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Saturday, 9 April 2011
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Highway is the fourth studio album by English rock band Free. It was recorded extremely quickly in September 1970 following the band's success at the Isle of Wight Festival but with an attitude of relaxation, having achieved worldwide success with their previous album Fire and Water and the single "All Right Now". It is a low-key and introspective album compared with its predecessors.
From a writing point of view Highway continued in the same vein as previous albums, with Paul Rodgers and Andy Fraser collaborating on seven of the nine songs. For the most part it was the easiest of their albums to record as they had achieved their desire to have a hit single and returned to the studio with renewed confidence. Paul Kossoff however found sudden fame more difficult to deal with, and remembered the aftermath of 'All Right Now' as being "a great increase in pressure from every angle" (quoted in Phil Sutcliffe's liner notes). He preferred the more serious, weighty songs on the album such as "Be My Friend", which he saw as an antidote to the "frivolity" of "All Right Now".
It was their last album to be recorded in a position of success and security, as its failure contributed to the emotionally-insecure Kossoff's growing drug addiction and the band's temporary split, from which it never truly recovered. Some, including Simon Kirke, also cite the death of Kossoff's idol Jimi Hendrix (which occurred during the sessions for this album), as an important factor in his eventual breakdown.
Much to the band's disappointment, the album only reached #41 in the UK album charts (the previous album Fire and Water had reached #2) and reached only #190 in America, not generally enough to register on chart listings. The single release "The Stealer" failed in the UK also, and reached only #49 in America. (Paul Rodgers and Simon Kirke would later re-record "The Stealer" with Bad Company in 1975 during the sessions for Run with the Pack, but the track was not included on the album.)
The album received a lukewarm critical reaction. The single release "The Stealer" had not been Island Records boss Chris Blackwell's first choice: he had wanted to release "Ride on a Pony" but this was changed at the band's insistence. Some, such as engineer Andy Johns, blamed the album cover which was aesthetically flat compared to previous releases and did not prominently display the band's name. It was believed that some fans who otherwise would have bought the album failed to notice it because of this.
The fallout was immediate. Relations between Fraser and Rodgers deteriorated, putting more pressure on Kossoff who slid ever further into Mandrax addiction. This left only Kirke to try and keep the band together. They returned to the studio in early 1971 and managed to record four tracks before they eventually split, after fulfilling contracted tour dates. These 'limbo' tracks included the surprise hit single "My Brother Jake"; the other three have surfaced on various other albums over the years.
01. "The Highway Song" 4:14
02. "The Stealer" (Fraser/Rodgers/Kossoff) 3:14
03. "On My Way" 4:04
04. "Be My Friend" 5:45
05. "Sunny Day" 3:07
06. "Ride on a Pony" 4:17
07. "Love You So" (Rodgers/Kirke) 4:54
08. "Bodie" 3:05
09. "Soon I Will Be Gone" 3:01
10. "My Brother Jake" 2:49
11. "Only My Soul" 2:27
12. "Ride on a Pony (BBC Session)" 4:27
13. "Be My Friend (BBC Session)" 5:34
14. "Rain (Alternate Version)" 3:54
15. "The Stealer (Single Mix)" (Fraser/Rodgers/Kossoff) 3:21
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Friday, 8 April 2011
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Mod (from modernist) is a subculture that originated in London, England in the late 1950s and peaked in the early-to-mid 1960s.
Significant elements of the mod subculture include: fashion (often tailor-made suits); pop music, including African American soul, Jamaican ska, and British beat music and R&B; and Italian motor scooters. The original mod scene was also associated with amphetamine-fuelled all-night dancing at clubs. From the mid-to-late 1960s onwards, the mass media often used the term mod in a wider sense to describe anything that was believed to be popular, fashionable or modern.
There was a mod revival in the United Kingdom in the late 1970s, which was followed by a mod revival in North America in the early 1980s, particularly in Southern California.
The term mod derives from modernist, which was a term used in the 1950s to describe modern jazz musicians and fans. This usage contrasted with the term trad, which described traditional jazz players and fans. The 1959 novel Absolute Beginners by Colin MacInnes describes as a modernist, a young modern jazz fan who dresses in sharp modern Italian clothes. Absolute Beginners may be one of the earliest written examples of the term modernist being used to describe young British style-conscious modern jazz fans. The word modernist in this sense should not be confused with the wider use of the term modernism in the context of literature, art, design and architecture.
Dick Hebdige claims that the progenitors of the mod subculture "appear to have been a group of working-class dandies, possibly descended from the devotees of the Italianite [fashion] style." Mary Anne Long disagrees, stating that "first hand accounts and contemporary theorists point to the Jewish upper-working or middle-class of London’s East End and suburbs." Sociologist Simon Frith asserts that the mod subculture had its roots in the 1950s beatnik coffee bar culture, which catered to art school students in the radical bohemian scene in London. Steve Sparks, who claims to be one of the original mods, agrees that before mod became commercialised, it was essentially an extension of the beatnik culture: "It comes from ‘modernist’, it was to do with modern jazz and to do with Sartre" and existentialism. Sparks argues that "Mod has been much misunderstood... as this working-class, scooter-riding precursor of skinheads."
Coffee bars were attractive to youths, because in contrast to typical British pubs, which closed at about 11 pm, they were open until the early hours of the morning. Coffee bars had jukeboxes, which in some cases reserved some of the space in the machines for the students' own records. In the late 1950s, coffee bars were associated with jazz and blues, but in the early 1960s, they began playing more R&B music. Frith notes that although coffee bars were originally aimed at middle-class art school students, they began to facilitate an intermixing of youths from different backgrounds and classes. At these venues, which Frith calls the "first sign of the youth movement", youths would meet collectors of R&B and blues records, who introduced them to new types of African-American music, which the teens were attracted to for its rawness and authenticity. They also watched French and Italian art films and read Italian magazines to look for style ideas. According to Hebdige, the mod subculture gradually accumulated the identifying symbols that later came to be associated with the scene, such as scooters, amphetamine pills, and music.
