dull moments on Strange Universe, which points to the fact that Mahogany Rush was among the finest hard rock/metal bands of the '70s."

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Scans

Richard Teitelbaum - Golem, 1994


1 Prologue: The Threat 2:36
2 In the Beginning 13:19
3 Invoking Ancient Spirits 2:52
4 Cantorial Choirs 3:38
5 Instrumental Interludes 3:10
6 "Create Me Not! " 3:03
7 Making the Golem 7:41
8 First Breaths 2:28
9 Command and Obey 11:16
10 Golem Wild 1:23
11 Chaos and Destruction 3:15
12 Coda 3:12


Richard Teitelbaum - Synthesizer, Keyboards, Sampling, Disklavier
Shelley Hirsch - Vocals, Voices
Justus Rosenburg - Vocals
George Lewis - Trombone, Electronic Sounds, Electronics
David Moss - Percussion, Vocals, Voices, Electronics
Carlos Zingaro - Violin, Electronic Sounds, Electric Violin
John Zorn - Executive Producer

AMG:
"Golem is an interactive opera by Richard Teitelbaum that attempts to tell the famous 16th century tale of Rabbi Loew and the golem that he created. This Tzadik release documents a live multimedia performance of Golem presented in Amsterdam in 1994. Although performed by a talented musical cast, there's an absence of the visual element (slides, video, scenery, etc.) that was such an integral part of this opera. As a result, it seems that you're only getting part of the story. Also, the vocal presence of both Shelley Hirsch and David Moss require a great love — or at least a high tolerance — of vocalese."

1 - 12

Scans

Ned Doheny - Hard Candy, 1974


1 Get It up for Love
2 If You Should Fall
3 Each Time You Pray
4 When Love Hangs in the Balance
5 Love of Your Own
6 I've Got Your Number
7 On the Swingshift
8 Sing to Me
9 Valentine (I Was Wrong About You)


Ned Doheny - Guitar, Vocals
Don Henley - Vocals
Linda Ronstadt - Vocals
Tom Scott - Saxophone
Victor Feldman - Vibraphone
David Foster - Keyboards
Tower of Power - Horn
and others

AMG:
"A native of Beverly Hills, Doheny took his first musical strides as a songwriter. His tune "On and On" was recorded by Dave Mason and Mama Cass Elliot in 1971, while the Average White Band included "A Love of Your Own", written with their lead vocalist Hamish Stuart, on their 1976 album, Soul Searching. Another tune, "Whatcha Gonna Do for Me, written with Stuart, was covered by Chaka Kahn in 1981.

The first artist signed by Arista, Doheny released his eponymous titled debut album in 1973. His second album, Hard Candy, released three years later, was produced by Steve Cropper and featured such guests as Tower of Power, Tom Scott, Jim Horn, Glenn Frey, don Henley, Linda Ronstadt and J.D. Souther. Although it included Doheny's version of "A Love of Your Own, the album failed to sell and Arista dropped his contract. Doheny's third album, Prone, was limited to a Japan-only release in 1979.

Although he was unable to break through commercially in the United States, Ned Doheny later found a welcoming audience after turning his focus to Japan in the late '80s. The host of a popular radio show, Postcards from Hollywood, on FM Yokohama, from April 1990 until September 1993, Doheny gained speed upon releasing Life After Romance, his first album in nearly a decade, in late 1988. An album of classic tunes performed on solo guitar, named after Doheny's radio show, released three years later, was followed by the equally impressive, Love Like Ours, later that year, and Between Two Worlds in 1993. A "best of" collection was released in 1995. Doheny also performed in Japan, in February 1996, as a member of the Jay Graydon Super Band."

1 - 9

Scans

Jurgen Fritz - Es Ist Nicht Leicht Ein Gott Zu Sein, 1989


Ouverture (3:30)
The Eyes Of Anka (2:05)
Rumata's Arrival (Opening Titles) (3:23)
Suren's Escape (0:50)
Kyra's Theme (2:20)
Anticipation (4:02)
The Valley Of The Swords (2:24)
Rumata & Pampa (The Ride) (4:48)
Love Theme (3:06)
The Shadow Of Death (Reba's Theme) (3:02)
The Battle (2:07)
The City Of Arkaner (1:53)
Rumata & Pampa (Reprise) (1:04)
Finale & Epilogue (4:53)
Hard To Be A God (4:15)


Jurgen Fritz - Keyboards

1 - 15

Scans

Larry Coryell & The 11th House at Montreux, 1974


1 Introduction :31
2 Improvisation on Villa-Lobos (Prelude No. 4 in E Minor) 3:18
3 Tamari 4:45
4 Joy Ride 9:42
5 Rasputin 4:23
6 Song for a New York Rainmaker 4:42
7 The Eleventh House Blues 8:51


Larry Coryell - Guitar
Mike Mandel - Keyboards
Alphonse Mouzon - Drums
Michael Lawrence - Trumpet
Danny Trifan - Bass

AMG:
"Guitarist Larry Coryell's Eleventh House was a particularly interesting fusion group of the mid-1970's for, in addition to the leader, keyboardist Mike Mandel, bassist Danny Trifan and the dynamic drummer Alphonse Mouzon, the unit featured trumpeter Michael Lawrence. Their appearance at the 1974 Montreux Jazz Festival makes for a rather brief CD (under 34 minutes) but has its moments of interest. Coryell starts the proceedings by playing his unaccompanied acoustic guitar on a classical piece, that number is followed by four passionate group originals full of fire and dated electronics, and the set finishes with the strongest piece, "The Eleventh House Blues." Although the music is not essential nor particularly innovative, the mixture of straightahead elements with prime period fusion is often stimulating."

1 - 7

Scans

Synkopy & Oldrich Vesely (Czech Republic) - Slunecni Hodiny,1981


1. Introdukce (2:54)
2. Hul v slunecnich hodinach (6:04)
3. Jsi nadhern? praveka (8:21)
4. Intermezzo (2:14)
5. Cerny racek (7:41)
6. Klavesove extempore (4:03)
7. Vodopad (3:39)
8. Toulka je obla (7:28)


Oldrich Vesely - synth, clavinet, electic piano, organ, piano, vocals
Emil Kopriva - guitar
Vratislav Lukas - acoustic guitar, synth, clavinet, cello, vocals
Pavel Pokorny - synth, organ, electric piano, violin, vocals
Petr Smeja - electric guitar
Jiri Rybar - drums


1 - 8

Scans

The Meters - New Directions, 1977


1 No More Okey Doke 4:20
2 I'm Gone 4:30
3 Be My Lady 6:25
4 My Name up in Lights 5:23
5 Funkify Your Life 5:40
6 Stop That Trai 4:50
7 We Got the Kind of a Love 5:20
8 Give It What You Can 4:34

Art Neville - Keyboards, Vocals
Emilio Castillo - Sax (Tenor)
Mic Gillette - Trombone, Trumpet, Flugelhorn
Stephen "Doc" Kupka - Sax (Baritone)
Kurt McGettrick - Clarinet, Flute, Sax (Baritone), Sax (Bass)
Lenny Pickett - Flute (Alto), Sax (Alto), Sax (Soprano), Sax (Tenor)
George Porter, Jr. - Bass, Wah Wah Bass
Leo Nocentelli - Bass, Vocals
Ziggy Modeliste - Drums, Vocals
Cyril Neville - Percussion, Conga, Vocals
Swamp Tabernacle Choir - Vocals

AMG:
"The title of the Meters' final album is hopeful, and New Directions does indeed represent if not a new direction, at least a shift from the disco dead end of Trick Bag. From the second "No More Okey Doke" kicks off the record, it's clear that the Meters are gritty again, kicking out some really funky grooves — maybe not as dirty as their Josie recordings, maybe a little cleaned up, but still pretty funky. The slower numbers betray their era, but in a pleasing way, something that's also true of generic numbers like "My Name Up in Lights," which may have too much talk-box guitar, but still grooves effectively. That may not be a new direction, per se, but it is a welcome change-up after the dud Trick Bag. It wasn't enough to save the Meters and it's not really a lost treasure, but it's a far more dignified way to bow."

