terça-feira, 25 de fevereiro de 2020

David Cross & Peter Banks - Crossrover


















David Cross & Peter Banks - Crossrover - 2020

The album is based on violin and guitar improvisations recorded on 2010. The two had met on a short joint tour in March 2006, featuring the David Cross Band and Peter Banks's Harmony in Diversity. Banks died in 2013 and Cross couldn't initially bring himself to return to the recordings. When he finally did, he worked with Tony Lowe and they invited in various musicians, largely with connections to Yes, of which Banks had been a member, or King Crimson, of which Cross had been a member. Additional parts were recorded in 2018/2019. Guest musicians were invited to "interpret the music as freely and creatively as" they wished

David Cross - Violin
Peter Banks - Guitar

01. Rock To A Hard Place
Jeremy Stacey - Drums
Geoff Downes - Keyboards

02. Upshift
Billy Sherwood - Bass
Jay Schellen - Drums
Hammond Organ - Tony Kaye
Oliver Wakeman - Keyboards

03. The Smile Frequency
Oliver Wakeman - Keyboards

04. The Work Within
Andy Jackson - Sound Effects

05. Missing Time

06. Plasma Drive
Billy Sherwood - Bass
Pat Mastelotto - Drums, Drum Synth
Oliver Wakeman - Keyboards

07. Laughing Strange
Jeremy Stacey - Drums
Tony Kaye - Hammond Organ

08. Crossover



+@320

*** BE FAST ***

domingo, 23 de fevereiro de 2020

Peter Banks's Harmony In Diversity - The Complete Recordings - 2018 - DISK 6-6 > Spontaneous Creation


















Peter Banks's Harmony In Diversity - The Complete Recordings - 2018 - DISK 6-6 > Spontaneous Creation - 2007


FROM dmme.net
For all the talent he possessed, Peter Banks didn’t have a lot of success with any of the bands his guitar was trying to lead to delirium – be it YES, FLASH or EMPIRE – and his solo career didn’t exactly took off, so the veteran’s experiments on "The Self-Contained Trilogy" couldn’t attract the attention those efforts deserved. Still, those endeavors allowed the artist in the final decade of his life to find mutual affinity with a British duo PULSE ENGINE, a brainchild of drummer Andrew Booker and bassist Nick Cottam, and form HARMONY IN DIVERSITY. They rehearsed, they attempted to record improvisations, they played live in 2005-2007 – and they failed, leaving not a feeble, if not too tangible, legacy which is gathered now in a 6CD set to present Peter as situational performer, ready to react to the smallest disturbance in the fabric of music.

What may be perceived as scraping the barrel is, in fact, a triumph of unpredictability and good-natured humor. This is why “The Number Of The Beat” swirls around a wonderfully weird weave of straightforward electronic groove and jazz chords blowing its claustrophobia to bits to thread a tune through intense, albeit somewhat abstract, guitar lines, while the equally playfully “Swing It” has a cinematic twang applied to romantic soundscape. The two-part “Harmogeny” may make slow, expansive lucidity dangerously tangible – despite the message of the cut’s proper arrival as “No Harm” on “Trying,” the trio’s only officially released album – yet it’s the trip-hop blues “On The Sixth Attempt They Trod On It” that nails the ensemble’s loose method marrying off-the-cuff stylistic unexpectedness to deceptively traditional genres where riffs are mangled to create new shapes, and help the funk behind “Last Run For The Empire” reimagine a piece from Banks’ past as something exciting.



In the box set context, “Trying” seems to attain a lot of sense – yet also define the band’s ability to concentrate on the substantial and get rid of redundant freefall-formed fringe. As a result, “After You” is tentative to the point of well-poised, density-defying minimalism, drawing on drone and rock idioms at the same time, and “Mind The Doors” bent on wild, vigorous virtuosity that’s drowned in a bubbling rhythm – unlike “The Klincher” which is suspended in fractal limbo as opposed to “Sods At Odds” and its motorik charge. Molded similarly, the “Try Again” collection could be the aforementioned album’s companion piece, highlighting the group’s telepathy and technique on the clearly unfinished cuts like “Some Things Are Best Left Upside Down” – a rave-up for modern era – or “Everything Is Green” where tranquil strum is compromised with a stereo-busting disco scratch across the strings to reach a genuine progressive intent. It’s present in full folk-tinctured swing on “Cracking” as well, before “Almighty Dog” bares a rawer, rather reckless edge to the trio’s drive.

There’s a fusion cocoon in “Everything Ends In Nothing” to pamper the most hardened adventurer and pump energy into new-age-like musing, but if the tracks gathered on the “Struggles Discontinued” disc show focused variety, the four epics that comprise “What Is This?” – such as “Lots And Lots Of Disjoint Dots” whose title is quite telling in defining the deficiency of a duo setting, despite the obvious rapport between Banks and Booker – have some difficulties gelling into engaging patterns, occasional synthetic passage, and a quote from Grieg, notwithstanding. When the bottom end of “Plenty To Hear In Orbit” rises to the surface, its drift and flow will change for the better and, with Dave Speight taking over the drum stool towards the group’s breakup, the recordings packed under the “Spontaneous Creation” header embody this cosmic muscularity, their grimy angularity undermined by memorable flow. Yet while “Now Now” rocks unexpectedly hard, “One Night In Budapest” is delicately textured and given vibes to become alluringly otherworldly, and if the multi-layered “Bruno” feels magically glacial at the start, the sparse percussive buzz of “Sitting On The Buffalo” is imbued with musique concrète.




With some studio embellishments applied to the vast majority of these aural experiments, “Hitting The Fans” –  a disc capturing the collective’s on-stage antics – stands out as an even more impressive snapshot of their spontaneity, and surprising embrace of quieter dynamics. So it’s logical, not strange, that “Tropical Moon” is surfing a traditional, although beautifully fractured, wave to achieve an extra dimension and allow the Hendrix-inspired “Out Of The Garage” bristle with insistent figures and familiar melody. “Procyon A” and “Not Over Yet” are referring to previously recorded numbers, but their concert delivery has a fresh finesse to the same rough jive which would hit another height in the crystalline clang of “Dystopian Workshop” or “Industrial Powder Washing” where the kinky machine is inhabited by Ravel’s ghost.

It can’t be easy listening, of course, but these pieces add unseen features to the portrait of the master who left this world too soon and who could have that elusive success had it all been taken to the extremes of today.