Decline and offshoots
By the summer of 1966, the mod scene was in sharp decline. Dick Hebdige argues that the mod subculture lost its vitality when it became commercialised, artificial and stylised to the point that new mod clothing styles were being created "from above" by clothing companies and by TV shows like Ready Steady Go!, rather than being developed by young people customising their clothes and mixing different fashions together.
As psychedelic rock and the hippie subculture grew more popular in the United Kingdom, many people drifted away from the mod scene. Bands such as The Who and Small Faces had changed their musical styles and no longer considered themselves mods. Another factor was that the original mods of the early 1960s were getting into the age of marriage and child-rearing, which meant that they no longer had the time or money for their youthful pastimes of club-going, record-shopping and scooter rallies. The peacock or fashion wing of mod culture evolved into the swinging London scene and the hippie style, which favored the gentle, marijuana-infused contemplation of esoteric ideas and aesthetics, which contrasted sharply with the frenetic energy of the mod ethos.
The hard mods of the mid-to-late 1960s eventually transformed into the skinheads. Many of the hard mods lived in the same economically depressed areas of South London as West Indian immigrants, and those mods emulated the rude boy look of pork pie hats and too-short Levis jeans. These "aspiring 'white negros'" listened to Jamaican ska and mingled with black rude boys at West Indian nightclubs like Ram Jam, A-Train and Sloopy's.
Dick Hebdige claims that the hard mods were drawn to black culture and ska music in part because the educated, middle-class hippie movement's drug-oriented and intellectual music did not have any relevance for them. He argues that the hard mods were also attracted to ska because it was a secret, underground, non-commercialised music that was disseminated through informal channels such as house parties and clubs. The early skinheads also liked soul, rocksteady and early reggae.
The early skinheads retained basic elements of mod fashion — such as Fred Perry and Ben Sherman shirts, Sta-Prest trousers and Levi's jeans — but mixed them with working class-oriented accessories such as braces and Dr. Martens work boots. Hebdige claims that as early as the Margate and Brighton brawls between mods and rockers, some mods were seen wearing boots and braces and sporting close cropped haircuts, which "artificially reproduces the texture and appearance of the short negro hair styles" (though this was as much for practical reasons, as long hair was a liability in industrial jobs and streetfights).
Mods and ex-mods were also part of the early northern soul scene, a subculture based on obscure 1960s and 1970s American soul records. Some mods evolved into, or merged with, subcultures such as individualists, stylists, and scooterboys, creating a mixture of "taste and testosterone" that was both self-confident and streetwise.
Revival and later influences
A mod revival started in the late 1970s in the United Kingdom, with thousands of mods attending scooter rallies in places like Scarborough and the Isle of Wight. This revival was partly inspired by the 1979 film Quadrophenia and by mod-influenced bands such as The Jam, Secret Affair, Purple Hearts and The Chords. Many of the mod revival bands were influenced by the energy of British punk rock and New Wave music. The British revival was followed by a mod revival in North America in the early 1980s, particularly in Southern California, led by bands such as The Untouchables. The mod scene in Los Angeles and Orange County was partly influenced by the 2 Tone ska revival in England, and was unique in its racial diversity, with black, white, Hispanic and Asian participants. The 1990s Britpop scene featured noticeable mod influences on bands such as Oasis, Blur, Ocean Colour Scene and The Verve.
Paul Jobling and David Crowley argue that the concept of mod can be difficult to pin down, because throughout the subculture's original era, it was "prone to continuous reinvention." They claim that since the mod scene was so pluralist, the word mod was an umbrella term that covered several distinct sub-scenes. Terry Rawlings' history of the mod subculture argues that mods are difficult to define because the subculture started out as a "mysterious semi-secret world", which The Who's manager Peter Meaden summarised as "clean living under difficult circumstances." Dick Hebdige points out that when trying to understand 1960s mod culture, one has to try and "penetrate and decipher the mythology of the mods".
Terry Rawlings argues that the mod scene developed when British teenagers began to reject the "dull, timid, old-fashioned, and uninspired" British culture around them, with its repressed and class-obsessed mentality and its "naffness". Mods rejected the "faulty pap" of 1950s pop music and sappy love songs. They aimed at being "cool, neat, sharp, hip, and smart" by embracing "all things sexy and streamlined", especially when they were new, exciting, controversial or modern. Hebdige claims that the mod subculture came about as part of the participants' desire to understand the "mysterious complexity of the metropolis" and to get close to black culture of the Jamaican rude boy, because mods felt that black culture "ruled the night hours" and that it had more streetwise "savoir faire". Shari Benstock and Suzanne Ferriss argue that at the "core of the British Mod rebellion was a blatant fetishising of the American consumer culture" that had "eroded the moral fiber of England." In doing so, the mods "mocked the class system that had gotten their fathers nowhere", and created a "rebellion based on consuming pleasures" ranging from Italian suits and scooters to US soul records.
Jobling and Crowley called the mod subculture a "fashion-obsessed and hedonistic cult of the hyper-cool" young adults who lived in metropolitan London or the new towns of the south. Due to the increasing affluence of post-war Britain, the youths of the early 1960s were one of the first generations that did not have to contribute their money from after-school jobs to the family finances. As mod teens and young adults began using their disposable income to buy stylish clothes, the first youth-targeted boutique clothing stores opened in London in the Carnaby Street and Kings Road districts. Maverick fashion designers emerged, such as Mary Quant, who was known for her increasingly short miniskirt designs, and John Stephen, who sold a line named "His Clothes", and whose clients included bands such as Small Faces.