1 - 8

Scans

James Taylor Quartet (UK) - The Money Spyder, 1987


1 The Money Spyder 3:48
2 One Way Street 2:25
3 Car Chase 2:48
4 The Spiral Staircase 2:14
5 Mr. Cool's Dream 3:46
6 A Real Mean Time 1:07
7 The Onion Club 3:04
8 The Stroll 3:14
9 Los Cuevos Pablo 2:47
10 Midnight Stomp [The New Rhumba] 3:47
11 Buzy Bee 4:22
12 In the Park 3:39

James Taylor - Hammond Organ
David Taylor - Guitar
Allan Crockford - Bass
Simon "Wolf" Howard - Drums

AMG:
"Constructed as a mock soundtrack, The Money Spyder does a good, convincing job at capturing the flavor of '60s spy flicks with its blend of jazzy rhythms, swelling Hammond organs, and dark, tasty guitar licks. The group gets a Booker T. & the MG's-meets-the Ventures sound on this set of instrumentals, with some Lalo Schifrin and film noir jazz thrown in the blender. Marketed as part of Hollywood Records' Acid Jazz line, it could catch the coattails of the lounge/space-age pop revival as well (though the JTQ have been doing this sort of stuff for years)."

1 - 12

Scans

Paranoise - Constant Fear, 1988


1. Armageddon
2. Suffocation
3. The Plague
4. Carburetor
5. Cut It Out
6. Roll Grover
7. Constant Fear
8. Fight the Power
9. Forget About The Earth / This Is Where Its At

Jim Matus
- electric and acoustic guitars, baritone guitar, mandocello, laouto, tamboura, harmonium, vocals, samples, arrangements
Micky Ortiz - ???
Lloyd Fonoroff - drum machine
Lenny Picket - Tenor saxophone (1,5)
Steve Elson - Baritone saxophone (1,5)
Anthony Jackson - Contrabass guitar (1,6)
Luther Thomas - Alto saxophone (2,3,4)
Gary Windo - Tenor saxophone (3,6,7,9)
Percy Jones - Fretless bass (4,7,9)
Don Cherry - trumpet (4,9)
Melvin Gibbs - bass (8)
Joy Askew - backing vocals (8)
Nikki Gregoroff - backing vocals (8)
Spirit Ensemble - percussion (9)

1 - 9

Scans

Climax Blues Band - A Lot of Bottle/Gold Plated, 1970/1976


1 Country Hat 1:56
2 Everyday 2:24
3 Reap What I've Sowed 4:35
4 Brief Case 4:03
5 Alright Blue 2:57
6 Seventh Son 1:18
7 Country Hat (Reprise) 6:49
8 Please Don't Help Me 2:55
9 Morning Noon and Night 2:34
10 Long Lovin' Man 3:35
11 Louisiana Blues 5:18
12 Cut You Loose 5:18
13 Loving Machine 2:23
14 Together and Free 3:58
15 Mighty Fire 4:35
16 Chasing Change 4:10
17 Berlin Blues 3:17
18 Couldn't Get It Right 3:15
19 Rollin' Home 3:10
20 Sav'ry Gravy 4:57
21 Extra 5:27

1 - 13
Colin Cooper - Harmonica, Saxophone, Vocals
Peter Haycock - Guitar, Vocals
Derek Holt - Bass, Vocals
Humpty Farmer - Keyboards
+
Art Wood - Keyboards
George Newsome - Drums

14 - 21
Peter Haycock - Guitar, Vocals, 6-String Bass
Colin Cooper - Guitar, Saxophone, Vocals
Richard Jones - Guitar, Keyboards, Vocals
Derek Holt - Bass, Vocals
John Cuffley - Percussion, Drums


1 - 21

Scans

Philip Glass - Songs From Liquid Days, 1986


1 Changing Opinion 9:57
2 Lightning 6:42
3 Freezing 3:16
4 Liquid Days, Pt. 1 4:45
5 Open the Kingdom [Liquid Days, Part 2] 6:59
6 Forgetting 8:10

Philip Glass - Keyboards
Michael Riesman - Piano
Linda Ronstadt - Vocals
Bernard Fowler - Vocals
Douglas Perry - Vocals
Janice Pendarvis - Vocals
The Roches - Vocals
Paul Dunkel - Flute
Jack Kripl - Flute
Jon Gibson - Sax (Soprano)
Richard Peck - Sax (Alto)
The Kronos String Quartet
and others

AMG:
"Songs From Liquid Days became Philip Glass' most popular and successful recording. The title holds the clue to the music's accessibility: These are songs, providing a more familiar and comfortable format for appreciating the world of minimalism than Glass' operas or instrumental pieces. Working with such lyrical collaborators as David Byrne and Suzanne Vega, he created art music which sounds radio friendly. There is also great variety displayed on this album. While the musical backing is unmistakably Philip Glass, the arrangements and vocal treatments range from the coolly subdued chamber music of "Freezing," featuring the Kronos Quartet and Linda Ronstadt, to the appropriately electrifying and almost new wave-ish "Lightning." The album's highlight, however, is the opener, a ten-minute opus called "Changing Opinion." With unusually oblique lyrics courtesy of Paul Simon, it condenses the odd excitement and drama of a minimalist opera into a single, creative burst of melody, rhythm, and momentum. The minimalist composers originally wanted to reconnect Western art music with a broad, popular audience. On that basis, Songs From Liquid Days may be their single greatest achievement."

1 - 6

Scans

Dizzy Gillespie - Dizzy, 1975


1 Lover, Come Back to Me 16:43
2 What's New? 12:13
3 Cherokee 11:01

Dizzy Gillespie - Trumpet
Milt Jackson - Vibraphone
Eddie "Lockjaw" Davis - Sax (Tenor)
Johnny Griffin - Sax (Tenor)
Tommy Flanagan - Piano
Niels-Henning Ørsted Pedersen - Bass
Mickey Roker - Drums
Norman Granz - Producer

1 - 3

Scans

Catherine Ribeiro + Alpes (France) - (Livertés?), 1975


1 Une infinie tendresse
2 Prélude médiéval
3 Parle-moi d'un homme heureux
4 Qui a parlé de fin?
5 Poème non épique No.III:
* Prélude
* Poème non épique
* Tombe

Catherine Ribeiro - Parolier, Auteur De La Musique, Vocals
Patrice Moullet - Auteur De La Musique, Guitarres
Daniel Motron - Orgue, Piano
Henri Texier - Basse
Caroll Reyn - Percussion

AMG:
"Libertes? follows a similar path to Catherine Ribeiro's earlier records with the group les Alpes. The band tends to rock out more on this one, with bass and drums more prominent in the mix, though the music retains much of the cosmic spaciousness of earlier works. The standout is the side-long opus, "Poeme Non Epique N. III," where, after a lengthy instrumental passage, Ribeiro delivers some raw, emotional poetry with an intensity that threatens to explode at any moment while drum clatter and keyboard squalls create a choppy-sea backdrop. Toward the end, the group kicks into off-kilter rock while Ribeiro is on the verge of screaming as she belts out the final lyrics. As for the rest, there's the rocking "Parle-Moi d'un Homme Heureux," the slightly slower and creepier "Un Infinie Tendresse," as well as "Prelude Medieval," which has some odd wordless chanting from Ribeiro. On all of these, the music is closer to progressive rock than the cosmic folk songs of earlier albums, and Ribeiro matches the energy of the band well. "Qui a Parle de Fin," on the other hand, is just Ribeiro reciting poetry in a near whisper with no musical accompaniment."