CD 6-6  - Spontaneous Creation - 2007



01. Budanopest
02. One Night In Budapest
03. Wizz Bang Crash
04. Sitting On The Buffalo
05. Bruno
06. Floating World
07. Now Now
08. Do It Now
09. Where's Jamie?
10. Boing
11. Looking Forward

+@320


quinta-feira, 20 de fevereiro de 2020

Peter Banks's Harmony In Diversity - The Complete Recordings - 2018 - DISK 5-6 > Hitting The Fans (Live)


















Peter Banks's Harmony In Diversity - The Complete Recordings - 2018 - DISK 5-6 > Hitting The Fans (Live)  - 2006


FROM dmme.net
For all the talent he possessed, Peter Banks didn’t have a lot of success with any of the bands his guitar was trying to lead to delirium – be it YES, FLASH or EMPIRE – and his solo career didn’t exactly took off, so the veteran’s experiments on "The Self-Contained Trilogy" couldn’t attract the attention those efforts deserved. Still, those endeavors allowed the artist in the final decade of his life to find mutual affinity with a British duo PULSE ENGINE, a brainchild of drummer Andrew Booker and bassist Nick Cottam, and form HARMONY IN DIVERSITY. They rehearsed, they attempted to record improvisations, they played live in 2005-2007 – and they failed, leaving not a feeble, if not too tangible, legacy which is gathered now in a 6CD set to present Peter as situational performer, ready to react to the smallest disturbance in the fabric of music.

What may be perceived as scraping the barrel is, in fact, a triumph of unpredictability and good-natured humor. This is why “The Number Of The Beat” swirls around a wonderfully weird weave of straightforward electronic groove and jazz chords blowing its claustrophobia to bits to thread a tune through intense, albeit somewhat abstract, guitar lines, while the equally playfully “Swing It” has a cinematic twang applied to romantic soundscape. The two-part “Harmogeny” may make slow, expansive lucidity dangerously tangible – despite the message of the cut’s proper arrival as “No Harm” on “Trying,” the trio’s only officially released album – yet it’s the trip-hop blues “On The Sixth Attempt They Trod On It” that nails the ensemble’s loose method marrying off-the-cuff stylistic unexpectedness to deceptively traditional genres where riffs are mangled to create new shapes, and help the funk behind “Last Run For The Empire” reimagine a piece from Banks’ past as something exciting.



In the box set context, “Trying” seems to attain a lot of sense – yet also define the band’s ability to concentrate on the substantial and get rid of redundant freefall-formed fringe. As a result, “After You” is tentative to the point of well-poised, density-defying minimalism, drawing on drone and rock idioms at the same time, and “Mind The Doors” bent on wild, vigorous virtuosity that’s drowned in a bubbling rhythm – unlike “The Klincher” which is suspended in fractal limbo as opposed to “Sods At Odds” and its motorik charge. Molded similarly, the “Try Again” collection could be the aforementioned album’s companion piece, highlighting the group’s telepathy and technique on the clearly unfinished cuts like “Some Things Are Best Left Upside Down” – a rave-up for modern era – or “Everything Is Green” where tranquil strum is compromised with a stereo-busting disco scratch across the strings to reach a genuine progressive intent. It’s present in full folk-tinctured swing on “Cracking” as well, before “Almighty Dog” bares a rawer, rather reckless edge to the trio’s drive.

There’s a fusion cocoon in “Everything Ends In Nothing” to pamper the most hardened adventurer and pump energy into new-age-like musing, but if the tracks gathered on the “Struggles Discontinued” disc show focused variety, the four epics that comprise “What Is This?” – such as “Lots And Lots Of Disjoint Dots” whose title is quite telling in defining the deficiency of a duo setting, despite the obvious rapport between Banks and Booker – have some difficulties gelling into engaging patterns, occasional synthetic passage, and a quote from Grieg, notwithstanding. When the bottom end of “Plenty To Hear In Orbit” rises to the surface, its drift and flow will change for the better and, with Dave Speight taking over the drum stool towards the group’s breakup, the recordings packed under the “Spontaneous Creation” header embody this cosmic muscularity, their grimy angularity undermined by memorable flow. Yet while “Now Now” rocks unexpectedly hard, “One Night In Budapest” is delicately textured and given vibes to become alluringly otherworldly, and if the multi-layered “Bruno” feels magically glacial at the start, the sparse percussive buzz of “Sitting On The Buffalo” is imbued with musique concrète.




With some studio embellishments applied to the vast majority of these aural experiments, “Hitting The Fans” –  a disc capturing the collective’s on-stage antics – stands out as an even more impressive snapshot of their spontaneity, and surprising embrace of quieter dynamics. So it’s logical, not strange, that “Tropical Moon” is surfing a traditional, although beautifully fractured, wave to achieve an extra dimension and allow the Hendrix-inspired “Out Of The Garage” bristle with insistent figures and familiar melody. “Procyon A” and “Not Over Yet” are referring to previously recorded numbers, but their concert delivery has a fresh finesse to the same rough jive which would hit another height in the crystalline clang of “Dystopian Workshop” or “Industrial Powder Washing” where the kinky machine is inhabited by Ravel’s ghost.

It can’t be easy listening, of course, but these pieces add unseen features to the portrait of the master who left this world too soon and who could have that elusive success had it all been taken to the extremes of today.

CD 5-6  - Hitting The Fans (Live)  - 2006



01. Tropical Moon
02. Out Of The Garage
03. Forecasting An Indian Summer
04. Procyon A
05. Industrial Powder Washing
06. The Consequence Of Going Nuts
07. Dystopian Workshop
08. Gallopsiding
09. Not Over Yet

+@320

To be continued...

sábado, 15 de fevereiro de 2020

Peter Banks's Harmony In Diversity - The Complete Recordings - 2018 - DISK 4-6 > Try Again


















Peter Banks's Harmony In Diversity - The Complete Recordings - 2018 - DISK 4-6 > Try Again - 2005


FROM dmme.net
For all the talent he possessed, Peter Banks didn’t have a lot of success with any of the bands his guitar was trying to lead to delirium – be it YES, FLASH or EMPIRE – and his solo career didn’t exactly took off, so the veteran’s experiments on "The Self-Contained Trilogy" couldn’t attract the attention those efforts deserved. Still, those endeavors allowed the artist in the final decade of his life to find mutual affinity with a British duo PULSE ENGINE, a brainchild of drummer Andrew Booker and bassist Nick Cottam, and form HARMONY IN DIVERSITY. They rehearsed, they attempted to record improvisations, they played live in 2005-2007 – and they failed, leaving not a feeble, if not too tangible, legacy which is gathered now in a 6CD set to present Peter as situational performer, ready to react to the smallest disturbance in the fabric of music.

What may be perceived as scraping the barrel is, in fact, a triumph of unpredictability and good-natured humor. This is why “The Number Of The Beat” swirls around a wonderfully weird weave of straightforward electronic groove and jazz chords blowing its claustrophobia to bits to thread a tune through intense, albeit somewhat abstract, guitar lines, while the equally playfully “Swing It” has a cinematic twang applied to romantic soundscape. The two-part “Harmogeny” may make slow, expansive lucidity dangerously tangible – despite the message of the cut’s proper arrival as “No Harm” on “Trying,” the trio’s only officially released album – yet it’s the trip-hop blues “On The Sixth Attempt They Trod On It” that nails the ensemble’s loose method marrying off-the-cuff stylistic unexpectedness to deceptively traditional genres where riffs are mangled to create new shapes, and help the funk behind “Last Run For The Empire” reimagine a piece from Banks’ past as something exciting.