Two youth subcultures helped pave the way for mod fashion by breaking new ground; the beatniks, with their bohemian image of berets and black turtlenecks, and the Teddy Boys, from which mod fashion inherited its "narcissitic and fastidious tendencies" and the immaculate dandy look. The Teddy Boys paved the way for making male interest in fashion socially acceptable, because prior to the Teddy Boys, male interest in fashion in Britain was mostly associated with the underground homosexual subculture's flamboyant dressing style.
Clubs, music, and dancing
The original mods gathered at all-night clubs such as The Roaring Twenties, The Scene, La Discothèque, The Flamingo and The Marquee in London to hear the latest records and to show off their clothes and dance moves. As mod spread across the United Kingdom, other clubs became popular such as Twisted Wheel Club in Manchester. They began listening to the "sophisticated smoother modern jazz" of Dave Brubeck and the Modern Jazz Quartet." They became "...clothes obsessed, cool, dedicated to R&B and their own dances." Black American servicemen, stationed in the Britain during the Cold War, also brought over rhythm and blues and soul records that were unavailable in Britain, and they often sold these to young people in London. Although the Beatles dressed "mod" in their early years, their beat music was not popular among mods, who tended to prefer R&B based bands like Small Faces, The Kinks, The Yardbirds and particularly The Who.
The influence of British newspapers on creating the public perception of mods as having a leisure-filled clubgoing lifestyle can be seen in a 1964 article in the Sunday Times. The paper interviewed a 17-year-old mod who went out clubbing seven nights a week and spent Saturday afternoons shopping for clothes and records. However, few British teens and young adults would have the time and money to spend this much time going to nightclubs. Jobling and Crowley argue that most young mods worked 9 to 5 at semi-skilled jobs, which meant that they had much less leisure time and only a modest income to spend during their time off.
A notable part of the mod subculture was recreational amphetamine use, which was used to fuel all-night dances at clubs like Manchester's Twisted Wheel. Newspaper reports described dancers emerging from clubs at 5 am with dilated pupils. Mods bought a combined amphetamine/barbiturate called Drinamyl, which was nicknamed "purple hearts" from dealers at clubs such as The Scene or The Discothèque. Due to this association with amphetamines, Pete Meaden's "clean living" aphorism may be hard to understand in the first decade of the 21st century. However, when mods used amphetamines in the pre-1964 period, the drug was still legal in Britain, and the mods used the drug for stimulation and alertness, which they viewed as a very different goal from the intoxication caused by other drugs and alcohol. Mods viewed cannabis as a substance that would slow a person down, and they viewed heavy drinking with condescension, associating it with the bleary-eyed, staggering lower-class workers in pubs. Dick Hebdige claims that mods used amphetamines to extend their leisure time into the early hours of the morning and as a way of bridging the wide gap between their hostile and daunting everyday work lives and the "inner world" of dancing and dressing up in their off-hours.
Dr. Andrew Wilson claims that for a significant minority, "amphetamines symbolised the smart, on-the-ball, cool image" and that they sought "stimulation not intoxication... greater awareness, not escape" and "confidence and articulacy" rather than the "drunken rowdiness of previous generations." Wilson argues that the significance of amphetamines to the mod culture was similar to the paramouncy of LSD and cannabis within the subsequent hippie counterculture. The media was quick to associate mods' use of amphetamines with violence in seaside towns, and by the mid-1960s, the British government criminalised amphetamine use. The emerging hippie counterculture strongly criticised amphetamine use; the poet Allen Ginsberg warned that amphetamine use can lead to a person becoming a "Frankenstein speed freak."
Many mods used motorscooters for transportation, usually Vespas or Lambrettas. Scooters had provided inexpensive transportation for decades before the development of the mod subculture, but the mods stood out in the way that they treated the vehicle as a fashion accessory. Italian scooters were preferred due to their cleanlined, curving shapes and gleaming chrome. For young mods, Italian scooters were the "embodiment of continental style and a way to escape the working-class row houses of their upbringing".  They customised their scooters by painting them in "two-tone and candyflake and overaccessorized [them] with luggage racks, crash bars, and scores of mirrors and fog lights", and they often put their names on the small windscreen. Engine side panels and front bumpers were taken to local electroplating workshops and recovered in highly reflective chrome.
Scooters were also a practical and accessible form of transportation for 1960s teens. In the early 1960s, public transport stopped relatively early in the night, and so having scooters allowed mods to stay out all night at dance clubs. To keep their expensive suits clean and keep warm while riding, mods often wore long army parkas. For teens with low-end jobs, scooters were cheaper than cars, and they could be bought on a payment plan through newly-available Hire purchase plans. After a law was passed requiring at least one mirror be attached to every motorcycle, mods were known to add four, ten, or as many as 30 mirrors to their scooters. The cover of The Who's album Quadrophenia, (which includes themes related to mods and rockers), depicts a young man on a Vespa GS with four mirrors attached.
After the seaside resort brawls, the media began to associate Italian scooters with the image of violent mods. When groups of mods rode their scooters together, the media began to view it as a "menacing symbol of group solidarity" that was "converted into a weapon". With events like the November 6, 1966, "scooter charge" on Buckingham Palace, the scooter, along with the mods' short hair and suits, began to be seen as a symbol of subversion. After the 1964 beach riots, hard mods (who later evolved into the skinheads) began riding scooters more for practical reasons. Their scooters were either unmodified or cut down, which was nicknamed a "skelly". Lambrettas were cutdown to the bare frame, and the unibody (monocoque)-design Vespas had their body panels slimmed down or reshaped.