1 - 5

Scans


Joe Zawinul - Zawinul, 1970


1. Doctor Honoris Causa 13:48
2. In a Silent Way 4:51
3. His Last Journey 4:36
4. Double Image 10:32
5. Arrival in New York 2:01

Joe Zawinul - Keyboards
Herbie Hancock - Keyboards
Hubert Laws - Flute
George Davis - Flute
Wayne Shorter - Saxophone, Sax (Soprano)
Earl Turbinton - Saxophone, Sax (Soprano)
Woody Shaw - Trumpet
Jimmy Owens - Trumpet
Johnny Owens - Trumpet
Miroslav Vitous - Bass
Walter Booker - Bass
Jack DeJohnette - Wind, Melodica
Joe Chambers - Percussion
Billy Hart - Percussion
David Cory Lee - Percussion
David Lee - Percussion

AMG:
"Conceptually, sonically, this is really the first Weather Report album in all but name, confirming that Joe Zawinul was the primary creative engine behind the group from the beginning. It is also the link between WR and Miles Davis' keyboard-laden experiments on In a Silent Way; indeed, the tune "In a Silent Way" is redone in the more complex form in which Zawinul envisioned it, and Miles even contributes a brief, generous tribute to Zawinul on the liner. Two keyboardists -- Zawinul and the formidable Herbie Hancock -- form the underpinning of this stately, probing album, garnishing their work with the galactic sound effects of the Echoplex and ring modulator. Earl Turbinton provides the Wayne Shorter-like beams of light on the soprano sax, spelled by Wayne himself on "Double Image." The third founder of WR, Miroslav Vitous, checks in on bass, and hard-bopping trumpeter Woody Shaw proves to be perfectly adept at the jazz-rock game. Two short-lived standards of the jazz-rock era, the aforementioned "Double Image" and "Doctor Honoris Causa," are introduced here, yet it is mood pieces like "His Last Journey" and "Arrival in New York" that with the help of tape-speed manipulation, establish the lasting, murky, reflective ambience of this CD."

1 - 5

Scans

Monday, October 5, 2009

Climax Chicago - Tightly Knit / Rich Man, 1971/1972


1. Hey Mama
2. Shoot Her If She Runs
3. Towards the Sun
4. Come on in My Kitchen
5. Who Killed McSwiggin
6. Little Link
7. St. Michael's Blues
8. Bide My Time
9. That's All

10 Rich Man 5:50
11 Mole on the Dole 5:08
12 You Make Me Sick 3:52
13 Standing by a River 5:29
14 Shake Your Love 5:27
15 All the Time in the World 6:04
16 If You Wanna Know 5:29
17 Don't You Mind People Grinning in Your Face 2:27
18 Like Uncle Charlie 4:14

1 - 9
Peter Haycock - Guitar, Vocals
Art Woods - Keyboards
Colin Cooper - Clarinet, Harmonica, Saxophone, Vocals, Whistle
Peter Filleul - Keyboards, Vocals
Richard Jones - Keyboards
Derek Holt - Bass, Vocals
George Newsome - Drums
John Cuffley - Drums

10 - 18
Pete Haycock - guitar, vocals
Arthur Woods - keyboards
Colin Cooper - vocals, saxophone, harmonica, rhythm guitar
Derek Holt - vocals, bass
George Newsome - drums

1 - 18

Scans

Made In Germany - Made In Germany, 1971


1 Made in Germany 2:49
2 The Arrow and the Song 6:55
3 Find Your Way 3:21
4 Pain of War 3:14
5 Leisure 5:42
6 Don't Forget the Time 3:06
7 Away 4:54
8 Man in History 9:33
9 Custom of Live 3:22
10 That's What I Want to Do 3:15
11 Birthday 2:07
12 Magic Land 3:02
13 In the Hell 2:21
14 Here I Am 2:58
15 Assembly Line 4:30
16 Isn't It Fine 4:09

Dieter Alsleben - drums, percussion
Hans-Dieter Graber - organ, piano
Joachim Pade - sax, flute, vocals, percussion
Stephan Pade - bass, vocals, percussion
Rita Peuker - vocals, percussion
Wolfgang Schulz - guitar, vocals,

1 - 16

Scans

Garmarna (Sweden) - Garmarna, 1993


1 Lil-Mats Polska [Little Mats Polska] 2:42
2 Skenpolska [Seeming Polska] 3:38
3 Jordbyggarlaten [Earth-Diggers Song] 2:37
4 Herr Olof [Sir Olof] Traditional 3:54
5 Tranpolska [Pining Polska] 3:55
6 Cow-Call from Halsingland :43
7 Klevabergselden [Kleveberg's Fire] 3:39
8 Garmgny [Garm's Bark] 2:23
9 Flusspolska [Tonsilitis Polska] 1:43
10 Manpolskan [Moon's Polska] 3:48
11 Antiokia [Antioch] 2:31
12 Skenpolska 3:20
13 Jklevabergselden [Klevabergselden] 3:17

Emma Härdelin - Violin, Vocals
Stefan Brisland-Ferner - Violin, Harp, Viola
Gotte Ringqvist - Guitar, Violin, Harp, Jew's-Harp, Lute
Rickard Westman - Bouzouki, Guitar, Lute
Björn Eriksson - Double Bass
Jens Höglin - Percussion, Noise

AMG:

"Nearly ten year after its first release, this is a CD reissue of Garmarna's Väsen-inspired debut EP. The disc appends to the original EP, the group's six-song demo. This is also the introduction of vocalist Emma Härdelin, who sang two songs for the EP before joining the group. There is a natural darkness to this Nordic folk music of ancient songs and instruments. Adding warmth is the bright fiddle melodies, Jew's harp, and Härdelin's voice."

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Scans

Serge Gainsbourg (France) - Du jazz dans le ravin, 1958-1964


1. Angoisse
2. Du Jazz Dans le Ravin
3. Requim pour un Twister
4. Chez les Yé-Yé
5. Black March
6. Black Trombone
7. Ce Mortel Ennui
8. Générique
9. Coco and Co.
10. Intoxicated Man
11. Elaeudanla Téïtéïa
12. Le Talkie-Walkie
13. Some Small Chance
14. Quand Tu T'Y Mets (When You Go for It)
15. La Fille au Rasoir
16. Quand Mon 6'35 Me Fait les Yeux Doux
17. Fugue
18. Machins Choses (What's His Name)
19. Negative Blues
20. Wake Me at Five

Serge Gainsbourg - piano, voix
Elek Bacsik - guitare electrique
Michel Gaudry - contrebasse
Alain Goraguer - arrangements et direction d'orchestre


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Scans

Framauro (Poland) - Etermedia, 1998


1. Astronomus FM (6:35)
2. Poznaæ siebie (5:28)
3. Baœniowe Alternatywy cz.II (6:28)
4. Nakarmieni massmediami (5:15)
5. Etna (3:20)
6. Zatrzymaæ czas (5:00)
7. TV show (3:33)
8. Prasowe papugi (6:20)
9. Enter (4:43)
10. Cykl (6:55)