In the box set context, “Trying” seems to attain a lot of sense – yet also define the band’s ability to concentrate on the substantial and get rid of redundant freefall-formed fringe. As a result, “After You” is tentative to the point of well-poised, density-defying minimalism, drawing on drone and rock idioms at the same time, and “Mind The Doors” bent on wild, vigorous virtuosity that’s drowned in a bubbling rhythm – unlike “The Klincher” which is suspended in fractal limbo as opposed to “Sods At Odds” and its motorik charge. Molded similarly, the “Try Again” collection could be the aforementioned album’s companion piece, highlighting the group’s telepathy and technique on the clearly unfinished cuts like “Some Things Are Best Left Upside Down” – a rave-up for modern era – or “Everything Is Green” where tranquil strum is compromised with a stereo-busting disco scratch across the strings to reach a genuine progressive intent. It’s present in full folk-tinctured swing on “Cracking” as well, before “Almighty Dog” bares a rawer, rather reckless edge to the trio’s drive.

There’s a fusion cocoon in “Everything Ends In Nothing” to pamper the most hardened adventurer and pump energy into new-age-like musing, but if the tracks gathered on the “Struggles Discontinued” disc show focused variety, the four epics that comprise “What Is This?” – such as “Lots And Lots Of Disjoint Dots” whose title is quite telling in defining the deficiency of a duo setting, despite the obvious rapport between Banks and Booker – have some difficulties gelling into engaging patterns, occasional synthetic passage, and a quote from Grieg, notwithstanding. When the bottom end of “Plenty To Hear In Orbit” rises to the surface, its drift and flow will change for the better and, with Dave Speight taking over the drum stool towards the group’s breakup, the recordings packed under the “Spontaneous Creation” header embody this cosmic muscularity, their grimy angularity undermined by memorable flow. Yet while “Now Now” rocks unexpectedly hard, “One Night In Budapest” is delicately textured and given vibes to become alluringly otherworldly, and if the multi-layered “Bruno” feels magically glacial at the start, the sparse percussive buzz of “Sitting On The Buffalo” is imbued with musique concrète.




With some studio embellishments applied to the vast majority of these aural experiments, “Hitting The Fans” –  a disc capturing the collective’s on-stage antics – stands out as an even more impressive snapshot of their spontaneity, and surprising embrace of quieter dynamics. So it’s logical, not strange, that “Tropical Moon” is surfing a traditional, although beautifully fractured, wave to achieve an extra dimension and allow the Hendrix-inspired “Out Of The Garage” bristle with insistent figures and familiar melody. “Procyon A” and “Not Over Yet” are referring to previously recorded numbers, but their concert delivery has a fresh finesse to the same rough jive which would hit another height in the crystalline clang of “Dystopian Workshop” or “Industrial Powder Washing” where the kinky machine is inhabited by Ravel’s ghost.

It can’t be easy listening, of course, but these pieces add unseen features to the portrait of the master who left this world too soon and who could have that elusive success had it all been taken to the extremes of today.

CD 4-6  - Try Again - 2005



01. Prelusion
02. Some Things Are Best Left Upside Down
03. Everything Is Green
04. Cracking
05. Almighty Dog
06. Try Again
07. Over


+@320

To be continued...

segunda-feira, 10 de fevereiro de 2020

Peter Banks's Harmony In Diversity - The Complete Recordings - 2018 - DISK 3-6 > Trying


















Peter Banks's Harmony In Diversity - The Complete Recordings - 2018 - DISK 3-6 >  Trying - 2005


FROM dmme.net
For all the talent he possessed, Peter Banks didn’t have a lot of success with any of the bands his guitar was trying to lead to delirium – be it YES, FLASH or EMPIRE – and his solo career didn’t exactly took off, so the veteran’s experiments on "The Self-Contained Trilogy" couldn’t attract the attention those efforts deserved. Still, those endeavors allowed the artist in the final decade of his life to find mutual affinity with a British duo PULSE ENGINE, a brainchild of drummer Andrew Booker and bassist Nick Cottam, and form HARMONY IN DIVERSITY. They rehearsed, they attempted to record improvisations, they played live in 2005-2007 – and they failed, leaving not a feeble, if not too tangible, legacy which is gathered now in a 6CD set to present Peter as situational performer, ready to react to the smallest disturbance in the fabric of music.

What may be perceived as scraping the barrel is, in fact, a triumph of unpredictability and good-natured humor. This is why “The Number Of The Beat” swirls around a wonderfully weird weave of straightforward electronic groove and jazz chords blowing its claustrophobia to bits to thread a tune through intense, albeit somewhat abstract, guitar lines, while the equally playfully “Swing It” has a cinematic twang applied to romantic soundscape. The two-part “Harmogeny” may make slow, expansive lucidity dangerously tangible – despite the message of the cut’s proper arrival as “No Harm” on “Trying,” the trio’s only officially released album – yet it’s the trip-hop blues “On The Sixth Attempt They Trod On It” that nails the ensemble’s loose method marrying off-the-cuff stylistic unexpectedness to deceptively traditional genres where riffs are mangled to create new shapes, and help the funk behind “Last Run For The Empire” reimagine a piece from Banks’ past as something exciting.



In the box set context, “Trying” seems to attain a lot of sense – yet also define the band’s ability to concentrate on the substantial and get rid of redundant freefall-formed fringe. As a result, “After You” is tentative to the point of well-poised, density-defying minimalism, drawing on drone and rock idioms at the same time, and “Mind The Doors” bent on wild, vigorous virtuosity that’s drowned in a bubbling rhythm – unlike “The Klincher” which is suspended in fractal limbo as opposed to “Sods At Odds” and its motorik charge. Molded similarly, the “Try Again” collection could be the aforementioned album’s companion piece, highlighting the group’s telepathy and technique on the clearly unfinished cuts like “Some Things Are Best Left Upside Down” – a rave-up for modern era – or “Everything Is Green” where tranquil strum is compromised with a stereo-busting disco scratch across the strings to reach a genuine progressive intent. It’s present in full folk-tinctured swing on “Cracking” as well, before “Almighty Dog” bares a rawer, rather reckless edge to the trio’s drive.

There’s a fusion cocoon in “Everything Ends In Nothing” to pamper the most hardened adventurer and pump energy into new-age-like musing, but if the tracks gathered on the “Struggles Discontinued” disc show focused variety, the four epics that comprise “What Is This?” – such as “Lots And Lots Of Disjoint Dots” whose title is quite telling in defining the deficiency of a duo setting, despite the obvious rapport between Banks and Booker – have some difficulties gelling into engaging patterns, occasional synthetic passage, and a quote from Grieg, notwithstanding. When the bottom end of “Plenty To Hear In Orbit” rises to the surface, its drift and flow will change for the better and, with Dave Speight taking over the drum stool towards the group’s breakup, the recordings packed under the “Spontaneous Creation” header embody this cosmic muscularity, their grimy angularity undermined by memorable flow. Yet while “Now Now” rocks unexpectedly hard, “One Night In Budapest” is delicately textured and given vibes to become alluringly otherworldly, and if the multi-layered “Bruno” feels magically glacial at the start, the sparse percussive buzz of “Sitting On The Buffalo” is imbued with musique concrète.