In Stuart Hall and Tony Jefferson's study on youth subcultures in post-war Britain, they argue that compared with other youth subcultures, mod culture gave young women high visibility and relative autonomy. They claim that this status may have been related both to the attitudes of the mod young men, who accepted the idea that a young woman did not have to be attached to a man, and to the development of new occupations for young women, which gave them an income and made them more independent.
In particular, Hall and Jefferson note the increasing number of jobs in boutiques and women's clothing stores, which, while poorly paid and lacking opportunities for advancement, nevertheless gave young women disposable income, status and a glamorous sense of dressing up and going downtown to work. The presentable image of female mod fashion meant it was easier for young mod women to integrate with the non-subculture aspects of their lives (home, school and work) than for members of other subcultures. The emphasis on clothing and a stylised look for women demonstrated the "same fussiness for detail in clothes" as their male mod counterparts.
Shari Benstock and Suzanne Ferriss claim that the emphasis in the mod subculture on consumerism and shopping was the "ultimate affront to male working-class traditions" in the United Kingdom, because in the working-class tradition, shopping was usually done by women. They argue that British mods were "worshipping leisure and money... scorning the masculine world of hard work and honest labour" by spending their time listening to music, collecting records, socialising, and dancing at all-night clubs.
Conflicts with rockers
As the Teddy Boy subculture faded in the early 1960s, it was replaced by two new youth subcultures: mods and rockers. While mods were seen as "effeminate, stuck-up, emulating the middle classes, aspiring to a competitive sophistication, snobbish, [and] phony", rockers were seen as "hopelessly naive, loutish, scruffy", emulating Marlon Brando's motorcycle gang leader character in the film The Wild One by wearing leather jackets and riding motorcycles. Dick Hebdige claims that the "mods rejected the rocker's crude conception of masculinity, the transparency of his motivations, his clumsiness"; the rockers viewed the vanity and obsession with clothes of the mods as not particularly masculine.
Scholars debate how much contact the two groups had during the 1960s; while Dick Hebdige argues that mods and rockers had very little contact, because they tended to come from different regions of England (mods from London and rockers from more rural areas), and because they had "totally disparate goals and lifestyles". However, British ethnographer Mark Gilman claims that both mods and rockers could be seen at football matches.
John Covach's Introduction to Rock and its History claims that in the United Kingdom, rockers were often engaged in brawls with mods. BBC News stories from May 1964 stated that mods and rockers were jailed after riots in seaside resort towns on the south coast of England, such as Margate, Brighton, Bournemouth and Clacton. The mods and rockers conflict led sociologist Stanley Cohen to coin the term moral panic in his study Folk Devils and Moral Panics, which examined media coverage of the mod and rocker riots in the 1960s. Although Cohen admits that mods and rockers had some fights in the mid-1960s, he argues that they were no different from the evening brawls that occurred between youths throughout the 1950s and early 1960s, both at seaside resorts and after football games. He claims that the British media turned the mod subculture into a negative symbol of delinquent and deviant status.
Newspapers described the mod and rocker clashes as being of "disastrous proportions", and labelled mods and rockers as "sawdust Caesars", "vermin" and "louts". Newspaper editorials fanned the flames of hysteria, such as a Birmingham Post editorial in May 1964, which warned that mods and rockers were "internal enemies" in the United Kingdom who would "bring about disintegration of a nation's character". The magazine Police Review argued that the mods and rockers' purported lack of respect for law and order could cause violence to "surge and flame like a forest fire".
Cohen argues that as media hysteria about knife-wielding, violent mods increased, the image of a fur-collared anorak and scooter would "stimulate hostile and punitive reactions" amongst readers. As a result of this media coverage, two British Members of Parliament travelled to the seaside areas to survey the damage, and MP Harold Gurden called for a resolution for intensified measures to control hooliganism. One of the prosecutors in the trial of some of the Clacton brawlers argued that mods and rockers were youths with no serious views, who lacked respect for law and order. Cohen says the media used possibly faked interviews with supposed rockers such as "Mick the Wild One". As well, the media would try to get mileage from accidents that were unrelated to mod-rocker violence, such as an accidental drowning of a youth, which got the headline "Mod Dead in Sea"
Eventually, when the media ran out of real fights to report, they would publish deceptive headlines, such as using a subheading "Violence", even when the article reported that there was no violence at all. Newspaper writers also began to use "free association" to link mods and rockers with various social issues, such as teen pregnancy, contraceptives, drug use, and violence.
