01. Tamotua – 4:19 02. Firsky Frog Funk – 5:49 03. Shuttle Service – 7:57 04. Ant-Artica – 6:44 05. Big Ferro – 4:49 06. High Checker – 3:06 07. Shuffle Funk Dog – 5:31 08. The Zebra Part I – 2:03 09. The Zebra Part II – 4:12
This albums is a strong example of typical Dutch prog jazz fusion from mid-70-s. Musicians all are competent, and musicianship is good if too calculated. I often notice the same moment with Dutch jazz - usually technically perfectly trained musicians play very calculated, cool, a bit soulless music.
Similar situation is with this album. Music is strongly influenced by symphonic prog and classic music. Sound is slightly mellow, and always very optimistic. In fact , by atmosphere they are similar to Focus music of similar period, and guitar sound is a bit influenced by Ian Akkerman.
Possibly, it is good album for lovers of such kind of fusion (Like me!)
01. Watch Your Step 02. Can You Follow Me 03. Kayakokolishi 04. Yesternight’s Dream 05. Description 06. Walpurgis Night 07. Chewing Gum Telegram 08. The Queen Can Do No Wrong
Formed in Zwolle in 1971,SCOPE were a four-member prog/jazz outfit,who was born out of the ashes of the band Strange Power.Founding members were drummer Henk Zomer and keyboardist/flutist Rik Elings.Reportedly the band started as a symphonic rock group,but soon they switched to a more jazzy progressive style.SCOPE played a lot of gigs in their country and Germany and finally they recorded their self-titled debut for ther Negram Lanel on German ground.
Their style is a combination of classic progressive rock with Canterbury influences and jazz/rock of the RETURN TO FOREVER school.Guitarist Ren Nieuwland performs fantastically with a variety of tempos,as he was given a lot of space for endless,improvisational and delightful solos,not far from JOHN MCLAUGHLIN's work with the MAHAVISHNU ORCHESTRA.Elings is also on the top of this performance with his nice electric piano in the vein of CHICK COREA, while he also plays some dominant organ parts in a couple of songs.The funky bass lines belong to talented bassist Erik Raayman,while Zomer is also present with some steady and confident drumming.Parts of the album are characterized by the massive interplays of the members,reminding of their fellows SUPERSISTER and there are also some really dark parts with haunting flutes and slow guitars,where the band comes closer than ever to classic 70's progressive rock.For fans of varied,instrumental, jazzy progressive rock played with inspiration and talent,this is a great musical adventure.Essential for the fans of the afore-mentioned styles.
01. We Where The Young (4:33) 02. Crude Exports (3:24) 03. Ivy (4:13) 04. The Pirates Of Rebecca's Choice (7:06) 05. Out'n'About (5:44) 06. Sad But True (4:28) 07. As The Crow Flies (11:04) 08. The Curious Case Of Benjamin Button (5:08)
Sandy Singers / lead vocals, acoustic 12 string guitar Mike Gingrich / bass, bass pedals, guitar, recorder, background vocals Gerald O'Brien / Keyboards Terry O'Brien / 6/12 string electric & acoustic guitars Mike Phelan / drums, assorted percussion
NIGHTWINDS were one of those unlucky bands that split up before seeing the release of their first album. In the late 70's, the five musicians were touring the Southern Ontario clubs alongwith SAGA, RHINEGOLD and FM when they came to the attention of KLAATU members. The latter took them into a studio to record a first album but conflicts erupted amongst the NIGHTWINDS clan who split up. Bassist Mike Gingrich went on to tour with KLAATU and MAX WEBSTER; also touring with KLAATU, keyboard player Gerald O'Brien eventually went on to form his own band; and guitarist Terry O'Brien as well as drummer Mike Phelan both managed to carve out a lucrative career for themselves in the music business. In 1991, the band's original recordings were rescued by Laser's Edge who finally released their one and only album.
To get an idea of what NIGHTWINDS sound like, try to imagine mid-period GENESIS (circa "A Trick of the Tail") and then add some busy bass work à la Chris Squire and a vocalist resembling a cross between Geddy Lee and Jon Anderson. GENESIS fans won't fail to recognize many Banks and Hackett references throughout (track 7 is indeed said to be a tribute to GENESIS) but it is all done very tastefully. Highly atmospheric, the album is keyboard dominated but also features some incredible drum/bass interplay as well as strong songwriting and solid musicianship. A style that may sound way too familiar but still a classy and highly polished album, thanks in part to a fine production by Dee Long and Terry Draper of KLAATU and excellent digital mastering by Laser's Edge.
Recommended to fans of mid-period GENESIS, STARCASTLE, ARAGON and NORTH STAR. STYX and SAGA fans will also like the high energy and crisp production.
Nightwinds were a Canadian Prog Rock band who lived a very short life and to my knowledge unfortunately only released this one debut album. In 1991 The Laser's Edge (LE 1007) released this effort in AAD format cd. Nightwinds were a fantastic progressive band blending many different musical elements with sophistication and beautiful song writing and some allusive Mid Genesis/ Mid Rush influences. Vocalists carry a very personal style... a kind of Cure-sound on my opinion. Nightwinds play an original, energetic and positive music with a bit of "theatricallity". Mellotron, synths, analog keyboards... This album was produced by Dee Long and Terry Draper of KLAATU respectively vocalist/guitarist and vocalist/drummer. Good luck to find this album. If you can get it, enjoy it !
01. Number Six 02. Light Of The Candle 03. Conversation With Personality Giver 04. For You The Old Women 05. For Four
Bass, Flute – James Miller Drums – Robert Arace Guitar – Alexander Romanelli Guitar – Richard Excellente Keyboards – Simon Gannett Vocals, Trumpet – John Vislocky III
Released in 1976 on For You The Old Women L.P. 2276. Recorded at Vantone Studios, W. Orange, NJ 1975
MIRTHRANDIR was an obscure progressive band from New Jersey formed in 1973 during the heyday of YES. This band played a complex and elaborated music based on breaks, contrasts and refinement. There are plenty of vintage Moog's and Hammond organs. The flute is also an interesting addition to the sound. The group subtly mixed influences of GENTLE GIANT, KING CRIMSON, UK, YES and EMERSON, LAKE & PALMER.
"For You The Old Women" is an album of progressive rock with flute, keyboards, long tracks and lots of rhythm changes. Led by keyboards and guitar, the compositions are all very much in the traditional "prog" style, with alternating moods, shifting time changes, and competent vocals that remind of Derek Shulman of GENTLE GIANT at times. This is an album that grows on you with each repeated listening. One of the best American progressive rock albums of the 70's.
Another one of these obscure US prog groups (this one from New Jersey) that did one album that bore too much its UK big-5 prog influences and didn't manage to create their own sound. Their 75-releaesd album probably sank without a trace, and no doubt they would be totally unknown today, if the Syn-Phonic label hadn't unearthed it in the early 90's - even Vernon Joynson almost ignores the band in his revised Fuzz Borderline book. The sextet features a double-guitar attack and a lead singer that also blows in a trumpet here and there, but the focus is very much on Ganett's impressive array of keyboards, which may surprise since they didn't get any kind of major-league success. Nevertheless, Mirthrandir's music hovers around or between Genesis, Yes and some slightly more-AOR sonics and the rare trumpet moments do not induce a special or specific originality. Note that it is only the second wind instrument by presenceafter bassist's Miller's flute parts
The album's A-side consist of the opening 8-mins+ title track, where the trumpet's presence intrigues long-enough, but fails to live up to its promise. The other three shorter (everything being relative, since they're all above 4-mins) songs are of lesser interest., but their tiny AOR sonics give them a fairly modern sound (o at least not-so-dated 70's soundscapes), which might appeal to 90's prog fans. The flipside is mostly about the almlost 15-mins epic For Four, which is easily the lbum's highlight, despite a few very clear Genesis-inspired moments.