With some studio embellishments applied to the vast majority of these aural experiments, “Hitting The Fans” –  a disc capturing the collective’s on-stage antics – stands out as an even more impressive snapshot of their spontaneity, and surprising embrace of quieter dynamics. So it’s logical, not strange, that “Tropical Moon” is surfing a traditional, although beautifully fractured, wave to achieve an extra dimension and allow the Hendrix-inspired “Out Of The Garage” bristle with insistent figures and familiar melody. “Procyon A” and “Not Over Yet” are referring to previously recorded numbers, but their concert delivery has a fresh finesse to the same rough jive which would hit another height in the crystalline clang of “Dystopian Workshop” or “Industrial Powder Washing” where the kinky machine is inhabited by Ravel’s ghost.

It can’t be easy listening, of course, but these pieces add unseen features to the portrait of the master who left this world too soon and who could have that elusive success had it all been taken to the extremes of today.

CD 3-6  - Trying  - 2005



01. No Harm
02. After You
03. Mind The Doors
04. Swayed By Nothing
05. The Klincher
06. Sods At Odds


+@320

To be continued...

domingo, 9 de fevereiro de 2020

Time is Passing

quarta-feira, 5 de fevereiro de 2020

Peter Banks's Harmony In Diversity - The Complete Recordings - 2018 - DISK 2-6 > What Is This?


















Peter Banks's Harmony In Diversity - The Complete Recordings - 2018 - DISK 2-6 - What Is This? - 2005


FROM dmme.net
For all the talent he possessed, Peter Banks didn’t have a lot of success with any of the bands his guitar was trying to lead to delirium – be it YES, FLASH or EMPIRE – and his solo career didn’t exactly took off, so the veteran’s experiments on "The Self-Contained Trilogy" couldn’t attract the attention those efforts deserved. Still, those endeavors allowed the artist in the final decade of his life to find mutual affinity with a British duo PULSE ENGINE, a brainchild of drummer Andrew Booker and bassist Nick Cottam, and form HARMONY IN DIVERSITY. They rehearsed, they attempted to record improvisations, they played live in 2005-2007 – and they failed, leaving not a feeble, if not too tangible, legacy which is gathered now in a 6CD set to present Peter as situational performer, ready to react to the smallest disturbance in the fabric of music.

What may be perceived as scraping the barrel is, in fact, a triumph of unpredictability and good-natured humor. This is why “The Number Of The Beat” swirls around a wonderfully weird weave of straightforward electronic groove and jazz chords blowing its claustrophobia to bits to thread a tune through intense, albeit somewhat abstract, guitar lines, while the equally playfully “Swing It” has a cinematic twang applied to romantic soundscape. The two-part “Harmogeny” may make slow, expansive lucidity dangerously tangible – despite the message of the cut’s proper arrival as “No Harm” on “Trying,” the trio’s only officially released album – yet it’s the trip-hop blues “On The Sixth Attempt They Trod On It” that nails the ensemble’s loose method marrying off-the-cuff stylistic unexpectedness to deceptively traditional genres where riffs are mangled to create new shapes, and help the funk behind “Last Run For The Empire” reimagine a piece from Banks’ past as something exciting.


In the box set context, “Trying” seems to attain a lot of sense – yet also define the band’s ability to concentrate on the substantial and get rid of redundant freefall-formed fringe. As a result, “After You” is tentative to the point of well-poised, density-defying minimalism, drawing on drone and rock idioms at the same time, and “Mind The Doors” bent on wild, vigorous virtuosity that’s drowned in a bubbling rhythm – unlike “The Klincher” which is suspended in fractal limbo as opposed to “Sods At Odds” and its motorik charge. Molded similarly, the “Try Again” collection could be the aforementioned album’s companion piece, highlighting the group’s telepathy and technique on the clearly unfinished cuts like “Some Things Are Best Left Upside Down” – a rave-up for modern era – or “Everything Is Green” where tranquil strum is compromised with a stereo-busting disco scratch across the strings to reach a genuine progressive intent. It’s present in full folk-tinctured swing on “Cracking” as well, before “Almighty Dog” bares a rawer, rather reckless edge to the trio’s drive.

There’s a fusion cocoon in “Everything Ends In Nothing” to pamper the most hardened adventurer and pump energy into new-age-like musing, but if the tracks gathered on the “Struggles Discontinued” disc show focused variety, the four epics that comprise “What Is This?” – such as “Lots And Lots Of Disjoint Dots” whose title is quite telling in defining the deficiency of a duo setting, despite the obvious rapport between Banks and Booker – have some difficulties gelling into engaging patterns, occasional synthetic passage, and a quote from Grieg, notwithstanding. When the bottom end of “Plenty To Hear In Orbit” rises to the surface, its drift and flow will change for the better and, with Dave Speight taking over the drum stool towards the group’s breakup, the recordings packed under the “Spontaneous Creation” header embody this cosmic muscularity, their grimy angularity undermined by memorable flow. Yet while “Now Now” rocks unexpectedly hard, “One Night In Budapest” is delicately textured and given vibes to become alluringly otherworldly, and if the multi-layered “Bruno” feels magically glacial at the start, the sparse percussive buzz of “Sitting On The Buffalo” is imbued with musique concrète.




With some studio embellishments applied to the vast majority of these aural experiments, “Hitting The Fans” –  a disc capturing the collective’s on-stage antics – stands out as an even more impressive snapshot of their spontaneity, and surprising embrace of quieter dynamics. So it’s logical, not strange, that “Tropical Moon” is surfing a traditional, although beautifully fractured, wave to achieve an extra dimension and allow the Hendrix-inspired “Out Of The Garage” bristle with insistent figures and familiar melody. “Procyon A” and “Not Over Yet” are referring to previously recorded numbers, but their concert delivery has a fresh finesse to the same rough jive which would hit another height in the crystalline clang of “Dystopian Workshop” or “Industrial Powder Washing” where the kinky machine is inhabited by Ravel’s ghost.

It can’t be easy listening, of course, but these pieces add unseen features to the portrait of the master who left this world too soon and who could have that elusive success had it all been taken to the extremes of today.