Sounds Of The Sixties
01. Pink Floyd - Set The Controls For The Heart Of The Sun - "All My Loving" (1968)
02. Donovan - The Lullaby Of Spring - "All My Loving" (1968)
03. The Rolling Stones - Gimme Shelter - "Pop Go The Sixties" (1969)
04. Fleetwood Mac - Oh Well - "Monster Music Mash" (1969)
05. Family - Dim - "How Late It Is" (1969)
06. Jimi Hendrix - Hey Joe/Sunshine Of Your Love - "Happening For Lulu" (1969)
07. Cream - Sunshine Of Your Love - "Omnibus" (1968)
08. Joni Mitchell - Big Yellow Taxi - "BBC In Concert" (Jan 1970)
09. Jimi Hendrix - Voodoo Chile - "Happening For Lulu" (1969)
10. The Equals - Baby Come Back - "Top Of The Pops" Show (1968)
11. The Hollies - I'm Sorry Suzanne - "Top Of The Pops" Show (1969)
12. Sandie Shaw - Long Live Love - "Top Of The Pops" Show (1965)
13. Long John Baldry - Let The Heartaches Begin - "Top Of The Pops" Show (1967)
14. Lulu - Loves Loves To Love Love - "Top Of The Pops" Show (1967)
15. Tom Jones - Delilah - "Top Of The Pops" Show (1968)
16. Cliff Richard - Congratulations - "Cilla" Show (1968)
17. Peter Sarstedt - Where Do You Go To My Lovely - "Top Of The Pops" Show (1969)
18. The Who - I Can See For Miles - "Twice A Fortnight" (1967)
19. Pink Floyd - Astronomy Domine - "The Look Of The Week" (1967)
20. Joe Cocker & The Grease Band - With A Little Help From My Friends - "How It Is" (1968)
21. Bonzo Dog Doo Dah Band - Canyons Of Your Mind - "Color Me Pop" (1968)
22. The Mothers Of Invention - Oh, In The Sky - "Color Me Pop" (1968)
23. The Small Faces - Song Of A Baker - "Color Me Pop" (1968)
24. The Kinks - Days - "Pop Goes The Sixties" (1969)
25. The Move - Blackberry Way - "Color Me Pop" (1968)
26. The Moody Blues - Ride My See-Saw - "Color Me Pop" (1968)
27. Jimi Hendrix - Wild Thing - "All My Loving" (1968)
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The New Worlds Fair is a 1975 concept album by UK rock group Michael Moorcock & Deep Fix.
Moorcock was an established science fiction author who had contributed lyrics and occasionally performed with Hawkwind. In 1974 he was offered a record deal byAndrew Lauder, Hawkwind's A&R man for United Artists Records, although Moorcock insisted that his compatriots Steve Gilmore and Graham Charnock should have significant input into the album.
The single "Dodgem Dude"/"Starcruiser" had been recorded just prior to the album, but United Artists passed on the idea of releasing it. Some time later as Moorcock was visiting his former manager Douglas Smith, with whom he was in dispute, he discovered the tapes for the single lying around the office. Without Smith's knowledge he took them, passing them onto Frenchy Gloder who gave the single a belated release on his Flicknife Records label (FLS200, December 1980).
The album has received two re-releases featuring various bonus tracks, in 1995 on Griffin (USA) and Dojo (UK), and in 2008 on Esoteric (UK). In 2004, Voiceprint Records released an alternate version of the album as Roller Coaster Holiday.
The brainchild of science-fiction author Michael Moorcock, bassist Steve Gilmore, and guitarist Graham Charnock, Fair featured a host of guest players, among them members of Hawkwind and guitar hero Snowy White. It was a concept album, of course, a trek through a dystopian fun fair, a metaphor for society itself. It's a set that promised much, but delivers surprisingly little, with the lyrics and themes nowhere near as profound as Moorcock's reputation would dictate or fans' memories might suggest. Sure the "Fair Dealer" peddles dreams and illusions, drugs and rides, the "Candy Floss Cowboy" swaggers across the fairground, a precedent setter for President Bush, a hollow idol headed for the Valhalla of the ironic "You're a Hero." The teen-aged temptresses that haunt the fair are also headed for disaster on "Sixteen Year Old Doom," a rather heavy-handed retort to every rocker that ever celebrated a young girl's charms in song. Even more derivative is "In the Name of Rock and Roll," which lifted its downbeat theme from The Rise and Fall of Ziggy Stardust. Finally the fairground begins careening towards destruction on "The Last Merry Go Round," reaching its demise on "Dude's Dream (Rolling in the Ruins)." However, the musicianship far surpasses the lyrical content, the album's saving grace. Musically, it's a heady concoction that stirs in a bit of glam, a few swirls of folk, a good dousing of R&B, and a dollop of metal. It's nowhere near as musically adventurous as one would expect from the cast, but surprisingly accessible and easily digestible. More of a fun fair then, than a rock your world exhibition. Esoteric sweetens the pot with seven bonus tracks, including a pair of previously unreleased demos. "Dodgem Dude"'s demo also appears here for the first time, the song, while intended for the Fair, finally hit the shops as a 1980 limited-edition 45. That too is included, alongside "Starcruiser" and "The Brothel in Rossenstrasse," which inspired Moorcock's book of the same title.
01. Candy Floss Cowboy 1:20
02. Fair Dealer 5:05
03. Octopus 2:15
04. Sixteen Year Old Doom 4:15
05. You're A Hero 3:10
06. Song For Marlene 5:11
07. Come To The Fair 1:20
08. In The Name Of Rock And Roll 4:15
09. Ferris Wheel 5:40
10. Last Merry Go Round 2:11
11. Dude's Dream 4:40
12. Dodgem Dude 2:47 [Bonus]
13. The Brothel In Rossenstrasse 3:44 [Bonus]
14. Starcruiser 3:17 [Bonus]
15. Candy Floss Cowboy (Demo) 4:27
16. Kings Of Speed (Previously Unreleased) 2:52
17. You're A Hero (Previously Unreleased Demo) 4:09
18. Dodgem Dude (Previously Unreleased First Demo) 2:59
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Cactus is the first album by the American hard rock supergroup Cactus, released in 1970 under the Atco label. It includes original songs as well as cover of Mose Allison's version of a blues standard, "Parchman Farm" and another one, Willie Dixon's "You Can't Judge a Book by the Cover".