Ryszard Kramarski - guitar, bass guitar, programing, keyboards, vocals
Stach Kramarski - vocals
Tomasz Pabian - guitar, programing
Anita Podkowa-Branka - choir
Malgorzata Wójcik - choir


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Scans

U3Klang - Jazz Goes Underground (Bootleg), 1988


1 Nimm' die U-Bahn 17:40
2 Hurry 8:17
3 Subway 11:50
4 Meru 5:38
5 Baustelle 6:20
6 Slickaphonic Stomp 14:27

Harry Beckett - trumpet
Malte Burba - trumpet
Michael Sell - trumpet
Ray Anderson - trombone, vocal
Willem van Maanen - trombone
Annie Whitehead - trombone, vocal
Friedmann Greaf - sax
Wolfgang Puschnig - sax
Martin Schedler - sax
Adam Wendt - sax
Heiner Goebbels - keyboards
Thomas Wegel - bass
Topo Gioia - percussions
Nippy Noya - percussions
Joe Passaro - percussions
Albrecht Riermeier - percussions

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Scans

Ella Fitzgerald - Like Someone In Love, 1957


1 There's a Lull in My Life 3:23
2 More Than You Know 3:14
3 What Will I Tell My Heart? 3:27
4 I Never Had a Chance 2:44
5 Close Your Eyes 2:54
6 We'll Be Together Again 3:18
7 Then I'll Be Tired of You 3:10
8 Like Someone in Love 3:07
9 Midnight Sun 3:54
10 I Thought About You 2:51
11 You're Blasé 3:55
12 Night Wind 3:16
13 What's New? 3:04
14 Hurry Home 4:37
15 How Long Has This Been Going On? 5:48

Ella Fitzgerald - Vocals
Stan Getz - Sax (Tenor)
Ted Nash - Sax (Alto)
Frank DeVol - Conductor
Norman Granz - Producer

AMG:

"Ella Fitzgerald was accompanied by an orchestra arranged by Frank DeVol for this fine studio session; the CD reissue has been augmented by four selections recorded a month later. Most of the songs are veteran standards, Stan Getz's warm tenor helps out on four tunes, and — although this is not an essential release — her voice was so strong and appealing during this era that all of her recordings from the mid- to late '50s are enjoyable and easily recommended."

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Scans

Terry Reid - Bang, Bang You're Terry Reid, 1968


1 Bang Bang (My Baby Shot Me Down) 4:12
2 Tinker Taylor 2:53
3 Erica 3:48
4 Without Expression 4:47
5 Sweater 2:03
6 Something's Gotten Hold of My Heart 4:56
7 Season of the Witch 10:09
8 Writing on the Wall/Summertime Blues 10:14
9 When I Get Home 3:38
10 Loving Time 3:40

Terry Reid - Guitar, Vocals
Eric Leese - Keyboards
Keith Webb - Drums

AMG:

"Bang, Bang introduced a hard rocker whose eclecticism was both impressive and unnervingly inconsistent. The covers of "Season of the Witch" and "Summertime Blues" are overlong and dated, but the frenetic version of Cher's "Bang, Bang" is inspired, and the rendition of Gene Pitney's "Something's Gotten Hold of My Heart" shows his poppier roots. Over half of the material was penned by Reid, and while these compositions are sometimes generic, late-'60s hard rockers, he also shows a facility for Donavonesque folk-rock "("Sweater"") and impressive soul-rock vocalizing ("When I Get Home"). Originally not released in the U.K., it's ironically only available now as a U.K. import."

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Scans

Lake (Germany) - Ouch, 1980


1 Celebrate 3:49
2 Come on Home 4:38
3 Listen to Me 4:15
4 Amigo 2:51
5 Jamaica High 4:46
6 Living for Today 4:30
7 Something Here 4:32
8 Hit Your Mama 4:17
9 Southern Nights 4:30

James Hopkins Harrison - Vocals
Frank Hieber - Keyboards, Vocals
Achim Oppermann - Guitar, Vocals
Alex Conti - Guitar, Vocals
Heiko Effertz - Bass, Vocals
Dieter Ahrendt - Percussion, Drums, Vocals

AMG:

"Lake's fourth release shows little change in the band's sound — they are slightly mellower, but just as enjoyable. Highlights include the delicate "Amigo," the sunny "Jamaica High" and the quiet "Southern Nights."

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Scans

Gary Burton - Libertango: The Music of Astor Piazzolla, 1999


1 Libertango 4:38
2 Invierno Porteño 7:04
3 Escualo! 3:08
4 Buenos Aires Hora Cero 5:42
5 Fuga y Misterio 4:17
6 Milonga del Angel 6:36
7 Michelangelo 4:07
8 Contrabajissimo 11:07
9 Fugata 4:16
10 Mumuki 9:07
11 Milonga Loca 3:12
12 Adios Nonino 8:37

Gary Burton - Vibraphone
Marcelo Nisinman - Bandoneon
Fernando Suarez Paz - Violin
Horacio Malvicino - Guitar
Nicolas Ledesma - Piano
Pablo Ziegler - Piano
Hector Console - Bass

AMG:

"Gary Burton's Libertango: The Music of Astor Piazzolla continues the vibraphonist's homage to Piazzolla's nuevo tango, which began with 1996's Astor Piazzolla Reuninon: a Tango Excursion. Here, as on that album, Burton collaborates with former Piazzolla players such as pianist Pablo Ziegler, violinist Fernando Suarez-Paz, and guitarist Horacio Malvicino on stylized updates of the composer's best-known tangos. Burton's vibes weave in and out of interpretations of "Escualo," "Fuga Y Misterio," and "Adios Nonino," which dance along on brisk, jazzy rhythms that nevertheless capture the tango's elegant passion. Libertango is another fresh and worthwhile exploration of Piazzolla's music from an artist"

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Scans

Aynsley Dunbar Retaliation - Doctor Dunbar's Prescription, 1969


1 Change Your Low Down Ways 2:23
2 The Fugitive 4:36
3 Till Your Lovin' Makes Me Blue 4:52
4 Now That You've Lost Me 3:30
5 I Tried 2:48
6 Call My Woman 3:10
7 The Devil Drives 2:42
8 Low Gear Man 2:55
9 Tuesday's Blues 3:35
10 Mean Old World Little 3:05

John Moorshead - Guitar, Vocals
Victor Brox - Organ, Guitar, Cornet, Horn, Keyboards, Vocals
Alex Dmochowski - Bass
Aynsley Dunbar - Drums

AMG:

"The Aynsley Dunbar Retaliation's second album was much the same as their first, offering competent late-'60s British blues, given a slightly darker cast than was usual for the style via Victor Brox's somber vocals. Like their debut, it was dominated by original material, and as on its predecessor, the compositions were rather routine blues-rock numbers, though they benefited from arrangements by highly skilled players. The best of these tracks were the ones that utilized Brox's gloomy, almost gothic organ, if only because it made them stand out more among the company of the many similar bands recording in the prime of the British blues boom. Otherwise the main fare was straightforward blues-rock that was well played, but rather average and forgettable, the most distinguished ingredient being Dunbar's hard-hitting, swinging drums. If only because it has some original songs that were better than anything on the first album ("Fugitive," "Till Your Lovin' Makes Me Blue," and "Tuesday's Blues," the last of which has some songwriting and guitar work quite similar to Peter Green's late-'60s style in those departments), it's a slightly better listen, though not up to the standards of somewhat similar groups like Fleetwood Mac and John Mayall & the Bluesbreakers."