CD 2-6  - CD 2 - What Is This? - 2005



01. Lots And Lots Of Disjoint Dots
02. Plenty To Hear In Orbit
03. Each To Their Own Devices
04. Procyon B


+@320

To be continued...

sábado, 1 de fevereiro de 2020

Peter Banks's Harmony In Diversity - The Complete Recordings - 2018 - DISK 1-6 > Struggles Discontinued - 2005


















Peter Banks's Harmony In Diversity - The Complete Recordings - 2018 - DISK 1-6 > Struggles Discontinued - 2005


FROM dmme.net
For all the talent he possessed, Peter Banks didn’t have a lot of success with any of the bands his guitar was trying to lead to delirium – be it YES, FLASH or EMPIRE – and his solo career didn’t exactly took off, so the veteran’s experiments on "The Self-Contained Trilogy" couldn’t attract the attention those efforts deserved. Still, those endeavors allowed the artist in the final decade of his life to find mutual affinity with a British duo PULSE ENGINE, a brainchild of drummer Andrew Booker and bassist Nick Cottam, and form HARMONY IN DIVERSITY. They rehearsed, they attempted to record improvisations, they played live in 2005-2007 – and they failed, leaving not a feeble, if not too tangible, legacy which is gathered now in a 6CD set to present Peter as situational performer, ready to react to the smallest disturbance in the fabric of music.

What may be perceived as scraping the barrel is, in fact, a triumph of unpredictability and good-natured humor. This is why “The Number Of The Beat” swirls around a wonderfully weird weave of straightforward electronic groove and jazz chords blowing its claustrophobia to bits to thread a tune through intense, albeit somewhat abstract, guitar lines, while the equally playfully “Swing It” has a cinematic twang applied to romantic soundscape. The two-part “Harmogeny” may make slow, expansive lucidity dangerously tangible – despite the message of the cut’s proper arrival as “No Harm” on “Trying,” the trio’s only officially released album – yet it’s the trip-hop blues “On The Sixth Attempt They Trod On It” that nails the ensemble’s loose method marrying off-the-cuff stylistic unexpectedness to deceptively traditional genres where riffs are mangled to create new shapes, and help the funk behind “Last Run For The Empire” reimagine a piece from Banks’ past as something exciting.



In the box set context, “Trying” seems to attain a lot of sense – yet also define the band’s ability to concentrate on the substantial and get rid of redundant freefall-formed fringe. As a result, “After You” is tentative to the point of well-poised, density-defying minimalism, drawing on drone and rock idioms at the same time, and “Mind The Doors” bent on wild, vigorous virtuosity that’s drowned in a bubbling rhythm – unlike “The Klincher” which is suspended in fractal limbo as opposed to “Sods At Odds” and its motorik charge. Molded similarly, the “Try Again” collection could be the aforementioned album’s companion piece, highlighting the group’s telepathy and technique on the clearly unfinished cuts like “Some Things Are Best Left Upside Down” – a rave-up for modern era – or “Everything Is Green” where tranquil strum is compromised with a stereo-busting disco scratch across the strings to reach a genuine progressive intent. It’s present in full folk-tinctured swing on “Cracking” as well, before “Almighty Dog” bares a rawer, rather reckless edge to the trio’s drive.

There’s a fusion cocoon in “Everything Ends In Nothing” to pamper the most hardened adventurer and pump energy into new-age-like musing, but if the tracks gathered on the “Struggles Discontinued” disc show focused variety, the four epics that comprise “What Is This?” – such as “Lots And Lots Of Disjoint Dots” whose title is quite telling in defining the deficiency of a duo setting, despite the obvious rapport between Banks and Booker – have some difficulties gelling into engaging patterns, occasional synthetic passage, and a quote from Grieg, notwithstanding. When the bottom end of “Plenty To Hear In Orbit” rises to the surface, its drift and flow will change for the better and, with Dave Speight taking over the drum stool towards the group’s breakup, the recordings packed under the “Spontaneous Creation” header embody this cosmic muscularity, their grimy angularity undermined by memorable flow. Yet while “Now Now” rocks unexpectedly hard, “One Night In Budapest” is delicately textured and given vibes to become alluringly otherworldly, and if the multi-layered “Bruno” feels magically glacial at the start, the sparse percussive buzz of “Sitting On The Buffalo” is imbued with musique concrète.




With some studio embellishments applied to the vast majority of these aural experiments, “Hitting The Fans” –  a disc capturing the collective’s on-stage antics – stands out as an even more impressive snapshot of their spontaneity, and surprising embrace of quieter dynamics. So it’s logical, not strange, that “Tropical Moon” is surfing a traditional, although beautifully fractured, wave to achieve an extra dimension and allow the Hendrix-inspired “Out Of The Garage” bristle with insistent figures and familiar melody. “Procyon A” and “Not Over Yet” are referring to previously recorded numbers, but their concert delivery has a fresh finesse to the same rough jive which would hit another height in the crystalline clang of “Dystopian Workshop” or “Industrial Powder Washing” where the kinky machine is inhabited by Ravel’s ghost.

It can’t be easy listening, of course, but these pieces add unseen features to the portrait of the master who left this world too soon and who could have that elusive success had it all been taken to the extremes of today.

CD 1-6  - Struggles Discontinued - 2005



01. The Number Of The Beast
02. Swing It
03. On The Sixth Attempt They Trod On It
04. Invisible Flaw
05. Last Run For The Empire
06. Harmogeny A
07. Dregs Addiction
08. Harmogeny B
09. Everything Ends In Nothing


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To be continued...

terça-feira, 28 de janeiro de 2020

Colin Carter - One

















Colin Carter - One - 2018

from getreadytorock
The first ever solo album by one-time vocalist with prog rockers Flash.  This was a band who shared some similarities with early Yes not least because their guitarist Peter Banks was the original Yes guitarist.  Sadly Banks died in 2013 although in the preceding years there were attempts at reunions and several new recordings.

As Colin Carter explains,  the tunes on his solo debut have gestated slowly and been carefully honed and polished before seeing the light of day.  It would be tempting to think they have been gestating for rather too long as it’s as if the seventies never finished.
01. Wings
02. Reachin' Out
03. Highway To Oblivion
04. Star Crossed
05. Cafe Elektric
06. Underground
07. Munich Song
08. Obsession
09. Tortuga Tonight
10. Sleeping With You

Colin Carter - All Lead Vocals & Backing Vocals, Guitars, Bass, Synth, Drums and Percussion
Clint Bahr - Bass Guitar (1,2,5), Mandolin (9), Synth (10)
Mike Hough - Drums (1,2,3,5), Cymbals (10).
Tom Beckstrom Drums (4,8)
Michael Cardell - Hand Drums (9)
Doro Reeves - Piano, Organ, Accordion






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quinta-feira, 23 de janeiro de 2020

Leon Russell - On a Distant Shore


















Leon Russell - On a Distant Shore - 2017

The final album by Leon Russell, the great singer-songwriter who passed away in November 2016, will be released by Palmetto Records on 22 September 2019. On A Distant Shore consists of songs which he wrote and recorded over the final year of his life.

The album includes new, updated versions of several of Russell’s trademark compositions, such as ‘This Masquerade,’ ‘A Song For You’ and ‘Hummingbird.’ A press release adds that it will also feature “a collection of new songs influenced by the timeless sounds of the Great American Songbook.”

Leon’s widow Jan Bridges says that the artist himself was delighted with the album. “He said it was his favorite album he ever made,” she enthuses. “He just loved it. He felt like everything clicked into place.”