Cactus may have never amounted to anything more than a half-hearted, last-minute improvised supergroup, but that don't mean their eponymous 1970 debut didn't rock like a mofo. The already quasi-legendary Vanilla Fudge rhythm section of Bogert and Appice may have provided the backbone of the band's business cards, and soulful, ex-Amboy Duke Rusty Day brought the voice, but it was arguably former Detroit Wheels guitarist Jim McCarty who was the true star in the Cactus galaxy, spraying notes and shredding solos all over album highlights such as "You Can't Judge a Book By the Cover," "Let Me Swim," and, most notably, a manic, turbocharged version of "Parchman Farm."
The fact that Cactus chose to tackle this classic blues song just a year after it'd been blasted into the fuzz-distortion stratosphere by Blue Cheer betrays -- at best -- a healthy competitive spirit within the early-'70s hard rock milieu, and at worst it suggests something of a mercenary nature to Cactus' motives, but that's an issue for the surviving bandmembers to duke it out over in the retirement home. And we digress -- for the blistering closing duo of "Oleo" and "Feel So Good" (complete with bass and drum solo slots) easily certifies the Cactus LP as one of the best hard rock albums of the then brand-new decade, bar none. Too bad the illustrious members of Cactus would quickly lose interest in this band project and deliver increasingly mediocre efforts in the years that followed.
First album outtakes
Recorded at Ultrasonic Studios, Hempstead, NY, USA
01. Peace on earth
02. Feel so good
03. You can´t judge a book by it´s cover
05. Bro. Bill
06. Help me
07. Oleo jam
08. You can´t judge a book by it´s cover
09. Let me swim #1
10. Rumblin´ man (instrumental)
11. Let me swim #2
12. Let me swim #3
13. Parchman farm
14. Rumblin´ man
Thursday, 7 April 2011
Size: 74.7 MB
Ripped by: ChrisGoesRock
Source: japan 24-Bit Remaster
Bees Make Honey was one of the most influential band in the early pub rock movement in the UK. The band was formed in 1971 in north London by Barry Richardson, Ruan O’Lochlainn, Deke O’Brien and Mick Molloy, former members of Irish showband The Alpine Seven, and American drummer Bob “Cee” Siebenberg, who would later rise to fame in Supertramp. While touring heavily on the emerging pub rock circuit, Bees Make Honey signed with record label EMI to record its debut album "Music Every Night". By the time the album was released, the band was already beginning to break up. Frequent line-up changes preceded the dissolution of the band in 1974. Richardson went onto his own Barry Richardson Band. Demick and Finlayson subsequently resurfaced in Meal Ticket and Byrne moved onto Ace. Ruan O'Lochlainn formed Riff Raff with a young Biilly Bragg.
In November of 1996, Bees Make Honey was included along with other notable UK pub rock bands on a two-disc compilation by EMI Premiere, "Naughty Rhythms: The Best of Pub Rock". Subsequently, in 2003, label Acadia released a two-disc anthology entitled "Back on Track", combining studio sessions and representative live performances by the band. While most of the seminal pub rock albums (Brinsleys, Eggs over Easy...) have been reissued on CD, "Music Every Night" (recorded at Rockfield, produced by Dave Robinson, engineered by Kingsley Ward and Vic Maile) is still out of print.
Bees Make Honey were an influential band in the early pub rock movement in the UK.
The band were formed in 1971 in north London by Barry Richardson, who had a residency in a jazz band at the "Tally Ho" public house, when Eggs over Easy started playing pub rock there. He invited Ruan O’Lochlainn, Deke O’Brien and Mick Molloy to see Eggs over Easy and they formed a band with American drummer Bob “Cee” Siebenberg, who would later rise to fame in Supertramp. Richardson, O’Brien and Molloy were former members of Irish showband The Alpine Seven, and of Dublin's first Rhythm & Blues band Bluesville (with Ian Whitcomb). They initially performed as an un-named band at the "Tally Ho", where Richardson had previously performed, eventually naming themselves Bees Make Honey in January 1972
While touring heavily on the emerging pub rock circuit, Bees Make Honey signed with record label EMI who issued their first single "Knee Trembler" / "Caldonia" (EMI 2078 (1972), and their debut album Music Every Night (EMI 3013 (1972). The album was recorded at Rockfield Studios and produced by their manager Dave Robinson, who also managed Brinsley Schwarz, but by the time the album was released, O’Lochlainn and Siebenberg had left. Drummer Fran Byrne, guitarist Rod Demick (ex Screaming Lord Sutch) and keyboardist Malcolm Morley (ex Help Yourself) joined , and toured to promote the album. They supported T. Rex at the Brixton Academy, but most of the audience were teenage girls desperate to see Marc Bolan, and the band was booed heavily. In 1974 original members O'Brien and Molloy left, and Morley joined Man, so guitarists Willy Finlayson and Ed Dean, and keyboardist Kevin McAlea, joined. This line up recorded the second album, but EMI dropped both the unreleased album and the band. Another album was cut for DJM Records, but when this was also not released, the band broke up in late 1974.
After the break-up Byrne moved to Ace, Demick & Finlayson formed Meal Ticket and McAlea later joined Barclay James Harvest.
A 4-track EP ("Sylvie"/"Namalee"/"Boogie Queen"/"Don't Stop Now") entitled Bees Make Honey was released by Charly (CEP 117) in 1977. In November 1996, Bees Make Honey were included along with other notable UK pub rock bands on a two-disc compilation by EMI Naughty Rhythms: The Best of Pub Rock (EMI Premiere 37968). Subsequently, in 2003, label Acadia released a two-disc anthology entitled Back on Track, combining studio sessions and representative live performances by the band. The Bees also contribute three tracks ("What Have we Got to Loose", "Indian Bayou Saturday" and"Dance Around") and Meal Ticket one ("Day Job") to Goodbye Nashville, Hello Camden Town: A Pub Rock Anthology issued by Castle Records in March 2007 (CMEDD1451).