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Scans

Den Fule (Sweden) - Lugumleik, 1993


1 Tuss Ola 3:34
2 Nordafjells 4:30
3 Pal Karls Vals 4:24
4 Raddaschottis 4:05
5 Lugumleik 5:04
6 Dickapolskan 3:25
7 Langdans 3:14
8 Vallat 6:21
9 Tre Strommingar 3:16
10 Slangpolska 4:40
11 Kopmanpolskan 3:51
12 Modus Mats 3:43
13 Psalm 3:28
14 Nordic Wolf 3:58

Ellika Frisell - fiddle
Jonas Simonson - flutes, bass saxophone
Sten Källman - saxophones, percussion
Henrik Cederblom - guitars, electric violin, percussion
Stefan Bergman - bass
Christian Jormin - drums and percussion
+
Ingrid Brännströmm - vocals

Wikipedia:

"Den Fule (meaning "The ugly one") was formed primarily from veterans of the 1970s Swedish folk rock scene. The band produced two albums through Xource Records in the early 1990s then disbanded. Their first album Lugumleik met with immediate critical acclaim and won the Swedish Grammy for "Best Folk Music Album of the Year 1993". The album was described for the Swedish Grammy awards as a blend of jazz, rock, funk and traditional folk music.

Although the band's music is largely adapted from traditional Nordic folk music, it crosses numerous genres, combining R&B elements with rock riffs and jazz phrasing. The melodic component of the music is dominated by flute and saxophone; numerous tracks are instrumental but male and female vocals are occasionally used."


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Scans

Kathryn Moses - Kathryn Moses, 1976


1. I Met A Special Man
2. Oleo
3. My Romance
4. Midnight
5. Ready Or Not
6. Touch Me
7. Prince Charming's Brother
8. Midmorning

Kathryn Moses - Flute
Ed Bickert - Guitar
Gary Williamson - Piano
Rick Homme - Bass
Terry Clarke - Drums
Marty Morrell - Percussion
Barbara Mcdougal - Violin
Adell Armin - Violin
Paul Armin - Viola
Dick Armin - Cello


CanadianJazzArchive:

"KATHRYN MOSES (flutist, saxophonist, vocalist, bandleader, composer, arranger) was born in 1943 in Wynnewood, Oklahoma. She was already a promising classical flutist when she began to play with the Oklahoma Symphony Orchestra when she was just 20 years old, but four years later, moved to Canada to be with her husband and fellow musician, trumpeter Ted Moses.

Kathryn’s career quickly took off in Toronto where she immediately became immersed in the city’s vibrant jazz and folk scene, notably recording and playing with important talents including Bruce Cockburn and Murray McLaughlin. She originally played in the Ted Moses Quintet led by her husband, but in 1975, launched her own successful Quartet and Quintet.

Moses performed with both The National Ballet and Winnipeg Symphony Orchestras, recorded widely on albums by dozens of other artists, and composed and played on hundreds of film scores. The Kathryn Moses Quartet (with Rob Piltch on guitar, David Piltch on bass, and Claude Ranger on drums) were featured in concert during the “Sound of Toronto Jazz” Series at the Ontario Science Centre on January 23, 1978. She continues to perform and compose from her home in Toronto today."

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Scans

Thinking Plague - In This Life, 1989


1 Lycanthrope 7:17
2 Run Amok 3:11
3 Malaise 4:40
4 Organism [Version II] 11:46
5 Love 7:14
6 The Guardian 5:30
7 Fountain of All Tears 7:39
8 Moonsongs Johnson 15:10
9 Possessed 8:14

Bob Drake - Synthesizer, Bass, Violin, Balalaika, Drums
Shane Hotle - Synthesizer, Piano, Keyboards
Eric Jacobson - Synthesizer, Percussion, Sampling
Fred Frith - Guitar
Maria Moran - Bass
Mark Fuller - Percussion, Drums, Tabla

AMG:

"The group of Colorado experimentalists known as Thinking Plague explore jazz, rock, and folk with increasingly symphonic contexts, around the aegis of guitarist and composer Mike Johnson. The band was initially formed in the early '80s by Johnson and bassist/drummer Bob Drake; after releasing an album titled A Thinking Plague on their own Endemic Records, the duo added vocalist Suzanne Lewis and released Moonsongs in 1987 for the British label Dead Man's Curve. Critical praise for their avant-fusion was glowing, but Thinking Plague continually added members — reed player Mark Harris, keyboardist Shane Hotle — and recorded Another Life for ReR in 1989. Though Lewis and Drake later left the area for other projects, drummer Dave Kerman (of 5uu's), vocalist Deborah Perry, and bassist/multi-instrumentalist Dave Willey (Hamster Theatre) joined for 1998's In Extremis. The Early Plague Years followed two years later."

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Scans

Christopher Franke (Germany) - Babylon 5, Sleeping In Light, EP, 1999


1 Sheridan's Dream 1:36
2 Sunrise :45
3 I Have a Message 1:57
4 Come to Minbar :53
5 How Long Do I Have? 1:27
6 Old Friends 2:26
7 I Am Going to Miss Him 1:43
8 Sheridan's Last Wish 1:39
9 It's Sunday on Earth :27
10 Goodnight, My Love 2:00
11 Only Memory 1:22
12 Computer... Set Course 1:24
13 The White Light 1:16
14 Echoes from the Past 1:19
15 Dying Station 2:32
16 Delenn's Sunrise :32
17 End Title 1:43

Christopher Franke - Keyboards

AMG:

"Christopher Franke's scores for the syndicated sci-fi cult classic Babylon 5 loom in sharp contrast to the music for the series' most obvious inspiration, Star Trek — dark and ominous where Trek championed hope and wonder, the Babylon 5 scores nevertheless capture the mysteries of space in vivid detail. Assembling music written for the series' final episode, Sleeping in Light succinctly encapsulates just how far Franke's sensibilities evolved over the course of Babylon 5's five-year production run — the synthesizer textures and martial percussion so long a fixture of the series' musical palette are now enhanced by strings and guitars that emphasize the deeply human emotional dimensions of the interstellar drama. Indeed, for all the series' obvious emphasis on fantasy and otherworldly sounds, Franke never lost track of its earthbound soul. Epic in scope and scale, Sleeping in Light boasts a power few TV soundtracks achieve."

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Scans

Annette Funicello (USA) - The Best Of Annette, 1958-1964


1 Tall Paul 1:35
2 Tell Me, Who's the Girl? 2:13
3 Train of Love 2:42
4 Let's Get Together 2:12
5 Pineapple Princess 2:26
6 The Monkey's Uncle 2:32
7 Merlin Jone 2:17
8 Beach Party Tonight 2:02
9 Jamaica Ska 2:32
10 Bikini Beach Party 1:57
11 Let's Twist Again 2:06
12 Surfer's Holiday 1:58
13 Stuffed Animal 2:20
14 Blame It on the Bossa Nova 2:54

AMG:

"Annette Funicello was 13 years old when she was discovered by studio head Walt Disney dancing in an amateur production of Swan Lake in Fullerton, CA. Much to the enmity of her Mickey Mouse Club co-stars, Funicello joined the cast late in the show's first season and was not required to audition. However, Disney's impulses proved correct, as she swiftly became the most popular performer on The Mickey Mouse Club and featured in her own storyline, Adventures in Dairyland. Soon it was obvious that Funicello needed to make records in order to exploit her potential as a teen star, and while Annette wasn't very enthusiastic about her ability to sing, Disney engaged established arranger Tutti Camerata to pilot her career as a recording artist. Funicello's first record, "Tall Paul," peaked at number seven on the Billboard pop charts and spent nine weeks there; it would prove the highest chart position she would enjoy. Nevertheless, Funicello's enormous audience base — mostly teen girls — was enough to support her through 12 albums released through 1965, all but the first appearing on the Buena Vista label, a record company begun by Walt Disney so that Funicello's records need not appear on the Disneyland imprint.