Note that Syn-Phonic's reissue features a totally different artwork than the original, thus erasing the album's original title's meaning, though the new artwork is pretty cool, nonetheless. Soooo, yet another worthy and worthwhile unearthing of a gem from that mythic (but long-gone) label, but like most of these mid to later-70's US prog are rather over-rated (IMHO) or at least, not as essential for the originality-demanding proghead. But I gather most will find a suitable place in their shelves for this nonetheless enjoyable album. Just don't look for something that you've never heard before, despite that slight AOR touch.
A classic - one of the masterpieces of 1970s North American progressive music. Complex arrangements, brilliant playing, passion, beauty - it is all here. Lots of Gentle Giant and PFM influences here, as well as good old Yes. Along with Cathedral's 'Stained Glass Stories", Yezdaurfa's "Boris" and Sacred Baboon", Babylon, Fireballet and (of course) Happy the Man - Mirthrandir deserves a special place in the ranks of progressive music, as one of the great (but sadly short-lived) bands that demonstrated that complex, intelligent music was also being produced by musicians in the U.S. The only pity is that this is extremely difficult to find these days. But, search for it - it IS worth the effort.
01. No Meaning 3:25 02. Could Be 3:16 03. Upside Down 4:28 04. Just A Lovely Place 4:56 05. Sitting By The Fire 3:41 06. When I Lose 0:18 07. No Need 2:46 08. Worms 4:40 09. Spider 4:15 10. Learning Not To Feel 2:33 11. Benny 4:46 12. When I Laugh 0:25
Bass, Organ, Backing Vocals – John Wetton Drums – Bill Atkinson Electric Guitar, Acoustic Guitar, Lead Guitar – Alan Barry Piano, Electric Piano – Dave Kaffinetti Lead Vocals, Acoustic Guitar – Gordon Haskell
Gordon Haskell issued this solo album to absolutely no critical notice or public response of any kind in 1971, which is sort of a shame - not that it's exactly an earth-shattering record, but it does represent a relatively light, lyric-oriented brand of progressive rock (almost resembling the Moody Blues more than it does Haskell's former group, King Crimson), and a good entry in the field. Latter-day Crimson member John Wetton is present here, playing bass and organ and providing backing vocals on this rather sweet-textured, languid, and highly melodic assembly of songs, which mostly show off Haskell's unusual vocal range but leave ample room for classical stylings on the electric and acoustic guitars and jazz-inspired fills on the drums. When Haskell does rock out, as on "Sitting by the Fire," the effect is startling, the crunchy electric rhythm guitar (courtesy of Dave Spinoza) and bold lead parts (by Alan Barry) wrapping around decent, memorable hooks and choruses - "No Need" is a similarly accessible piece of romantic balladry that might have passed for an England Dan / John Ford Coley demo. And then there's "Worm," a pounding, too-serious-for-words meditation on (apparently) life, death, and being devoured, that repeats a cool opening electric guitar flourish in various guises and allows Barry the chance to stretch out on a related series of riffs. "Spider" is some kind of personal commentary on the music business, possibly referring to managers and their potentially devouring ways - Haskell would know that best - but it is funny and cheerfully upbeat in mood, with some pleasing choruses. And "Benny the Beaver," with its fascinating but confusing references to various elements of the music business, also seems to be about a subject that mattered to Haskell, and it's a pity he couldn't have shared it more clearly, but the principal acoustic guitar riff is pretty, and some of the transitions recall King Crimson's "Cadence and Cascade" (which Haskell sang), and the final section in which an old-style music hall showband picks up the riff demonstrates more humor than most entire art-rock albums of this period ever dared revealed. From a broader perspective, perhaps the most interesting aspect of the recording is that it was produced by Arif Mardin, who, at the time, was moving into some much more profitable and visible projects with the Bee Gees that went in a completely different direction; on this album, Mardin ' s evident goal was to meld Haskell's pop-progressive sound with the clean, sharp mixes that King Crimson of that era was using on their albums, with the results that the drumming (courtesy of Bill Atkinson) and Wetton's bass, as well as Haskell's acoustic guitar, sound like they were recorded during leftover time from a Crimson session. All in all, this is a fun piece of King Crimson ephemera, and pretty pleasant on its own terms, and the 1998 Blueprint CD reissue is a real treat, with a cleaner sound than could be found on the generally lousy Atlantic vinyl pressings (most of which were promo copies), and all of the lyrics reprinted. ~ Bruce Eder, All Music Guide with the results that the drumming (courtesy of Bill Atkinson) and Wetton's bass, as well as Haskell's acoustic guitar, sound like they were recorded during leftover time from a Crimson session. All in all, this is a fun piece of King Crimson ephemera, and pretty pleasant on its own terms, and the 1998 Blueprint CD reissue is a real treat, with a cleaner sound than could be found on the generally lousy Atlantic vinyl pressings (most of which were promo copies), and all of the lyrics reprinted. ~ Bruce Eder, All Music Guide with the results that the drumming (courtesy of Bill Atkinson) and Wetton's bass, as well as Haskell's acoustic guitar, sound like they were recorded during leftover time from a Crimson session. All in all, this is a fun piece of King Crimson ephemera, and pretty pleasant on its own terms, and the 1998 Blueprint CD reissue is a real treat, with a cleaner sound than could be found on the generally lousy Atlantic vinyl pressings (most of which were promo copies), and all of the lyrics reprinted. ~ Bruce Eder, All Music Guide with a cleaner sound than could be found on the generally lousy Atlantic vinyl pressings (most of which were promo copies), and all of the lyrics reprinted. ~ Bruce Eder, All Music Guide with a cleaner sound than could be found on the generally lousy Atlantic vinyl pressings (most of which were promo copies), and all of the lyrics reprinted.
01. Boat Trip 02. Born To Be Together 03. Flying Home Tomorrow 04. Lawbreaker 05. All Since You Went Away 06. Oo La Di Doo Da Day 07. Time Only Knows 08. Better By Far 09. Some Other Day 10. Zanzibar 11. Slow Boat
Gordon Haskell: Guitar, Vocals
Gordon Haskell is usually thought of as a footnote in the history of King Crimson -- the only lead singer in the group's long list of personnel who never played a single live date with the band, though he was with them long enough to cut most of an album (Lizard) and get one performance ("Cadence and Cascade") onto its predecessor. Otherwise, he's been an enigma even to many Crimson fans.
Haskell's history with Robert Fripp goes back to the days they spent together in the mid-'60s as members of the League of Gentlemen, a band that backed various American R&B stars on tour and cut a couple of singles. Haskell was also a member of a Liverpool band called the Quotations, formed by ex-Big Three bassist Johnny Gustafson (before he joined the Merseybeats), who recorded for English Decca ("Alright Baby" b/w "Love You All Over Again") in 1964. His main group affiliation for most of the mid-'60s was the Fleur de Lys, a somewhat lightweight psychedelic band who recorded at least once under the pseudonym of Shyster. Haskell passed through the lineups of Rupert's People and Cupid's Inspiration, and, as a member of the Fleur de Lys, also played on records by Bill Kimber, John Bromley, Sharon Tandy, and Terry Durham. By the end of the '60s, he was a solo act, trying to establish himself as a singer/songwriter, and released a pair of singles in 1969 and 1970, "Boat Trip" and "Oh-La-Di-Doo-Da-Day," and one LP, Sail in My Boat, all for British CBS.