Co-producer and longtime friend and collaborator Mark Stevens notes: “He was so prolific. He was on a roll. There were days when he’d come into the studio and play something he’d written the night before, and he’d have the whole thing mapped out in his head already.”

“To me, he always remained a mystery to people outside his circle, but this album gave him a chance to show his emotions,” adds Bridges. “In the song ‘Just Leaves and Grass,’ you can hear him let out a real cry. That’s not faked. He was emotional, and he’d get that way at his show, too. On a Distant Shore  is a great portrait of him. An accurate portrait.”

01. On a Distant Shore
02. Love This Way
03. Here Without You
04. This Masquerade
05. Black and Blue
06. Just Leaves and Grass
07. On the Waterfront
08. Easy to Love
09. Hummingbird
10. The One I Love Is Wrong
11. Where Do We Go from Here
12. A Song for You


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sábado, 18 de janeiro de 2020

Traffic - Live On Air 1967


















Traffic - Live On Air 1967 - 2018

This is a traffic history, it is recommended only for serious traffic fans like me
Because the sound is poor

Broadcast On October 1st 1967
01. Paper Son > A House For Everyone
02. Interview > Hole In My Shoe
03. Coloured Rain
04. Dear Mr. Fantasy
05. Smiling Phases

Broadcast On December 11th 1967
06. Here We Go Round The Mulberry Bush
07. Heaven Is In Your Mind
08. Dealer
09. No Face, No Name, No Number
10. Hope They Never Find Me Here





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terça-feira, 14 de janeiro de 2020

Des Horsfall's Kuschty Rye - The Good Gentleman's Tonic

















Des Horsfall's Kuschty Rye - The Good Gentleman's Tonic - 2011

Honouring the legend of the late great Ronnie Lane, in the only way he knew how, roots-rocker Des Horsfall and his band Kuschty Rye embarked on a journey. It was a journey which resulted in the superbly packaged album you have in your hands today, entitled THE GOOD GENTLEMAN’S TONIC.

Recorded at Valve Studios with producer Andy Bell at the helm, the release takes in folk, country, blues, rock and pop influences, reminiscent of Ronnie Lane’s own post Faces work with the legendary Slim Chance. To create a truly fitting tribute to the legend, Des enlisted the help of many of Ronnie’s contemporaries to fully evoke the feel of the Travelling Show that Slim Chance was famously known for. The album has a laid back 1970s feel to it, evident in Lane’s output from his Slim Chance period and the release is given a seal of authenticity by including guest appearances from original Slim Chance members Benny Gallagher, Charlie Hart and Steve Simpson.

This forward looking, though at times nostalgic record is further enhanced by contributions from Spiral Earth Awards nominee Katriona Gilmore, renowned folk accordionist Hannah James and noted pedal steel player PJ Wright.

As a nod to the material on the debut Slim Chance record ANYMORE FOR ANYMORE, Des has covered and kept faithful to Ronnie’s version of Careless Love while totally reworking hit single The Poacher to poignantly end the record. Of the songs penned by Des, prime cuts include the Cajun swing of Nothing New, the anthemic Little Girl and live favourite Long Long Time, a track that cries out to be a hit single.

A very special feature of the release is the ‘Unwinese Mix,’ the story of the album’s inception narrated by John Unwin, son of the late great Professor Stanley Unwin who invented the Unwinese language used to great effect in the Small Faces recording OGDENS NUT GONE FLAKE album. The ‘Unwinese Mix’ tells the story of how Des was inspired by Ronnie Lane and, as if by magic, hit up on the idea to create his own travelling show. I can well remember during the 1970s when Ronnie Lane and Slim Chance toured all over the UK travelling in a convoy of circus vehicles setting up their big top and performing shows in parks and on public land when the authorities would allow, indeed the famed Viv Stanshall of the Bonzo Dog Doo Dah Band acted as ringmaster on several of the shows. THE GOOD GENTLEMAN’S TONIC is the first in a trilogy of Kuschty Rye albums mirroring Ronnie Lane’s three Slim Chance releases.

01. Careless Love
02. Hard Woman
03. Chungadiddy
04. Nothing New
05. Little Girl
06. Something's Wrong
07. Long Long Time
08. Random Acts Of Kindness
09. Chungadiddlydumdee
10. No One Talks
11. Unwinese Mix (The Quest For The Key To The Tune Of Life Itself) Including The Poacher





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Des Horsfall's Kuschty Rye - The Bastard's Tin - 2019

quarta-feira, 8 de janeiro de 2020

Humble Pie - The Official Bootleg Box Set Volume 4


















Humble Pie - The Official Bootleg Box Set Volume 4 - 2019

from www.psychedelicbabymag.com
Drummer Jerry Shirley continues the series of live releases by Humble Pie with this four disc release including two shows from 1974, one in Germany, the other in the United States, and two later shows from 1980 and 1981, both recorded in the US.

The earlier gigs feature Clem Clempson on guitar and include extended versions of classics such as ‘30 Days In The Hole’ while the latter concerts include Bob Tench on guitar and vocals replacing Clempson and Anthony Jones on bass and vocals with original member Greg Ridley having departed the band, and the music industry, in 1975, returning only briefly for a 2002 album and a few performances to back the ‘Back On Track’ release.

Discs one and two were recorded while the band was touring supporting its ‘Thunderbox’ LP and both include spirited takes on that album’s title track. However, the shows are centered around 1972’s ‘Smokin’’ more than any other tour the band undertook, with four tracks, a full half of the tune’s from the German concert, and three played at the Boston, MA show. In addition, both gigs showcase Greg Ridley’s bass and vocal efforts on two tunes, ‘Sweet Peace And Time’ and ‘Let Me Be Your Lovemaker’ making it obvious to the listener that Humble Pie was not just a vehicle for the group’s guitarist/vocalist Steve Marriott and his fellow front man, originally Peter Frampton, then later Clem Clempson. More than any other releases these gigs make it apparent that the former Art then Spooky Tooth bassist/vocalist could easily have fronted a band on his own, had Ridley been so inclined.