Funicello ultimately got accustomed to making records, and genuinely enjoyed working with Camerata, one of the few forty-something arrangers of the time who "got" the basic building blocks of early rock music. Her albums gradually improved starting with the third one, Annette Sings Anka, probably the first LP to treat the work of a rock songwriter as repertoire. In 1963, Funicello starred in Beach Party, the first of five immensely popular "beach party" films, usually co-starring Frankie Avalon; although produced by AIP, the scripts of every one of these films was personally read and approved by Walt Disney in order to protect Annette's squeaky-clean image. Funicello's film vehicles proved important grounds for breaking other artists; Stevie Wonder appeared in Muscle Beach Party (1964), James Brown in Ski Party (1965), and the Beach Boys backed her up in her final film for Disney, The Monkey's Uncle (1965). Funicello's own personal best in terms of LPs came with the soundtrack album to Muscle Beach Party.

In 1965, Funicello informed Disney about her intention to marry, and to retire from acting, and Disney gave his blessing. Although she did appear afterward in a few films, including the Monkees' Head (1968), made TV commercials, and appeared in Dick Clark specials in the 1970s, Funicello essentially remained a retired, full-time mom from 1965 forward. She made one more album in the 1970s, The Annette Funicello Country Album, and it proved the only record she made that reflects her personal interests in music. In 1993, Annette Funicello disclosed that she was suffering from multiple sclerosis, and has not appeared in public since then. Her work for Buena Vista remains an acquired taste, a little too saccharine for some listeners. However, some of Camerata's arrangements really do "rock" and Funicello's bright, straightforward, and always enthusiastic singing looks forward to female pop singers of a much later era, the new wave vocalists of the 1980s."

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Scans

Alameda (Spain) - Aire Calido De Abril/Noche Andaluza, 1981/1983


Aire Calido De Abril

1. Aire cálido de abril (4:05)
2. Puente azul (3:47)
3. Santa Clara (5:30)
4. Cuando llega la aurora (3:56)
5. El portil (3:07)
6. Sangre Caliente (3:23)
7. Zalima (3:38)
8. Tierra del sur (3:25)
9. Urbana princesa en flor (5:12)

José Roca - guitars, lead vocals
Rafael Marinelli - keyboards
Manuel Marinelli - keyboards
Manuel Rosa - bass
Luis Moreno - drums, percussion
+
Enrique Melchor - Spanish guitar (9)
Javier Benet - Symphonic percussion
Tito Duarte - Latin percussion
David Thomas - String and brass arrangemens (except for 4, 7, 8)
Pedro Vicedo - String arrangements (5)
José María Guzmán & Jesús Conde - Backing vocals (9)

Noche Andaluza

1. Noche Andaluza (5:04)
2. Con música y aroma (3:52)
3. Dias de amor (4:26)
4. Por los espacios del tiempo (4:31)
5. Umbría - Bajo la sombra y el sueño (6:13)
6. Desnudos (4:11)
7. ¿Que queda despues de amar? (4:46)
8. Lamentos (3:07)

Jose Roca - guitars, lead vocals
Rafael Marinelli - keyboards, drums & percussion on 2
Manuel Marinelli - keyboards
Manuel Rosa - bass
Luis Moreno - drums, percussion (bateria)
+
Paco de Lucia - Spanish guitar
Jose Maria Guzman & Jesus Conde - backing vocals


Progarchives:

"This Spanish band is rooted in 1977 when four musicians met each other on the Conservatory Of Seville. They experimented with music in bands like Orquesta Union, Gong, Nuevos Tiempos and Tartessos and then decided to found their own group named Alameda. In 1979 the band was allowed to record a demo-tape in Ricardo Pachon his studio ("El Aljarafe"). Soon after Alameda went from company to company to find their luck with the demo. And they were lucky because CBS deputee Gonzalo Garcia Pelayo gave the band a contract. So Alameda got the opportunity to record their demo tape in the AudiFilm studio in Madrid with the help from Maximo Moreno, known for his work with Rock Andaluz legend Triana. In 1979, the same year that Triana released their third LP entitled "Sombra y Luz", Alameda released their eponymous debut album. Between 1979 and 1983 Alameda produced four studio albums, on their fourth entitled "Noche Andaluza" famous flamenco player Paco De Lucia joined the band on one track. The band split up in 1983 but in 1994 Alameda re-united. They released three studio-albums and one live-CD, a registration from their 20th Anniversay concert in 1999. In 2003 record company CBS released a very comprehensive 2-CD compilation from their early work between 1979 and 1983."

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Scans

Dedalus (Italy) - Dedalus, 1973


1. Santiago (9:13)
2. Leda (4:30)
3. Conn (3:48)
4. C.T.6 (14:02)
5. Brilla (5:39)

Fiorenzo Bonansone - cello, electric piano, synthesizer
Marco Di Castri - guitars, Tenor saxophone, percussion
Furio Di Castri - bass, percussion
Enrico Grosso - drums, percussion
Rene Montegna from "AKTUALA" - African percussion

AMG:

"The Turin-based Dedalus rank among Italy's most enterprising jazz rock bands and that despite their public profile being the highest among collectors, for whom their two albums remain a holy grail of sorts. Appropriately signed to the Trident label, whose own output is much sought after, Dedalus was formed in 1972 by Marco Di Castri (guitar, sax), Fiorenzo Bonansone (keyboards, cello), Furio Di Castri (bass) and Enrico Grosso (drums), releasing their self-titled debut LP the following year.
Di Castri quit shortly after the album's release - opting not to replace him, Dedalus soldiered on as a trio, replacing the errant bass with a heavier reliance on electronics and avant-garde textures. Their second album, 1974's Materiale per Tre Esecutori e Nastro Magnetico reflects these concerns with considerable success, but Dedalus themselves would not pursue the experiment any further. The band broke up later in 1974."

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Scans

Tommy Bolin - Live At Ebbets 1974


1 You Know, You Know 4:36
2 San Francisco River 5:38
3 Shakin' All Night 4:29
4 Walkin' My Shadow 4:09
5 Born Under a Bad Sign/Ain't No Sunshine 8:57
6 Crazed Fandango 7:29
7 Ain't Nobody's Fool 8:55
8 Homeward Strut 5:03
9 Honey Man 7:34
10 Stratus 5:28

Tommy Bolin - Guitar, Vocals
Jeff Cook - Vocals
Stanley Sheldon - Bass
Archie Shelby - Percussion

AMG:

"During his tragically short career, Tommy Bolin played with many different musicians and bands. In early June 1974, Bolin was still a member of the about-to-splinter James Gang, and decided to book a couple of nights at the Denver club Ebbets Field to try out some new material he'd written. He called upon his old band Energy to back him up, and the show (finally officially released on CD) is a guitar player's dream, especially for those into the classic sounds of Jeff Beck, Santana, and Hendrix. And even though the five songs that contain vocals (courtesy of Jeff Cook) are quite good, it's the other five instrumental tracks that make this disc a fine testament to the Tommy Bolin legacy. Bolin lends his touch to such raging rockers as the opening "You Know, You Know" and "Homeward Strut," while fans of the Allman Brothers should definitely check out "Shakin' All Night," with its fluid slide guitar work. Also included are nasty renditions of the blues-rock standards "Born Under a Bad Sign" and "Ain't No Sunshine," combined as a medley. Even though some of these tracks ("San Francisco River," "Stratus," etc.) have been issued on some of the other releases from the Tommy Bolin Archives record label, they are all versions from different recording dates. This is an excellent live document showing what Bolin could accomplish while jamming for fun, in the company of some good friends."