02. Music Every Night
03. Knee Trembler
04. Kentucky Chicken Fry
06. Chinee's Dead
07. Bloodshot Eyes
08. Blood Brother
09. Highway Song
10. My Rockin' Days
Size: 77.5 MB
Ripped by: ChrisGoesRock
Source: japan 24-Bit Remaster
Mike Pinera (born September 29, 1948) is an American guitarist who started professionally in the late 1960s with the group the Blues Image, which had a #4 hit in the middle of 1970 with their song "Ride Captain Ride." After the breakup of that group, he joined Iron Butterfly, and later formed the group Ramatam. Pinera was then the founding member of the band New Cactus, a later incarnation of the band Cactus. He was the guitarist for Alice Cooper from 1980-1983. He is currently performing with the Classic Rock All Stars. Pinera met the band Renegade through their manager, Kim Richards, who also managed Pinera at the time. They remained close friends and appear together in the television special entitled Renegade @ The House of Blues, which was filmed before a sold out audience at the Hollywood House of Blues. Mick Fleetwood of Fleetwood Mac appears on the same program.
Mike Pinera and his group Blues Image were co-founders and house band at Thee Image, a Miami Beach concert venue they opened and co-headlined on weekends. There Pinera performed, met and jammed with such artists as Jerry Garcia & Grateful Dead, The Cream with Eric Clapton, The Yardbirds with Jimmy Page, Eric Burdon & The Animals, Blood Sweat & Tears, Frank Zappa & The Mothers Of Invention, Jimi Hendrix, The Doors, Jefferson Airplane, Ted Nugent & The Amboy Dukes...and many more. Blues Image soon signed with Atlantic Records where they scored the major hit "Ride Captain Ride" which Pinera co-wrote and sang. The Recording Industry Association of America (RIAA) first certified Ride Captain Ride Gold on August 4, 1970. Ride Captain Ride has been featured in television programs and on several popular music compilations offered on television, such as "Flower Power, Have A Nice Day, PBS-My Music The 70's and Sounds of the 70's." The classic hit song, which has now reached multi-platinum status around the world, has been included in many feature motion pictures, including Anchorman.
Pinera later joined Atlantic Records label mate Iron Butterfly. The Butterfly's mega hit "In-A-Gadda-Da-Vida" remained at the top of the charts for a record-breaking 52 weeks earning them the first Platinum Record Award in music history. It has become the premier anthem of the sixties and has been inducted into the Rock & Roll Hall Of fame. As of January 26, 1993, the RIAA certified In-A-Gadda-Da-Vida 4.00x Multi-Platinum. Iron Butterfly toured with such bands as Led Zeppelin, The Doors, Santana, Jimi Hendrix and The Who. IRON BUTTERFLY albums featuring Pinera are Metamorphosis, Evolution, Best Of The Iron Butterfly and Light & Heavy. The DVD, In A Gadda Da Vida features Pinera singing lead on "Butterfly Bleu" and co-lead vocals on "Easy Rider."
Backing Vocals - Donny Vosburgh , Duane Hitchings , Mike Pinera
Drums - Donny Vosburgh
Guitar - Mike Pinera
Keyboards, Synthesizer [Moog Keyboard Bass, Univox] - Duane Hitchings
Lead Vocals - Donny Vosburgh (tracks: B3) , Duane Hitchings (tracks: A3, B2) , Mike Pinera Mastered By - Alex Sadkin
Recorded & Mixed By - Karl Richardson
Recorded at Criteria Recording Studios, Miami, Florida
01. Good Things 2:53
02. For Another Day 4:06
03. Drift Off Endlessly 4:21
04. Love Is Here 4:04
05. So Hard To Say 3:44
06. It Happens All The Time 3:05
07. Come To You 3:01
08. Temptation 5:11
09. Show Your Love 6:39
Size: 80.0 MB
Ripped by: ChrisGoesRock
Source: Korean 24-Bit Remaster
These Trails was an Honolulu, Hawaii group that was privately pressed on Sinergia Records in 1973. Their eponymous debut is an album that skillfully combines a keen sense of melody with otherworldly vocals from the enigmatic, late 'Margaret Morgan' and innovative sonic experimentation that over 30 years later has stood the test of time. What's more, the band furnished each of its tracks with the colours, scents and atmospheres of the botanical treasure of the volcanic Pacific island paradise that birthed them.
These Trails was an acid folk group who released a very rare record in 1973. The lp was released by Sinergia and is probably one of the best Hawaiian lps along with Mu.
Prominent members of the group were Margaret Morgan (vocals, guitar and dulcimer), Patrick Cockett (guitar, slide guitar and vocals) and Dave Choy (arp synthesizer, recorder, arrangements and final mix). Margaret Morgan handles most of the lead vocals with Patrick Cockett occasionally chiming in. Morgan’s vocals are dreamy and ideally suited for this kind of organic music (acid folk). Comparisons that come to mind are Linda Perhacs, though Morgan’s vocals are more innocent and angelic and the music on this lp clearly betrays a Hawaiian influence. Many of the songs are relatively pop friendly; this isn’t difficult, challenging music that has to be listened to closely – ie folk guitar virtuousos spinning off long, complex guitar solos or intricate passages with finely tuned arrangements – it’s not that kind of record. The synthesizers give tracks like Of Broken Links an otherworldly sound, unlike anything you’ve ever heard. El Rey Pescador is graced by some light sitar touches and close harmony singing.