In 1970, as his former League of Gentlemen bandmate Robert Fripp was struggling to keep his current group, King Crimson, viable in some form and complete a second album, Haskell joined the band as successor to bassist/singer Greg Lake, who was leaving the lineup to join Emerson, Lake & Palmer. After singing on one song for that album, In the Wake of Poseidon, he joined a new Crimson lineup and recorded most of the next album, Lizard. As was often the case with Crimson lineups in those days, however, Haskell didn't last -- he and other members of the core band had left by the time Lizard was completed and released late in 1970, and he never worked live with the band.
Haskell cut a solo album, It Is and It Isn't, during 1973, and worked with such artists as Tim Hardin, Alvin Lee, and Van Morrison. His solo work tends to be in a folk-like, singer/songwriter vein, reminiscent of Gordon Lightfoot with something of a progressive rock edge and more humor, some of it very sardonic. Based in southern England at the end of the '90s, he concertized regularly in the Hampshire and Dorset areas, and he continued his recording career into the '90s with his albums Butterfly in China and Hambledon Hill. In 1993, he also teamed up with Mike Wedgewood (ex-Curved Air and Caravan) to tour Scandinavia. In the late '90s, Voiceprint Records' Blueprint label reissued Haskell's solo albums of the '60s and '70s on compact disc. The massively popular "How Beautiful You Are" hit British airwaves in the winter of 2001, announcing Haskell's comeback to music. Harry's Bar followed the next year, fully bringing him back into the public spotlight after years of inactivity. He later moved to a Greek island and proclaimed himself to be Greek, releasing the 2010 album One Day Soon under his newly adopted moniker of Gordon Haskell Hionides.
It's astonishing to think that as King Crimson was recording their monumental, groundbreaking debut album, Gordon Haskell -- who would join the Crimson lineup in 1970 -- was cutting this sappy, orchestrated piffle. The music on his debut album is pretty enough, but otherwise undistinguished. Haskell couldn't decide whether he was trying to be Justin Hayward or Jacques Brel, neither of whom was he suited to emulate. Haskell has a strangely breathy, un-nasal voice, oddly reminiscent of fellow King Crimson alumnus Pete Sinfield on his solo album Still. The music ranges from the syrupy ("Oo La Di Doo Da Day" to the melodramatic "Time Only Knows," and all the while Haskell's voice struggles to stretch its range. The only interesting cut here is the calypso-flavored "Zanzibar," which is at least diverting, if not exactly a classic piece of pop-rock. Only absolute King Crimson completists and serious Haskell fans need bother with the Voiceprint CD reissue of this genuine late-'60s rarity.
Hard to believe that a mere two years before joining the legendary prog behemoth King Crimson, Gordon Haskell released this saccharine, maudlin and exceedingly naive little album in 1969. I actually threw this album into the garbage when I first listened to it. A change of heart only occured after I considered how long I had waited for my CD through the monstrously slow shipping department of Voiceprint Records (who released this title on CD). On giving it this second chance, slowly (very slowly) it dawned on me that its very naivete and earnestness were assets rather than negatives.
In recent years Haskell has cultivated a more world weary persona (probably because in reality he IS a bit world weary, rightfully so) and his voice now reflects his decades long smoking habit, creating something of a milder version of the voice of Leon Redbone. But here, Haskell is a wide eyed lad singing in earnest sincerity lines like, "Rocking chair, oh rock me till I'm dreaming/Put me in the warm sunlight/Baker, bring me bread-your face so gleaming/So we might take a bite." And, "The squirrel disturbed our laughter, the robins are cheeky and tame/The bluebells we picked just after you said you loved me again..." Most of the album is written in this naive sub-par Burt Bacharach lyrical poesy and yet....and yet some of this stuff actually grows on you, maybe more like eczema than some stylin' threads but still, songs like "Better By Far" and "Zanzibar" are so infectious in their unaffected sincerity that you kind of get caught up in it. The set opener "Boat Trip" and album closer "Slow Boat" even convey nice evocative atmospheres with their dreamy, slightly haunting backgrounds.
I met Gordon Haskell back in 2001 and he asked me what my introduction was to his solo work. When I responded "Sail In My Boat" he winced. Before he could give me an excuse for such a "green" album I told him I actually liked it as I subsequently went on to buy his later work. And indeed, his later work is where YOU should start. A good anthology is "Harry's Bar" but "All In The Scheme Of Things" and "Butterfly In China" are stylish, mature and more jaded examples of what Haskell grew into after this sappy yet endearing fist set. Cringeworthy? Yes, at times. Laugh inducing? Oh yeah. Hummable and addicting? Yes as well.
As an aside, the sound quality of the Voiceprint CD version is only just acceptable. It was seemingly mastered directly from a vinyl copy with some pops and hiss occasionally audible. Of course this isn't an album that warrants any re-mastering! A curio then, but one that can become oddly affecting through repeated listenings.
01. Going Home 02. Take These Chains 03. Stop (Wait and Listen) 04. Backlash Blues 05. Practically Never Happens 06. One of Us Two 07. Slightly Country 08. Darkness
Steve Bailey - Vocals Ron Bending - Bass, Vocals Terry Sims - Percussion, Drums Bob Weston - Guitar, Vocals, Mandolin
We're shallow enough to admit the weird cover is what initially attracted our attention to this obscure LP. There was just something odd about seeing four "hip" looking guys standing in a wheat field in front of an ancient windmill.
First off, we'll tell you numerous critics have slagged the album as being ordinary and unimaginative. We'll take issue with them and tell you it's actually an overlooked minor classic. Featuring the talents of singer Steve Bailey, bassist Ron Bending, drummer Terry Sims and guitarist Bob Weston, Ashkan made their recording debut with 1969's "In from the Cold"
In the UK the set was the first released by Decca's newly established progressive-oriented Neon label. In the States it saw a release on London's Sire subsidiary. Co-produced by Peter Sherter and Ian Sippin, to our ears much of the album bares an uncanny resemblance to early Spooky Tooth. Propelled by Bailey's hoarse growl and the band's penchant for screaming guitars, the comparison was reinforced on tracks such as "Going Home", "Take These Chains" and "Out of Us Two".
Elsewhere Bailey's growl sounded like Joe Cocker on "Practically Never Happens", while Bob Weston's "Slightly Country" sounded like it was stolen from the early Steve Winwood and Traffic catalog. With the exception of the pedestrian blues number "Backlash Blues" the entire album including the extended "Darkness" was worth hearing.
Weston became somewhat of a musical journeyman, briefly reappearing as a member of Savoy Brown, followed by a brief stint in Fleetwood Mac where he was fired after the rest of the band discovered he was having an affair with Mick Fleetwood's wife. In the late-'70s he did a tour of duty with Howard Werth and the Moonbeams (see separate entries).
Ashkan's only album from 1969 is a very satisfying package full of powerful guitar-driven blues rock/heavy psych. This band is best known for their guitarist and leader Bob Weston who was part of Fleetwood Mac in the early 70's and who also recorded two albums with the group. Weston offers some very good guitarwork on this record so it's easy to understand why he was chosen to be the guitarist for Fleetwood Mac.
01. Balancez Calinda 4:23 02. Eroniffa's Brown Bird 4:25 03. The Watcher 6:35 04. Casbah 4:45 05. Tropic Sons 3:03 06. Al Rahman 15:17
Acoustic Guitar, Electric Guitar – Paul Batiste Bass – Curtis Robertson Congas, Timbales, Percussion [African & Brazillian] – Khalid Abdullah Drums, Drums [Traps] – Howard King Lead Vocals, Piano, Synthesizer, Written-By – Abdul Rahim Ibrahim Tenor Saxophone – George Harper Vocals – Kweili
Liner Notes CD Reissue:
Artist appears as "Abdul Rahim Ibrahim formerly Doug Carn" on release. "Suratal Ihklas" includes text from the Holy Quran, Sura CXII. "Al Rahman!" includes text from the Holy Quran, Sura LV.