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Scans

T-Square & Royal Philharmonic Orchestra (Japan) - Harmony, 1993


1. Tomorrow's Affair Rockoon
2. Play For You Human
3. Banana Rockoon?
4. Memories Of Alice
5. Human
6. Good-By Blue Wind Melody Go Round
7. Rainbow
8. Tomorrow's Affair (Reprise) Rockoon

Masahiro Andoh - Guitar
Hirotaka Izumi - Piano,Celesta
Hiroyuki Noritake - Drums, Percussion
Mitsuru Sudoh - Bass
Masato Honda - Saxophones, Whistle

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Scans

Night Ranger (USA) - Dawn Patrol, 1982


1 Don't Tell Me You Love Me 4:22
2 Sing Me Away 4:10
3 At Night She Sleeps 4:12
4 Call My Name 3:44
5 Eddie's Comin' Out Tonight 4:27
6 Can't Find Me a Thrill 3:21
7 Young Girl in Love 3:34
8 Play Rough 4:15
9 Penny 3:47
10 Night Ranger 4:39

Alan Fitzgerald - Keyboards, Vocals
Jeff Watson - Guitar
Brad Gillis - Guitar, Vocals
Jack Blades - Bass, Vocals
Kelly Keagy - Drums, Vocals

AMG:

"Unlike many of their pop-metal contemporaries, Night Ranger's early work has aged quite well, and this excellent 1982 debut is a well-kept secret of the genre. Dripping with hooks and irresistible choruses, "Don't Tell Me You Love Me," "Sing Me Away," and "Young Girl in Love" are simply outstanding songs. Anyone doubting the band's ability to rock out need only listen to the vicious bursts of "Eddie's Comin' Out Tonight" and "Play Rough." And despite offering the mandatory power ballad in "Call My Name" (which is actually quite good), the band rarely allow the album's intensity level to lag."

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Scans

The Isley Brothers - Shout, 1959


1 When the Saints Go Marching In 2:30
2 St. Louis Blues 3:00
3 Yes, Indeed! 2:02
4 How Deep Is the Ocean? 1:59
5 Ring-A-Ling-A-Ling (Let the Wedding Bells Ring) 2:58
6 Rock Around the Clock 2:14
7 Turn to Me 2:40
8 He's Got the Whole World in His Hands 1:57
9 That Lucky Old Sun (Just Rolls Around Heaven All Day) 2:44
10 Respectable 2:10
11 Without a Song 1:58
12 Shout, Pts. 1-2 [Full Uncut Version] 4:25

AMG:

"Shout" is like a tent revival gone haywire, with the merest scraps of a song — a groove and a few phrases — igniting a soul explosion the likes of which had never been heard on record. The song was only a minor hit, but has been granted immortality for its exuberance and influence. The album of the same name, the Isley Brothers' full-length debut in 1959, shows what a gulf existed between the Isleys and their old-school producers. The menu of standards and white rock & roll songs like "Rock Around the Clock" may have worked well for someone like Brook Benton, but the Isley Brothers sound tense on these songs, like they want to break loose. Collectables' skimpy 1990 Shout! CD is a straight reissue of the album, but BMG's Shout: The RCA Sessions contains the album and several cuts from singles, making it the preferred package."

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Scans

Karel Velebny (Czechoslovakia) - SHQ, 1967


1 The Uhu Sleeps Only During the Day 7:28
2 Joachim Is Our Friend 11:33
3 Beetles on the Head 5:06
4 Waldi on the Castle Steps 8:56
5 Andulko Safarova 5:05

Karel Velebny - Clarinet (Bass), Sax (Tenor), Vibraphone
Jiri Stivin - Flute, Recorder, Sax (Alto)
Ludek Svabensky - Piano
Karel Vejvoda - Bass
Josef Vejvoda - Drums

AMG:

"An early (1967) example of European free improvisation, Karel Velebney's SHQ on occasion feels a little tentative in comparison to full-on fearless explorations like the work of Peter Brötzmann or Fred Van Hove. Although there are several free passages, especially on the largely solo opener "The Uhu Sleeps Only During the Day," the rhythm section of pianist Ludek Svabensky, bassist Karel Vejvoda, and drummer Josef Vejvoda largely sticks to basic post-bop rhythms that rein in Velebney's bass clarinet and tenor saxophone and Jirí Stivín's woodwinds. As exploratory post-bop goes, this is often very good stuff, particularly on the closing "Andulko Safarova," which has the graceful, floating quality of one of Gil Evans' more exotic scores, and the swinging "Joachim Is Our Friend." But given the label, time, and place involved, curious listeners might expect something more extreme, and such people might be disappointed."

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Freedom's Children (South Africa) - Galactic Vibes, 1972


1. Sea Horses (4:13)
2. The Homecoming (16:12)
3. That Did It (3:44)
4. Fields and Me (5:57)
5. The Crazy World of Pod (1:43)
6. 1999 (4:02)
7. About the Dove and His King (3:44)

Julian Laxton - guitars
Ramsay MacKay - bass
Gerard Nel - keyboards
Nic Martens - Organ
Brian Davidson - vocals
Colin Pratley - drums

Info

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Catherine Ribeiro + Alpes (France) - Le Rat Débile et l'Homme des Champs


1. La Petite Fille Aux Fraises (5:13)
2. L'Ère De La Putréfaction (3:28)
3. Un Regard Clair (Obscur) (4:47)
4. Poème Non Épique (Suite) (25:22)

Catherine Ribeiro - vocals
Patrice Moullet - cosmophone, acoustic guitar
Patrice Lemoine - organ
Claude Thibaut - percuphone


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Sylvain Nardelli & l'ensemble Radouga - Mat'Rossia, Terre de Foi, d'Espoir et d'Amour (Russie), 2001


1. Confidence de l'Amour 8:27
2. Pourquoi Pleures-Tu? 9:14
3. Dors, Petit Cosaque 8:31
4. Comme un Chêne Solitaire 8:43
5. Rêve d'Automne 9:37
6. Terre de Foi, d'Espoir et d'Amour 8:34



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Sunday, October 4, 2009

Catherine Ribeiro + Alpes (France) - Paix, 1972


1. Roc Alpin (3:02)
2. Jusqu'à Ce Que la Foce de T'Aimer Me Manque (2:56)
3. Paix (15:37)
4. Un Jour... la Mort (24:33)

Catherine Ribeiro - Vocals
P.Moullet - Cosmophone, acoustic guitar
Jean Sebastian Lemoine - Percuphone, bass guitar
Patrice Lemoine - Organ
Michel Santangelli - Drums (1)

AMG:
"Her fourth album, Paix, is one of Catherine Ribeiro's more intense recordings. The band is less folkish on this outing and veering more into space rock, with a sound that is even more cosmic, especially on the 15-minute title track as well as the 24-minute "'Un Jour la Mort" that fills side two. Both tracks contain long instrumental passages with multi-layered keyboard and guitar soundscapes over pulsing percussion, as well as some of Ribeiro's more gutsy and emotional singing (especially on "Paix," where at some places she is practically screaming). "Jusqu'a Ce Que la Force" is a short moody piece, while "Roc Alpin," on the other hand, is joyful, with an upbeat rhythm and playful melody that Ribeiro vocalizes wordlessly. Her second album, simply titled N. 2, is just as good but almost impossible to track down, so Paix is probably the best place to start."