The first disc, taken from a 27 September 1974 Eppelheim, Germany concert includes seven tracks, running sixty minutes, the band stretching out on nearly every song and spotlighting the group’s instrumental abilities, opening with a nearly ten minute take on ‘Thunderbox’ with Clempson’s guitar and Marriott’s guttural bluesy vocals to the fore, while Ridley and Shirley give the tune its heavy, driving beat. Clempson’s lead line and solos take the song away mid tune drive this rocker throughout. ‘Sweet Peace And Time’ opens with Clempson’s slide guitar, but it is Ridley’s vocals that shine on this relatively short, under six minute, number, while Clempson’s lead guitar teams with Marriott’s to give the tune some real punch, with six strings’ swirling all about. ‘The Fixer’ has Marriott’s bluesy vocals to the fore, with the twin guitar attack of he and Clempson forcing the tempo, the band again showing it could rock with the best before mellowing out mid-tune, momentarily, just to keep the listener on their feet. The eleven minute version of ‘Thirty Days In The Whole’ opens with a Shirley drum solo, Clempson and Marriott entering guitars aflame before Marriott’s familiar vocals join in. Roaring guitars are much more prevalent with Clempson’s lead line deceptively heavy and his solo rather restrained, Marriott’s harmonica taking center stage mid-tune giving way to call and response vocals with the audience before Clempson’s lead guitar drives the song home. ‘Let Me Be Your Lovemaker’ is the set’s shortest tracks at five and a half minutes. Once again Greg Ridley’s melodic lead vocals are on display as Marriott and Clempson’s guitars give the bluesy number its heavy groove, reminiscent of Spooky Tooth. The show closes with two Humble Pie live staples, the Eddie Cochran/Jerry Capehart classic ‘C’mon Everybody’ and the familiar Ashford/Simpson ‘I Don’t Need No Doctor’ both stretched out to over eleven minutes with the instrumental abilities of the band and Marriott’s bluesy vocals reminding everyone this is a Humble Pie gig. The driving beat of Ridley and Shirley is joined by the dual guitar attack of Marriott and Simpson while the group’s vocal harmony abilities are ever present, the crowd showing its appreciation in both cases as the disc and show come to an end, reminding all that this was a finely tuned blues rock band at the top of their game, with Marriott and Clempson’s guitars making that point unavoidable.

01. Thunderbox
02. Sweet Peace And Time
03. The Fixer
04. 30 Days In The Hole
05. Let Me Be Your Lovemaker
06. C'mon Everybody
07. I Don't Need No Doctor

Disc two is from an 11 March 1974 concert in Boston, MA. The set list is much the same as the German gig, but there are differences worth mentioning. The opener ‘Thunderbox’ is presented in a considerably shorter, seven minute, version, although the energy of the tune remains the same. ‘Sweet Peace And Time’ is again five and a half minutes long, but is more melodic and takes on a Deep Purple feel, with Ridley’s vocals and the guitars of Clempson and Marriott again on display. ‘Thirty Days In The Hole’ is stretched out even more, to nearly fourteen minutes, with a Shirley drum solo once again introducing the tune. Marriott makes a change to his presentation by intimating, in his ‘Smokin’’ rap, that getting busted in public or in his car is understandable and part of the risk he assumed with his lifestyle, but being arrested in his home while minding his own business and doing his own drugs is something he finds unacceptable. Musically, his guitar, joined by that of Clempson gives the tune its muscle, with Clempson’s solos especially standing out. In a nod to the earlier days of the band when Peter Frampton was a member, ‘Four Day Creep’ from ‘Performance Rockin’ The Fillmore’ is included. A four minute gem, the band delivers a raucous version with vocal harmonies and a driving rhythm pushed by Shirley and Ridley joining the ringing guitars of Marriott and Clempson, a nice trip down memory lane to say the least. Next on the agenda is a seventeen minute plus medley which runs the gamut from Willie Dixon’s ‘I Just Want To Make Love To You’ to Chuck Berry’s ‘No Money Down’ before ending with Howlin’ Wolf’s ‘Rollin’ Stone’ with the emphasis on the band’s blues roots, as the tempo slows but the music’s intensity does not. Marriott’s love of the blues and identification with American blues icons is obvious throughout. Clempson’s guitar work is stellar, as is the locked down rhythm section performance of Ridley and Shirley. This medley may, more than any of the other performances, present the vision Mariott had for Humble Pie, as he mixes conversations with the audience with the instrumental performances of band members. The mood changes as the band shifts into ‘Let Me Be Your Lovemaker’ with its raw guitar work mixed with the gorgeous, evocative vocals of Greg Ridley. Clempson’s guitar solo and Ridley’s voice turn this into a just under six minute showstopper. The days of Ridley’s acoustic numbers may have been gone, but his ability to front a top flight band were not. The gig closes out with the same two numbers as usual, although this time ‘C’mon Everybody’ is shortened to ten minutes while ‘I Don’t Need No Doctor’ is stretched out to sixteen. Regardless, the band shines, as always, on both tunes, and the crowd roars with appreciation as the disc and the show close, yet another representation of Humble Pie being among the finest live rock acts of the day.

01. Thunderbox
02. Sweet Peace And Time
03. 30 Days In The Hole
04. Four Day Creep
05. Medley: I Just Want To Make Love To You / No Money Down / RollinÆ Stone
06. Let Me Be Your Lovemaker
07. C'mon Everybody
08. I Don't Need No Doctor

Disc three is from a 12 March 1980 show in Albany, New York while the band was touring their new album ‘On To Victory’ and the non-LP single ‘Fool For A Pretty Face’, a rather bitter, sarcastic number written by Jerry Shirley and Steve Marriott. Much had changed with the band and their concerts. The show opens with a fifteen and a half minute take on ‘I Don’t Need No Doctor’ which had traditionally been their show closer. The take has a much more relaxed musical feel than previously, but Marriott gets very real about not needing “needles in his arms” during his mid-tune banter, the years of cocaine abuse being a topic brought up often during shows and becoming apparent to fans of the band. The tune sounds quite different without Ridley and Clempson, but bassist Anthony Jones and guitarist Bobby Tench definitely hold their own. A Marriott original ‘Infatuation’ taken from the new LP is a nice rocker with commercial possibilities due to its hook, vocal harmonies and Tench’s lead guitar work. A sixteen and a half minute take on ‘Hallelujah (I Love Her So)’ which was a standard of the band’s live set for years seems to find Marriott in a rather foul mood, but the band’s performance more than makes up for it as everyone shows off their chops. Tench’s guitar dominates, and he trades vocals with Marriott who contributes an excellent mouth harp solo, while Jones’ bass and Shirley’s drum solos are also top drawer. ‘30 Days In The Hole’ is given a more traditional five minute take, with a more stripped down sound than on the 1974 tour. The song is much closer to the studio version from ‘Smokin’’ while featuring a hot solo by Tench. The non-LP single ‘Fool For A Pretty Face’ is Marriott and Shirley’s tale of love gone bad, with rather sarcastic lyrics: “So why don’t you keep your big mouth shut, why don’t you let your love light shine? I don’t wanna hurt ya But you can, I’m just a fool for a pretty face.” Regardless, the straight ahead rocker features another staunch solo from Tench, although Marriott seems to be in a rather foul mood referring to the “fat fucking bitch” the tune is written about. The disc and show close with a thirteen minute medley on which Marriott returns to his R&B roots consisting of ‘Route 66’, ’Be Bop A Lula’, ’Little Queenie’, and ’Whole Lotta Shakin’ Goin’ On.’ Marriott seems at home and Tench’s guitar shines as the band seems at home, taking full advantage of the jam opportunities and vocal harmonies.