The 'Lost' album from cult pianist Doug Carn of Black Jazz fame. Mystic soul-jazz songs with disco twists under the common influences of Earth Wind & Fire and John Coltrane. Doug Carn is the most famous artist of Black Jazz records, the cult record label of the 70s. He recorded four albums for Black Jazz which are considered by many jazz lovers as 70s soul jazz classics. In the mid seventies, Doug Carn left the Black Jazz label, got divorced and converted to Islam. He changed his name to Abdul Rahim Ibrahim, and cut this nice record of spacey soul tracks, most of which feature vocals by Doug and the Jean Carn-esque Kweili. At its best, the set has a nice spiritual groove with spacey keyboards, and a vocal approach that sounds a bit like Jon Lucien or Roy Ayers.
Tracks include the spiritual jazz classics Al Rahman, a fifteen minute prayer. As the original liner notes said: Part of the purpose of this album is to show the members of the funk-pop-rock and Jazz-Afro-Cuban-Latin and the Traditional-Blues-Gospel oriented subcultures in western societies that the Arabic language and Islamic Din are not necessarily alien to them. And more specifically, to show that the syllablistic expression of the be-bop language and the evolved musical ideas of the great innovators John Coltrane and McCoy Tyner are equally Arabic in nature, as Jazz itself is a word of Arabic Origin.
Reminded me a little of Lonnie Liston Smith. This album is a nice mix of ballad, and a soul funk fusiony feeling, mostly in English, occasionally in Arabic! On first listen it may occasionally seem quirky beyond palatability though the second time I went through this CD I suddenly found myself liking it a lot more.
Expressive soul/funk/disco with a sense of expirimentation in the melding of music, religious idea and black 70s jazz culture. This album came out in 1977 and it definitely has a feeling of the times. Since I mentioned Lonnie Liston Smith earlier (they seem to be in a comparable category), I'd also like to recommend "Renaissance" (by Smith) if you can find it - it truly soars. Doug Carn's "Cry of the Floridian Tropic Son" is worth exploring in its own right though. It has a unique feeling that may (or may not) be best described by quoting from the original liner notes on the music:
"Part of the purpose of this album is to show the members of the funk-pop-rock and jazz-afro-cuban-latin and the traditional-blues-gospel oriented subcultures in western societies, that the Arabic language and Islamic Din are not necessarily alien to them. And more specifically, to show that the syllabilistic expression of the be-bop language and the evolved musical ideas of the great innovators John Coltrane and McCoy Tyner are equally Arabic in nature, as Jazz itself is a word of Arabic Origin....
To some Sheiks of Quran and Islamic Jurist, the preceding paragraph is pure heresy. However with all due respect, this album is not for them... Part of the problem lies in the fact that the intelligence arms of certain rival military and religious groups in centuries past saw fit to inject many false ideas into the hadiths (traditions of Muhammad P.B.U.H.) as an effective means of countering the threat Islam posed to their own ideas and to gain control over the territory held by the Muslims, i.e. The Fertile Crescent. Another aspect of the problem is a matter of Education - as most of us do not accept music for what it eally is... The basic component of music is sound. And sound is but the audible vibrations of matter. In addition, all sound vibrations produce notes. Notes in reality are any phenomina indicating or producing pitch, frequency, wave length, wave form, modulation and duration, etc..
When these phenomina are duplicated or mathematically considered in any way, they produce harmony and rhythm. Therefore, any sound can be considered music just as any music can be considered likeable or dis-likeable. The smashing of atoms, street noise, spoken languages, the chirping of birds, the blowing winds, and rock and roll are all forms of music - music that is variously organized or dis-organized in different ways...
Therefore I hope that this album will help man to transcend the "misconceptions" that causes a Priest to chant Holy Scriptures in a perfect oriental scale (mode), and then turn around and say that music is evil, and that what he himself is creating is not equally music...
But most of all I hope that this album will help us to transcend the intellectual and spiritual barriers that have placed all music that is pleasurable, listenable, fashionable and danceable within the confines of pimp culture."
01. Western Sunrise 02. The Messenger 03. Revelation 04. Infant Eyes 05. Higher Ground 06. Naima 07. Little B's Poem 08. Blue And Green 09. Mighty Mighty
Acoustic Bass – Gerald Brown Congas, Bongos, Percussion – Big Black Design [Cover] – Jerry Napier Drums – Harold Mason Electric Bass [Fender] – Darrell Clayborn Guitar – Calvin Keys, Nathan Page Keyboards, Vocals – Doug Carn Tenor Saxophone, Soprano Saxophone – Ronnie Laws Trombone – Thurman Green Vocals – Jean Carn, John Conner, Joyce Green
When the 1980s acid-jazz movement showed how early jazz-funk could so successfully be hitched to later dancefloor sounds that even pop DJs noticed, the cult crossover hits of pianist/composer Doug Carn and vocalist Jean Carne (she adopted the "e") were dug out of vinyl collections. Between 1972 and 1973 in LA, the gifted married couple had collaborated on a brilliant series of albums for the Black Jazz label, infusing the musical and spiritual agenda of cutting-edge jazz with seductive soul/R&B hooks. But they soon split, and the vocally dazzling Jean became a Philly R&B star, disco diva, and eventually revered sample-source for hip-hop artists.
Forty years after the Black Jazz period, the long-estranged couple are recounting that absorbing story with every appearance of cordiality and plenty of their old skilfulness and spirit. Their life story obliged the backing band to shift abruptly from a hybrid free-jazz/funk vibe to a Motown groove or a four-to-the-floor disco beat, which brought the occasional lapse of tightness. But Carn's sparing solos and supportive, arranger's chordwork on the Fender Rhodes, and Carne's octave leaps, unfussy scat, soul-power and cool theatricality took care of almost everything. Carne entered after a smoky instrumental opener, and saxophonist Stacy Dillard shadowed her closely – from her solemn proclamations to rhythm – wrenching improvisations on John Coltrane's A Love Supreme.
Many fans were there for the Motown and disco songs (the silence when she asked if anyone knew their iconic 1972 Infant Eyes album was an indication of that), and the second half of the set cruised through hits like Was That All It Was, Free Love and Don't Let It Go to Your Head. Carn and Carne know everything about transforming such materials, though. His keyboard quirks, and her beseeching soul tones, lithe-at-65 dancefloor strutting and devious phrasing – she dances up to resolving notes by the most unexpected routes – banish almost every hint of the formulaic.
On Higher Ground, Doug and Jean Karn apply fantastic vocals to jazz that flies like be-bop, has the openness of modes, and uses a nice balance of electric and acoustic instruments. Bass and some piano provide a lot of the backbone, but an funk organ solo chimes into the middle of the title track.
There are unique juxtapositions of 60s and 70s, old and new, organic and synthetic. If you can picture Miles' 60s band playing some of his 70s interludes, you're getting warm, Listen to the spacey keyboards on the cover of Coltrane's "Niama."
Maybe they call this stuff Spirit Jazz due to its mainly angelic nuance--the music swings hard, but maintains a lightness, never overpowering the strong but gentle female vocals. The tracks are airy, but have tons of substance.