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Sun Ra - Sun Song (Jazz by Sun Ra), 1956


1. Brainville 4:29
2. A Call for All Demons 4:30
3. Transitions 3:40
4. Possession 5:00
5. Street Named Hell 3:55
6. Lullaby for Realville 4:40
7. Future 3:15
8. New Horizons 3:05
9. Fall Off the Log 4:00
10. Sun Song 3:40

Sun Ra - Organ, Piano
John Gilmore - Percussion, Sax (Tenor)
James Scales - Sax (Alto)
Pat Patrick - Sax (Baritone), Bells
David Young - Trumpet, Bells
Arthur Hoyle - Trumpet, Bells
Julian Priester - Trombone, Chimes
Wilburn Green - Guitar (Bass), Tambourine
Richard Evans - Bass
Robert Barry - Drums, Bells
James Herndon - Timbales, Bells, Tympani

AMG:
"This essential title is also available under the moniker of Sun Song (1956). Regardless of name, this long-player contains some of Sun Ra's most complex, yet accessible efforts. Ra had been an active performer since the late 1940s, recording with his various combos or "Arkestra(s)" as Ra dubbed them. Since this was the first widely distributed platter that the artist cut, it is often erroneously referred to as his debut. The tracks were documented by then-unknown Tom Wilson. If the name rings a bell, it may be because Wilson would go on to produce such rock luminaries as Frank Zappa, Simon and Garfunkel, Bob Dylan, and the Velvet Underground, among others. Ra's highly arithmetical approach to bop was initially discounted by noted jazz critic Nat Hentoff as "repetitious," with phrases "built merely on riffs with little development." In retrospect, however, it is obvious there is much more going on here. Among the musical innovations woven into the up-tempo "Brainville" and "Transition," are advanced time signatures coupled with harmonic scales based on Ra's mathematical equations. Not to be missed is the lush elegance within the delicate, if not intricate arrangements heard on "Possession," as well as the equally involved "Sun Song" -- both of which take on an air of sophistication in their deceptive simplicity. Ra's original LP jacket comments can be found within the liner notes of the Sun Song compact disc. This is noteworthy as one of the rare occasions that Sun Ra sought to explain not only his influences, but his methods of composition and modes of execution as well. As referred to above, Jazz by Sun Ra is arguably the most accessible work in the Sun Ra catalog, as well as one of the most thoroughly and repeatedly listenable."


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Saturday, October 3, 2009

Catherine Ribeiro + Alpes (France) - Ame Debout, 1971


1. Ame Debout (7:54)
2. Diborowska (3:39)
3. Alpes 1 (5:46)
4. Alpes 2 (6:22)
5. Alpilles (1:25)
6. Aria Populaire (2:09)
7. Le Kleenex, Le Drap De Lit Et L'étendard (3:28)
8. Dingue (4:36)

Catherine Ribeiro - vocals
Patrice Moullet - cosmophone, acoustic guitar
Patrice Lemoine - organ
Claude Thiebaut - percuphone

Progarchives:
"Born in Lyon during the war, Catherine Ribeiro started her career in acting, even shooting a film for JL Godart, Les Carabiniers, he met future writing partner Patrice Moullet (then under the name of Albert Juroost), before she started singing, recording a bunch of singles throughout the 60's, both in Portuguese (her parent's origins) and in French. These singles are now compiled in a set called Libertés. In the late 60's, Moullet asks her to starts a band, first named 2Bis (one record released under that moniker), than Alpes, where she'll be the front person. The group was lucky enough to participated to one of the very few festival still organized in France in the early 70's (most of them being banned to avoid further youth/student riots after May 68 both the group and festival getting the "go-ahead" from authorities a few hours before starting) in Port Leucate, then Avignon, playing to huge crowds and getting wide notice of the public.

During the early 70's, Catherine Ribeiro & Alpes recorded a string of stunning albums, starting with Ame Debout and ending with Le Temps De L'autre, the most remarkable being Rat Débile Et Homme Des Champs, with stunning tracks such as Poeme Non-Epique and Ere De La Putréfaction (sic). The group is then centered around Catherine, (guitarist) Moullet and (keyboardist) Lemoine (future Gong) and Motron, but by 76, only Lemoine remained with Catherine. The later 70's will see albums getting wiser in terms of provocations, but will gain in musician abilities and spectrum, but Ribeiro started recording solo albums dedicated to poets (Jacqueries for Jacques Prévert) and semi-anarchists singers (Ferré, Brel etc..).

In 80's, the group will disband in full glory (awards and academy prizes) after la Déboussole, Catherine recording a string of albums increasingly gentle and decreasingly interesting, until she will recontact Moullet for solo collabs. The very same Moullet will reform Alpes in the early 90's without Ribeiro, and two more records will be released, both sounding a tad new age, but remaining prog records. Moullet is still playing experimental music through his project Atelier Alpes, while Ribeiro still graces discs of her voice.

As a quick conclusion: Catherine Ribeiro & Alpes have recorded a string of fairly successful albums, gathering a few plaudits and yearly awards from specialized press, played throughout Europe and even in Latin America and Northern Africa and are now seen as an iconic group of the hippy 70's in France. Their use of seldom-seen percuphone and cosmophone (both alpine instruments), their lengthy Poème Non-Epique pieces, Ribeiro's anarchist avant-garde and ecologist lyrics and doomed atmosphere (there is some VdGG feel in their music) made this group a very distinct and very original group that has their own sound. Their record company will print at the back of the cover that "the lyrics of the group only engage the musicians and them only", therefore taking a distance to Ribeiro's incendiary diatribes. This disengagement is to be seen as CR&A's best compliment, as in their manner, they were at the forefront of the Counter Culture."


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Anita O'Day - Once Upon A Summertime, 1963


1. Sweet Georgia Brown 2:56
2. Love for Sale 3:12
3. 'S Wonderful 3:09
4. They Can't Take That Away from Me 1:46
5. Boogie Blues 4:34
6. Tea for Two 5:33
7. Once upon a Summertime 2:02
8. The Girl from Ipanema 2:50
9. Is You Is or Is You Ain't My Baby? 4:24
10. Night and Day 1:59
11. Anita's Blues 3:35
12. A Nightingale Sang in Berkeley Square 2:34

Anita O'Day - Vocals
Ray Dewey - Piano
Kirk Lightsey - Piano
Stan Tracy - Piano
Red Wooten - Bass
George Morrow - Bass
Lennie Bush - Bass
John Poole - Drums

AMG:
"This album is definitely a transitional one for Anita O'Day. Four of the dozen performances are taken from June 1963. Her trio joins the singer on four of her "hits" ("Sweet Georgia Brown," "Boogie Blues," "Tea for Two" and "A Nightingale Sang in Berkeley Square"), which were O'Day's final recordings until 1970 due to personal problems. The remainder of this set is from 1975-76, with several trios backing O'Day on a repertoire dominated by swing standards. Although her voice was not as young, O'Day was still in good form at that point, making this album a worthwhile acquisition for her fans."


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