01. I Don't Need No Doctor
02. Infatuation
03. Hallelujah (I Love Her So)
04. 30 Days In The Hole
05. Fool For A Pretty Face
06. Medley: Route 66 / Be Bop A Lula / Little Queenie / Whole Lotta ShakinÆ GoinÆ On


Disc four is taken from a 19 April 1981 gig, with the band touring their ‘Go For The Throat’ LP. The performance is a mix of classic and reformed Humble Pie tunes, including the Small Faces classic ‘Tin Soldier’ which was re-recorded for the album. The disc begins with a two minute snippet of ‘I Don’t Need No Doctor.’ A seven and a half minute take of ‘Infatuation’ from ‘On To Victory’ is a highlight of the gig as the band is in fine form. The band’s cover of ‘All Shook Up’ shines with Marriott in his R&B element and Tench’s guitar rocking. ‘Jerry’s Drum Solo’ is three minutes of Shirley at his best. The most interesting, and telling, part of the concert is the nearly twenty five minute medley of ‘30 Days In The Hole’, ‘Hallelujah (I Love Her So)’ and I Walk On Gilded Splinters.’ Shirley’s short drums solo introduces the first tune which the band turns into a jam, somewhere between the 1974 and 1980 performances in length. As the band is segueing into ‘Hallelujah (I Love Her So)’ Marriott begins conversing with the audience, telling them that when he wrote ‘30 Days’ he snorted cocaine, smoked weed and drank Jack Daniels. That would seem fine except he continues by saying “I’m a lot older now, I’m a lot wiser now, I snort even more cocaine, I smoke even more good grass and I drink even more fucking Jack Daniels. Before I came on stage this is how I got my kicks.’ At the least, more information than necessary, in reality probably Marriott’s way of justifying the excesses of his behavior during the gig, and without question an explanation of his uneven performance. While the band does a credible job in covering Ray Charles’ “Hallelujah (I Love Her So)’ Marriott rambles on about “my baby’s got itty bitty titties but it’s alright by me, you don’t know what that woman’s done for me.” The remarks seem unnecessary and the audience, even in those pre-PC days of the early 1980’s seems a bit taken aback. Luckily, Marriott goes into a harmonica solo and around the 17:30 mark the band picks up the pace considerably and rocks hard as it goes into Dr. John’s classic ‘She Walks On Gilded Splinters, their playing truly inspired, with Tench’s guitar seemingly everywhere. Sadly Marriott isn’t done yet,, making a remark to the effect that “this is my ex-wife on bass, what’s your name again?” As the band repeats “30 Days” over and over, Marriott, obviously out of it, can’t help but add “in a fucking hole” as Tench solos the song out. There is a three minute ‘Tune Up’ and one wonders what was going on before the band returns for a seven minute take on ‘Fool For A Pretty Face.’ The band rocks with Tench’s guitar shining, but Marriott can’t help but blurt out “why don’t you keep your mouth shut bitch” as the band finishes off the song and the lead vocalist can’t resist one last sarcastic remark “thanks for spending your hard earned money to come and see us mother fuckers.” The band returns for two encores, first a nine minute medley of ‘Route 66’ and ‘Tulsa Time’ which feature the group in their comfort zone, returning to an R&B standard and then the number made famous by Don Williams and later covered by Eric Clapton, which the group handles with a quick, but interesting run through before giving it a Who like finish. The show and disc close with a five minute take on the Small Faces classic ‘Tin Soldier’ which they included on the ‘Go For The Throat’ LP. Marriott’s vocals aren’t as strong, but the band gives a spirited, rocked up performance on the tune, marred only by Marriott’s final “Good night, I’m fucked” remark. A sad commentary on the state of affairs of an amazing musician and incredible band, but even with Marriott’s behavior the band’s performance is quite acceptable, and the recording is an important document of the effects of rocks excesses on even the most talented musicians, certainly does not nullify all the incredible music found on ‘Tourin’” The Official Bootleg Box Set Volume 4; and if anything serves as an important reason to include it in the collection of Steve Marriott, Small Faces and Humble Pie fans alike.

01. I Don't Need No Doctor
02. Infatuation
03. All Shook Up
04. Jerry's Drum Solo
05. 30 Days In The Hole / Hallelujah (I Love Her So) / I Walk On Gilded Splinters
06. Tune Up
07. Fool For A Pretty Face
08. Route 66 / Tulsa Time
09. Tin Soldier

*************************

DISC 1:
01. Thunderbox
02. Sweet Peace And Time
03. The Fixer
04. 30 Days In The Hole
05. Let Me Be Your Lovemaker
06. C'mon Everybody
07. I Don't Need No Doctor

DISC 2:
01. Thunderbox
02. Sweet Peace And Time
03. 30 Days In The Hole
04. Four Day Creep
05. Medley: I Just Want To Make Love To You / No Money Down / RollinÆ Stone
06. Let Me Be Your Lovemaker
07. C'mon Everybody
08. I Don't Need No Doctor

DISC 3:
01. I Don't Need No Doctor
02. Infatuation
03. Hallelujah (I Love Her So)
04. 30 Days In The Hole
05. Fool For A Pretty Face
06. Medley: Route 66 / Be Bop A Lula / Little Queenie / Whole Lotta ShakinÆ GoinÆ On

DISC 4:
01. I Don't Need No Doctor
02. Infatuation
03. All Shook Up
04. Jerry's Drum Solo
05. 30 Days In The Hole / Hallelujah (I Love Her So) / I Walk On Gilded Splinters
06. Tune Up
07. Fool For A Pretty Face
08. Route 66 / Tulsa Time
09. Tin Soldier



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sexta-feira, 3 de janeiro de 2020

Ronnie Lane - Odds ‘N’ Ends (1976-81)



















Ronnie Lane - Odds ‘N’ Ends (1976-81) - 2019

Much loved mod, rock 'n' roll and blues folk roots singer, songwriter, bassist and guitar player.

​Well known for his membership in the prominent English rock bands Small Faces (1965-69), Faces (1970-73) and Slim Chance (1974-mid 80's) and his ​prolific body of work ​and multiple collaborations with other world-class artists and musicians.​

01. Rats Tales (Catmelody) (Live At Rockpalast / 1980)
02. Flags And Banners (Live At Rockpalast / 1980)
03. Annie Had A Baby (Live At Rockpalast / 1980)
04. How Come (Live At Rockpalast / 1980)
05. You’re So Rude (Live At Rockpalast / 1980)
06. Lad's Got Money (Live At Rockpalast / 1980)
07. Kuschty Rye (Live At Rockpalast / 1980)
08. Man Smart, Women Smarter (Live At Rockpalast / 1980)
09. Debris (Live On Capital Radio / 1981)
10. Around The World (Grow Too Old) (Fishpool Sessions / 1977)
11. Last Night (Fishpool Sessions / 1977)
12. All Or Nothing (BBC John Peel Session / 1976)
13. Bombers Moon (The Merton Sessions Early ‘81)
14. Last Tango In Nato (The Merton Sessions Early ‘81)
15. Silly Little Man (Fishpool Sessions)
16. She's Leaving (I Can Hear Her Singing) (Demo)
17. Lovely (Outtake)
18. Rats Tales (Catmelody) (Fishpool Sessions)



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