01. Chant 4:59 02. Higher Ground 5:03 03. Sweet Season 3:56 04. Sanctuary 7:31 05. Mighty Mighty 5:59 06. The Messenger 4:12 07. Adam's Apple 3:32 08. To A Wild Rose 3:34 09. Western Sunrise 5:03
Acoustic Bass – Gerald Brown Bass [Fender] – Darrel Clayborn Congas, Bongos, Percussion – Big Black Drums – Harold Mason Guitar – Calvin Keys, Nathan Page Leader, Keyboards, Piano, Electric Piano, Organ, Synthesizer [Moog] – Doug Carn Tenor Saxophone, Soprano Saxophone – Ronnie Laws Trombone – Thurman Green Vocals – Doug Carn, John Conner, Joyce Greene
The last album in a legendary run of music from keyboardist Doug Carn – his final album for the Black Jazz label, and a set that pushes even farther than his previous efforts! Jean Carn isn't in the group this time around, but the set does feature a totally great twin-vocal approach – with singing by Joyce Green and John Conner, blending their voices together in a style that's right up there with the most righteous 70s jazz experiments by Horace Silver or Billy Gault! This vocal balance really brings a new sort of power to Carn's music – furthering the righteous spirit of earlier years with a hell of a lot of energy – also aided by great instrumental work from Ronnie Laws on tenor and soprano sax, Thurman Green on trombone, Calvin Keys and Nathan Page on guitars, and Big Black on percussion.
Doug Carn’s fourth and final album for Black Jazz ‘Adams Apple’ from 1974 is a much funkier and upbeat record. It still retains the deep spiritual jazz theme but is expressed more joyously with ‘Chant’, ‘Higher Ground’ and ‘Sweet Season’ being the most uptempo tracks. His organ playing is more evident throughout especially on the instrumental ‘The Messenger’.
There is an early Earth Wind and Fire influence (he played with them) and a frantic cover of ‘Mighty Mighty’. ‘Western Sunrise’ is a beautiful track to close the set on. Joyce Greene and John Conner replace Jean as the vocalist, and the band includes Ronnie Laws, Calvin Keys and Big Black.
01. God Is One 1:42 02. Power And Glory 7:57 03. Revelation 3:43 04. Naima 4:28 05. Fatherhood 4:15 06. Contemplation 4:08 07. Feel Free 9:20 08. Time Is Running Out 3:55 09. Jihad 7:24
Alto Saxophone, Tenor Saxophone, Flute – Rene McClean Bass – Walter Booker Drums – Ira Williams Guitar – Nathan Page Piano, Electric Piano, Organ, Synthesizer – Doug Carn Trumpet [Bass] – Earl McIntyre Trumpet, Horn [Alto] – Olu Dara Vocals – Jean Carn, Olu Dara, Rene McClean
The Black Jazz recordings of Doug Carn are always a revelation – some of the most powerful, progressive work on the American underground of the early 70s – music that got Carn into way more record collections than you might expect! The sound here is a perfect summation of Doug's early genius – his own work on organ and keyboards, never overdone and mixed perfectly with a righteous array of acoustic sounds from Rene McLean on alto and tenor and Olu Dara on trumpet – both players who soar to the skies on waves of energy begun by Carn! Wife Jean Carn sings on a number of tracks – with this heavenly style that's mighty righteous – every bit as soulful as her later work at Philly International, but in a very different way.
In the 1960's there began what can only be described as a spiritual revolution among jazz musicians. Spearheaded by the likes of Coltrane, Yusef Lateef, Pharoah Saunders, etc. jazz became a means for social change and a vehicle for spiritual elightenment.
"Revelation" by Doug Carn was a lost masterpiece of this era. Apart from the top rate songwriting and musicianship, this recording demonstrates and evokes in the listener a joy and an elevation of the spirit and heart that is sadly lacking on most music.
Jazz musicians and audiences would do well to remember that this music means a triumph of the spirit and dignity of the human being over opression and despair. This cannot be accomplished by that trumpet player whose docility is being exploited by that large classical music venue in New York City; or the hoards of bebop nazis who think that the development of jazz ended in 1964.
01. Dwell Like A Ghost 1:35 02. My Spirit 10:00 03. Arise And Shine 9:40 04. Blue In Green 5:24 05. Trance Dance 8:39 06. Search For The New Land 11:56 07. New Moon 5:25
Drums – Al Mouzon Flugelhorn – Charles Tolliver Leader, Piano, Electric Piano, Organ, Lyrics By – Doug Carn Tenor Saxophone, Soprano Saxophone, Bass Clarinet, Flute, Flute [Reed] – George Harper Trombone – Garnett Brown Tuba – Earl McIntyre Vocals – Jean Carne
Pianist Doug Carn's second BJ record, Spirit of the New Land, poignantly reflected the state of affairs in black America through explicit lyrics sung by his wife Jean and through the expert musicians' responses to life-altering societal developments in a hopeful time when the slogan Black Power carried real meaningi The album s flush with riveting modern jazz, which often leans toward the spiritually inclined music of the John Coltrane Quartet on the classic album My Favorite Things. With George Harper's flute in gracious agreement, Jean Carn draws beauty out of the Miles Davis ballad "Blue in Green.
First known to the Jazz world as the man who made lyric adaptations for famous instrumental Jazz tunes (such as John Coltrane's A Love Supreme, or Horace Silver's _Peace_; in fact, this album features a vocal version of the Miles Davis classic, Blue in Green), Doug Carn released several albums under his own name in the early seventies on the Black Jazz Records label, one of which is Spirit of the New Land.
Carn plays Jazz organ and the Fender-Rhodes e-piano, and also acoustic piano in a rather McCoy-Tyner-ish way. The record is a document of the lively Jazz scene in the US in the early seventies. The revolutionary developments from the sixties found their way into a lot of the albums recorded then. Think of Herbie Hancock's Mwandishi albums, or Norman Connor's early albums for Buddha Records, and you get an idea of the kind of Jazz on this record. It's part post-Hard Bop, part Free Jazz, part the expression of a universal concern articulately manifested in the Civil rights movement. Those who were seriously involved were searching for new ways of expression. Thus, as far as the aspects of awareness were concerned, Jazz and Soul music were tangent to each other. Jean Carn, Doug's wife, who would have a solo career as a Soul singer later in the seventies, here sings in an uncompromising Jazz environment. Her vocal contributions are more part of the tunes' arrangements rather than the more familiar way where a singer is backed by a band. This is serious music featuring interesting arrangements and solo contributions from these musicians: Doug Carn, keyboards; Jean Carn, vocals; George Harper, soprano sax. , bass clarinet, flute; Charles Tolliver, flugelhorn; Garnett Brown, trombone, Earl Mc Intire, tuba; Henry Franklin, bass; Alphonze Mouzon, drums.
Bass – Henry Franklin Drums – Michael Carvin Piano, Electric Piano, Organ – Doug Carn Tenor Saxophone, Flute – George Harper Trombone, Valve Trombone – Al Hall, Jr. Trumpet, Flugelhorn – Bob Frazier Vocals – Jean Carn
Although he recorded a 1969 album in a trio setting for Savoy, Doug Carn is of course most famous for his relationship with the independent Black Jazz label. His albums on that imprint may be single-handedly responsible for the label’s canonical status in Afrocentric spiritual jazz. They are remarkable for many reasons, not least of which is the presence of innovative lyrics sung by his then-wife Jean Carn, who not unlike Abbey Lincoln used her voice as part of the ensemble arrangements rather than as a vocalist with a backup band. The communal family vibe is accentuated by the beautiful album cover photography and the opening tune Little B’s Poem; together with the cover photo, I feel like I knew their daughter and wonder where she is now and how she feels about all the musical attention today. While the following albums from the Doug and Jean Carn would push further with original material, this first album is noteworthy for it’s reworking of compositions by jazz heavyweights that they admired – Bobby Hutcherson, Horace Silver, Coltrane, McCoy Tyner, and Wayne Shorter. In particular, adding lyrics to that material and making the compositions into something else is the big achievement here.
The CD pressing from 1997 sounds okay but the second side (of the original LP) suffers from nasty wow and flutter from whatever source tape they used. This was the first appearance of this album on CD and I am not sure if there has been any other remastered versions since, but I kind of doubt it. In fact last year somebody claiming to have a set of Black Jazz master tapes was selling the whole bundle on Craig’s List for a hefty sum; the auction was dubious as they were comprised of 1/2? reels, which even for a studio on a budget in the early 70s would have been a substandard format, and claimed to come with full reproduction rights. Most likely the reels were production copies or just plain counterfeit, the listing was not online long before it was either met with an offer or taken down. Hopefully that doesn’t mean that we’ll be seeing a new series of reissues mastered from 1/2-inch tape.. Unfortunately a few of the other extant Doug Carn reissues have the same wow-and-flutter problem. Badly stored tapes, damaged playback equipment, sloppy transferring, or all of the above, it doesn’t really matter – the end result is that this precious, important music hasn’t received the treatment that it merits. But the most important thing is that it is still available and people can hear it. Since the reissued vinyl were most certainly just the CD master with an R$AA equalization curve applied, there isn’t much point in having both versions except for purely fetishistic reasons. Unless I can manage to get my hands on original vinyl pressings, they are however all we’ve got..
The liner notes by Doug Carn are a treasure. Written just for the reissue, they have a remarkable amount of detailed recollections for being composed more than thirty years after the recordings, showing just what a special time this was for everyone involved. While this is not my favorite of the Carn albums on Black Jazz, it is unique and on its own it is a great record. The title cut, which according to the notes was the first fruits of Doug’s experience with writing lyrics to other peoples’ music, stands out as the most fully realized work here.
01. Walk Right In 02. Butter From The Duck 03. My One And Only Love 04. Sometimes I Feel Like A Motherless Child 05. Free Blues 06. Yna Yna's Delight
Drums – Albert Nicholson Guitar – Gary Starling Organ – Doug Carn
Recorded NYC, 1969
Keyboards, oboe, reeds, vocals, composer. Though a versatile musician and expressive pianist, Carn attained more notoriety in 70s for writing lyrics to classic jazz anthems. Carn began keyboard lessons as a child and was soon playing piano and organ, plus alto sax. He studied oboe and composition at Jacksonville University from 1965 to 1967, then finished his education at Georgia State College in 1969. He worked briefly with Lou Donaldson, Stanley Turrentine and Irene Reid, then became popular in mid-'70s with albums for Black Jazz label. He penned lyrics for such songs as "Infant Eyes," "Adams Apple" and "Revelation." His wife at the time, Jean Carn later became R&B star as single act; she changed name spelling to Carne. Carn eventually did two albums with Earth, Wind And Fire but was not as successful working with them as Ramsey Lewis.
01. Mr. T 6:21 02. Trip One 9:00 03. Weird Harold 5:49 04. Power House 6:30
Drums – Raymond Pound Organ – Chester Thompson Saxophone – Rudolph Johnson Trombone – Al Hall
Of all the musicians that recorded for the short-lived, innovative Black jazz label, organist Chester Thompson’s career, obviously because it was outside jazz, was most succesful. Thompson, who had grown up playing organ in church, and like many of his generation fell under the spell of modern organ jazz pioneer Jimmy Smith, toured the chitlin’ circuit with saxophonist Rudy Johnson in the late sixties. After his record debut Powerhouse in 1971, Thompson joined Tower Of Power, playing a crucial role in the popular and inventive funk group from 1973 till 1983. Thompson’s stretch on organ and keyboards with Carlos Santana lasted an impressive quarter century, from 1983 to 2009. During the mid-eighties, Thompson temporarily changed his name to Chester “T” Thompson to avoid confusion with the band’s drummer, Chester “Hey, I’m the real Chester!” Thompson. Leaving Santana, Thompson returned to his straigh-ahead jazz roots, recording Mixology in 2010 and performing frequently in the Bay area.
Black Jazz was founded in 1971 by pianist Gene Russell and Dick Schory, former drummer, audio tech and owner of Ovation Records, which came to distribute Black Jazz. It specialized in funk jazz and free jazz and shares the honor with Stanley Cowell and Charles Tolliver’s Strata-East label, which was also founded in ’71, of being a groundbreaking jazz record label of Afro-American ownership. Like Strata-East, Black Jazz is highly collectable and characterised by trademark, classy black and white sleeves. Powerhouse is number 6 in a catalogue that runs to only 20 albums and includes albums by pianists Walter Bishop Jr. and Doug Carn, who was a bestseller and the label’s most succesful artist.
A versatile player, Chester Thompson embellishes slow-dragging funk cuts like Powerhouse (listen here) with tacky blues voicings not unlike those of the great Jimmy McGriff, while his propulsive right hand lines occasionally decide to dribble playfully through the defense of the astringent, basic chords changes. The mid-tempo Trip One’s a more modern jazzy tune, in which Thompson’s style is close to the bebop-infested, pianistic lines of Jimmy Smith and Don Patterson. Underneath the cuts of Powerhouse boils a fat groove provided by drummer Raymond Pound (and Thompson’s bass lines) that show the influence of master funk jazz drummer Idris Muhammad. It may lack Muhammad’s crisp touch, but it’s deep and baaaaad.
01. Speed Boogie (3:44) 02. Is It Real (2:55) 03. Hey Boy (3:08) 04. Great Spring Feeling (6:12) 05. Quak Quak (3:04) 06. Very Progressive (18:04) 07. Furious Flight (8:44) 08. Slide Experience (9:44) 09. Just Walking (9:21) 10. Student's Idyll (live) (4:03) 11. Sky Drive (live) 5:07)
The final release from this band is another compilation album like the previous one of mostly unreleased tracks and live tunes. Some good music on here but this isn't as good as the previous record. Lots of guitar led songs but it gets tiresome after a while hearing mostly the same style over and over for over 74 minutes.
"Speed Boogie" opens with the guitar swirling before a full sound kicks in. Some good pickin' on this one. "Is It Real" is a catchy vocal track. It's okay but the best part is the instrumental section starting after 1 1/2 minutes. "Hey Boy" is another commercial sounding vocal tune. "Great Spring Feeling" is excellent as the guitar leads throughout this instrumental.
"Quak Quak" features lots of guitar noodling. "Very Progressive" is good with the guitar, bass and drums jamming away for some 18 minutes. "Furious Flight" is another good guitar driven track. "Slide Experience" is more of the same really. It's good but this is the fifth of six straight tracks in this style and these aren't short songs. "Just Walking" is the final instrumental.
"Student's Idyll (Live)" is a live version of a song from the debut album. "Sky Drive (Live) ends it wih another live tune.
01. Picture 02. Rare girl (slight return) 03. Stepping Ahead 04. Guitar emotion 05. Organ Growler 06. Highlands 07. Rollin' and Grumblin' 08. Proud and loud 09. Arktis Boogie 10. Space Walk 11. Let the music play 12. New Rock (live)
Klaus Blachut / guitar Karin Töppig / voice Klaus Göllner / bass Harry Kottek / drums
After three failed attemps at getting signed to a label by releasing their own albums privately, ARKTIS called it quits.This particular release is a compilation of unreleased tracks, live tracks and a couple of long improvs. At 74 minutes this certainly has it's hits and misses but overall this is my favourite release from the band. I had mentioned earlier that I was surprised at how good the bonus tracks were on their first three albums and wondered why they weren't on the albums because some of these songs were not only amazing but better than the ones they used. Well here's more evidence that this band was very talented and maybe didn't always release the songs maybe they should have.
"Picture" is a favourite of mine with the melancholic guitar that is restrained. Vocals after 2 minutes are reserved. A little more energy but not much more before 4 minutes then back to that earlier mellow vibe wih vocals. "Rare Girl (Slight Return)" rocks out pretty hard then "Stepping Ahead" comes in with it's slow but raw style. It does pick up 1 1/2 minutes in and even more after 3 minutes.They are jamming folks.The guitar is lighting it up 8 minutes in.
"Guitar Emotion" sounds great with the guitar, bass and drums leading the way. It picks up 6 1/2 minutes in then settles as a bass solo takes over before 8 minutes.The drums and guitar then return. "Organ Growler" is catchy with organ coming in over top. Guitar before 3 minutes then the tempo picks up. "Highlands" has this laid back guitar and sound. I like it. It builds then settles back before 5 minutes.
"Rollin' And Grumblin" has these raw guitar leads that are fantastic. "Proud And Loud" has lots of ripping guitar in it. "Arktis Boogie" is just that.
"Space Walk" is much better. Killer tune. "Let The Music Play" isn't the best. A weak vocal track really. "New Rock (Live)" opens with the band or the song being introduced in German. Sounds like it belongs on the debut album. I like it.
01. Dangerous Love (4:31) 02. Since You've Been Gone (5:35) 03. Never Come Back (5:00) 04. Please, Call Me (5:26) 05. Loneliness (20:01)
Bonus track: 06. Y.T.T. (5:57)
Karin Toppig / vocals Harry Kottek / drums Manni Dick / guitar Axel Maurer / keyboards Bernd Kolf / bass
This was ARKTIS' third attempt at a self-released album in order to get a record deal. Unfortunately the third time wasn't the charm. Actually after the last album two important members being the lead guitarist and bass player left the band feeling disillusioned with everything. The female singer and drummer decided to keep the band going and recruited not only a new guitarist and bass player but a keyboardist. They decided to make this album similar to the debut with shorter songs on side one of the LP and a side long suite on side two. As usual Conny Plank gave some assistance in the studio. After this was released they were actually working on album number four but when the news came out that this was their worst selling album to date they folded up the tent and called it a day. I feel that this is the worst of the first three albums. Funny thing though is that the bonus tracks on each of the first three albums are in most cases better than one they decided to release on the actual albums. And this is proved by the following release called "More Arktis Tapes" which is a compilation of songs they didn't use on their albums. It's their best release by far !
"Dangerous Love" is an up-tempo track with vocals. A guitar solo comes in after 2 minutes and again late to end it. "Since You've Been Gone" is another up-tempo track with vocals similar to the first one really. The organ floats in the background again. Nice guitar solo 3 minutes in.
"Never Come Back" is where they slow it down with vocals and soaring guitar. Not a fan of this one at all. Way too long. "Please, Call Me" is up-tempo like the first two with vocals. The guitar cries out to end it. Not a fan of this one either.
"Loneliness" is the side long 20 minute suite. The weird thing about this one is that it reminds me of THE CHURCH with those reserved vocals and that repetitive melancholic sound. I like the bonus song better than the album tracks.
I would have sworn with this album and the previous one that it was a guy singing. She doesn't sound at all like she did on the debut but she's the only one listed as the singer so...I guess she decided to sing in a deeper more reserved manner which was too bad really.
01. New Rock (5:56) 02. Boogie (3:01) 03. Small Talk (4:44) 04. High Fly (5:57) 05. Walkin' With My Baby (2:57) 06. Pique-Nique (6:07) 07. Dan 1 (3:22) 08. Deep In (7:39) 09. Rock'n'Roll (3:30)
Bonus tracks: 10. Evolution (16:17) 11. Speeding Up (13:17)
Karin Töppig / voice Klaus Blachut / guitar Klaus Göllner / bass Harry Kottek / drums
This is the second straight self-released album by the German band ARKTIS who were trying to get the attention of a label to sign them.There would be one more self-released album after this then they gave up as no label seem interested. Because they didn't get a contract based on their debut album released a year earlier in 1974 they changed their style on this one.They would do the same for the third album as well. Lot's of instrumentals on this one and Karin has changed her vocal style unfortunately.That heavy Psyche stlye is replaced by Boogie, Beat and other styles.There's more variety here which isn't a positive in my opinion. No side long suite either unless you included the bonus tracks which I don't.
"New Rock" is a top three and it reminds me of the debut with that dark intro as the female vocals then guitar join in. I really like the guitar that comes and goes over top. "Boogie" is a catchy instrumental. It's okay.
"Small Talk" is better with the strummed guitar, bass and a beat.The electric guitar comes in before a minute. Nice.The vocals on this one trade off with the electric guitar the rest of the way. A top three. "High Fly" is my final top three as we get some heaviness with the guitar playing over top.The tempo picks up before 3 1/2 minutes.
"Walkin' With My Baby" is the start of five straight instrumentals.This one is fairly simple with guitar and a beat. "Pique-Nique" is also a laid back instrumental. "Dan 1" is strummed guitar with a beat throughout.
01. Student's Idyll (4:02) 02. Outcasted (5:34) 03. Jeff the Fool (3:25) 04. Rare Girl (20:08)
Bonus tracks (recorded 1974) 05. Is it Real (2:45) 06. Sky Drive (4:27) 07. Don't Hang Around (4:21)
Karin Toppig / voice Klaus Blachut / guitar Harry Kottek / drums Klaus Gollner / bass
This is a pretty cool sounding band from Germany listed under Krautrock here. This is very much a guitar driven, heavy Psyche album with a female vocalist. Not the proggiest album out there although we do a get a side long suite which is the highlight of this 1974 recording. I'm just a sucker for this style of music, especially the upfront guitar. This is a self-released album by the band as they were trying to get signed by a label. In fact the next two albums would also be self-released and they never could get signed oddly enough even with the help of Conny Plank.
"Student's Idyll" hits the ground running with a rumbling heavy sound and the guitar leading the way. The vocals join in quickly. They are in English throughout. I'm just not a fan of this straight-forward tune though. The guitar starts to solo before 2 1/2 minutes and continues until after 3 minutes when the vocals return. "Outcasted" has more of a focus on the vocals although there is still this good raw sound. It settles after 3 minutes as the vocals stop and the guitar leads. She's back after 4 1/2 minutes. It's okay.
"Jeff The Fool" has these lyrics that describe how bad he (Jeff) is and she ends the line each time with "...people say i'm crazy hey !". Oh boy. Another up-tempo, guitar led tune. Love the guitar solo from after a minute until after 2 1/2 minutes.
"Rare Girl" is the over 20 minute closer. This is the one that saves this album from being very average. This has a darker sound to it as the guitar opens then bass, drums and vocals join in. She's even singing in a more serious manner and with some attitude. A change 2 minutes in to a brighter sound and no vocals until 3 1/2 minutes in. It kicks into a fuller sound at 5 minutes with the guitar leading and no vocals. It settles 6 1/2 minutes in with the guitar still leading and sounding great. A calm 9 1/2 minutes in then it kicks in heavily until 18 minutes in. Nice. Then the opening soundscape with vocals is reprised. Amazing tune !
01. Be Careful 4:12 02. All Our Hopes 9:28 03. This Time Should Never End 6:34 04. Mask Of Life 5:00 05. Sailing Around 5:57 06. Once In The Summernight 4:00 07. What's This Live 5:58
Bass – Norbert Kuhpfahl Drums – Andy Tischmann Guitar, Backing Vocals – Karl Wild Keyboards, Vocals – Walter Utz
Recorded at EGE-SOUND-STUDIO Aug./ Sept. 1979. Mixed by Dieter Ege Okt. 1979.
McOil's only album is a keyboard driven heavy prog LP with lots of strong guitarwork. The vocalist doesn't convince me but the material is still pretty enjoyable. While this record is mostly a progressive rock album it also includes lots of hard rock elements and also some heavy metal influences can be heard here and there.
I find the B-side to be the better side here. The first side is pretty decent but the second side is definitely a good one. "Sailing Around" and "What's This Life" are my favourite songs on this record. I would rate this album with 3,25 stars if I could. If you dig keyboard/organ driven hard rock bands such as Deep Purple or Uriah Heep you should give a try to McOil as well. The album was originally released as a private pressing and it hasn't been reissued on vinyl yet..
McOil were a late 70s heavy progressive rock group from southern Germany with only a 7" single and the album 'All Our Hopes' (CD 004, 1979) to their credit. The foursome developed a full-bodied sound on the back of Karl Wild's hearty mid-tone guitar riffs (think Boston). Keyboardist Walter Litz also served as the band's vocalist, sounding gruff and powerful like Graham Bonnet (ex-Rainbow). The title track is your standard epic progressive multi-part suite, but I can't slag it off as it's pretty well done. Next, they turn around with the very heavy and psychedelic "This Time Should Never End," and now I'm sold on McOil as a winner (even with the drum solo...not so bad, really!). If the band had been from England instead, they almost certainly would've been lumped in with the NWOBHM (rightly or wrongly), and considered one of the better ones I imagine. And rightly so...McOil might not have been a trend-setter in Germany, but they produced some really intelligent heavy rock. Well, the 'intelligence' of the hard-rock polka that introduces the bonus track "A Better Day" (the B-side to the 1978 single) is debatable, but that's an exception!
The most represented band on the GoD label with three CDs to date, Arktis' self-titled debut (CD 005) recorded in 1973 appeared first. Often along the lines of Captain Beyond, Arktis wrote heavy blues rock tunes with a psychedelic slant colored by Karin Töppig's potent voice. The first two of the four album tracks are more in the standard classic rock style, but are interesting works nonetheless. "Jeff the Fool" shows off more psychedelic tendencies in a short form (just 3 1/2 minutes) with even a hint of Amon Düül II's weirdness. In contrast, the album's finale "Rare Girl" clocks in at 20 minutes, their answer to "In-a-Gadda-da-Vida." Following the initial 'song riff' and Töppig's gritty vocals and then a loose bluesy jam, the freaked-out portion then kicks in about half-way and carries us on through to the song's final reprisal. Personally, I found their strength to be in their structured works as their jams were somewhat tentative, although that tendency seemed to reverse by the next album. Three bonus tracks are tacked onto the end to fill 45 minutes, all recorded by Conny Plank in 1974 for an intended second that never materialized in the end. The latter two are unspectacular, but "Is it Real?" is a cool uptempo swirly number, even though the title phrase sounds more like "It's a Drill!!" given the heavy accent. All in all, my favorite of Arktis' three works on GoD........By Keith Henderson......Garden of Delights.........~
Nice hard-edged krautrock. Not a masterpiece, but very enjoyable album that is definitely worth finding. I like Karl Wild's rough vocal delivery unlike many other reviewers. Some moments here remind me of early 1970's Scorpions albums, but overall this one much more progressive. It's a great release, especially for the 1979, when most other prog bands were making awful commercial crap trying to "catch-up" with punk and new-wave.....by......faust3d ....
Looks to be the obscure German -heavy progressive- band's lp - initially released in 1979. Tunes that definitely (sort of) caught me off guard were the adventurous title track "All Our Hopes", the eight-minute "This Time Should Never End", the rocking "Mask Of Life", "Sailing Around" (good harmony vocals) and "Once In The Summernight". Added as a bonus cut - the so-so "A Better Day" notably was the B-side to the band's 7" single. Line-up: Karl Wild - guitar & backing vocals, Walter Utz - keyboards & vocals, Norbert Kuhpfahl - bass and Andy Tischmann - drums. I see that this lp was produced by Dieter Ege (who's also worked with Anyone's Daughter, Ghosttrain, Krann among others). Might possibly pull in fans of Eloy, Jane and Gift.
01. Ice Man 02. Whisper Her Name 03. Anniversary (Of Love) 04. So Many Times 05. Walk On The Water 06. Time’s Fading Fast 07. Day Tripper 08. Ice Man 09. Wide Blue Yonder Boy 10. Open The Door To Your Heart 11. Like A Woman 12. Skyline 13.Wait 14. Monday 15. Tell Me 16. Silver Lady 17. Burning, Burning 18. Two Hearts 19. Little Girl In Wonderland
Backing Vocals – Linda Hoyle (tracks: 7 to 10) Bass Guitar – Mo Foster (tracks: 7 to 10) Bass Guitar, Backing Vocals – John Carter Electric Guitar, Acoustic Guitar – Kris Johnson (tracks: 11 to 16) Electric Guitar, Acoustic Guitar – Steve Turner Organ [Hammond], Piano – Lynton Naiff Vocals – Glyn James
This CD compilation represents the total recorded output of the cult 60s rock group ICE. Tracks 7 to 19 are labelled as bonus tracks, despite the absence of a release that omits them.
In 1967 and 1968, Ice were a much–touted but slightly mysterious recording band, constantly on the radio (including the famous John Peel show with Jimi Hendrix and Traffic), but seldom seen on television and never live.
‘Walk On the Water’ was the controversial track (disguised as ‘Walk Under Water’ for Radio One purposes) that was intended to be their second single and was eventually sidelined in favour of ‘Ice Man’.
RECORD COLLECTOR lists their two singles ‘Anniversary (Of Love)’ from 1967 and ‘Ice Man’ from 1968 in their Rare Record Guide and apart from the singles and their ‘b’ sides all of the tracks featured on this CD have never before been released.
Lynton Naiff, Grant Serpell, Mo Foster and Linda Hoyle all later joined up as AFFINITY but that as they say is another story
This CD represents the group’s entire recorded output of the cult 60’s rock group ICE.
I was pleasantly surprised to see such an extensive offering of tunes from the band which recorded the oft-comped "Ice Man," available here in both studio and live form. The "blued eyed soul" approach, to me, always produced the best stylings of the beat/freakbeat/mod era. This approach is evident in several places here, for example, their cover of Darrell Banks "Open the Door to Your Heart" (incorrectly classified by the BBC announcer as "an original."). But, how can 13 of 19 tracks on any full-length CD be BONUS tracks? Most of these songs are one-off live recordings or demos, and the quality of what is laid down here is much too good for these songs not to have had full studio treatment.
This 19 song disc leads with those four songs, including the title track; sprinkled with swirling organ bursts, clever guitar figures, and choir-inspired vocal harmonies, the style exemplifies the psychedelic pop of the period. The compilation adds an unissued single: The driving R&B number "Walk On Water" contrasts with the Zombies-style ballad "Time's Fading Fast."
The second half of the disc showcases the songwriting collaboration between session guitarist Kris Johnson and lyricist/manager Chris Simpson. Unlike the full-band recordings, these demos find singer Glyn James primarily accompanied by guitar, bass, and backing vocals. This allows James to project a more reflective mood on songs that foreshadow the singer-songwriter era.
Ice Man closes with three Simpson-Johnson compositions performed at Sussex University by Russell's Clump, a group connected to the Ice family tree. Glyn James' liner notes give context to this delightfully obscure bit of British music.