Each track stands out on its own but Psyche I & Share Your Water is a tremendous favorite. This 5 minute track begins with a calm, soothing folk feel highlighted by some fine acoustic guitar work. Eventually it descends into bad trip territory with ghastly vocals and spooky electronics – an outstanding track, very trippy and worth the price of admission alone. Garden Botanum is another strong hightlight that hits like a ray of Hawaiian sunshine, the arrangements are free and green with lots of interesting twists, the vocals are beautifully exotic. This lp is one of the most relaxing listening experiences I’ve ever come across, an album to savour. The songs are full of simple beauty and the power of the performances will never diminish over time.
If you’re looking for something different, These Trails could be the right tonic. It’s one of the hidden gems from the early 70s and has been reissued on cd but is somewhat hard to come by these days.
01.These Trails 1:24
02.Our House In Hanalei 1:51
03.Of Broken Links 1:40
04.El Rey Pescador 3:07
05.Psyche I & Share Your Water 5:22
06.Hello Lou 3:47
07.Rusty's House & Los In Space 5:49
08.Psyche II 2:30
09.Sowed A Seed 2:17
10.Rapt Attention 2:15
12.Garden Botanum 3:31
Size: 79.2 MB
Ripped by: ChrisGoesRock
Source: Japan 24-Bit Remaster
Alan Skidmore (born Alan Richard James Skidmore, 21 April 1942, London) is a tenor saxophonist of jazz and blues music, son of the saxophonist Jimmy Skidmore.
Skidmore began his professional career at 16 and early in his career toured with comedian Tony Hancock. In the mid to late 1960s he worked with John Mayall's Bluesbreakers and Ronnie Scott's group. In the 1970s, he was part of Keith Tippett's jazz fusion bigband project Centipede and worked - among others - with Soft Machine, The Nice, Graham Collier, Brotherhood of Breath, Mike Gibbs, Elton Dean, Kate Bush and Curved Air. He has since played with many other musicians in blues and jazz, including Chick Corea, Alexis Korner, Georgie Fame, and the Van Morrison band.
His first album under his own name was 1969's Once Upon A Time and on this and his other albums a strong John Coltrane influence can be heard, especially on his 1988 album Tribute to 'trane, and 1998's After the Rain, orchestral settings of tunes that had been recorded (and some of them written) by Coltrane. In 1973 he co-founded the all-saxophone ensemble S.O.S. with John Surman and Mike Osborne. At the end of the Apartheid regime he went to South Africa to record with musicians from the percussion group Amampondo, including pianist Simpiwe Matole, playing modern jazz over a texture of African percussion and chants.
Alan Skidmore Discography:
1965 John Mayall John Mayall Bluesbreakers LP Decca SLK 4804
1965 Alexis Korner Blues Incorporated LP Ace Of Clubs 1167 (Reissued on Polydor 1967)
1966 John Mayall Looking Back LP Decca 5010
1966 John Mayall John Mayall/Eric Clapton LP Decca 6/301220
1967 Brian Bennett Change Of Direction LP Columbia SCK6144
1967 Eric Delaney Repercussion LP EMI
1967/71/72 Alan Skidmore NDR Jazz Workshop LP NDR 0654 96351
1968 Surman/Skidmore Jazz In Britain LP Decca ECS 2114
1969 John Mayall Looking Back CD Deram 8203312
1969 Mike Westbrook Marching Song I LP Deram SML 1047
1969 Mike Westbrook Marching Song 2 LP Deram SHL 1046
1969 Alan Skidmore Once Upon A Time LP Deram SDN 11
1969 Champion Jack Dupree Scooby Dooby Doo LP Blue Horizon
1969 Sonny Boy Williamson Don't Send Me No Flowers LP Marmalade 6060
1970 Michael Gibbs Michael Gibbs Orchestra CD Deram 8449072
1970 Michael Gibbs Tanglewood 63 CD Deram 844906
1970 Nice Five Bridges Suite LP Charisma
1970 Top Topham Ascension Heights LP Blue Horizon
1970 Leon Franciola Nolilanga LP Evasion E109
1970 John Surman How Many Clouds Can You See? LP Deram SMLRIO45
1970 Stan Tracey Seven Ages Of Man LP Columbia SCX
1970 Mike Cooper Trout Steel LP Dawn DNLS3011
1970 Graham Collier Songs For My Father LP Fontana 630906
1970 Alan Skidmore TCB LP Phillips 63060
1970 Michael Gibbs Michael Gibbs Orchestra LP Deram SML 106S
1970 Rolf Kuhn Going To The Rainbow LP BASF CRC 008
1970 Harry Beckett Flare Up LP Phillips 63080
1970 Osborne Int.New Jazz, Altena LP JG Records 027/28
1970 Georgie Fame Shorty LP Epic Bn26563
1970 Michael Gibbs Tanglewood 63 LP Deram SML 1087
1971 John Surman Conflagration LP Dawn DNLS 3022
1971 Georgie Fame Ali Shuffle LP Island 6218a
1972 Volker Kriegel Inside: Missing Link LP MPS Records, MPS 15.362
1974 Georgie Fame Round Two LP Island 6218b
1974 Michael De Albuerque We May Be Cattle But We … LP RCA SF 8383
1975 Walker Brothers No Regrets LP GTO GT42
Once Upon a Time is one of an amazing 20 albums tenor saxophonist Alan Skidmore appeared on in 1969 and 1970 (including several veritable classics of British jazz, Mike Gibbs' Tanglewood 63, John Surman's How Many Clouds Can You See?, Stan Tracey's Seven Ages of Man, and Graham Collier's Songs for My Father). The lineup of this particular quintet, which represented Britain at the 1969 Montreux Jazz Festival, is truly stellar: in addition to Skidmore there's Canadian trumpeter/flügelhorn virtuoso Kenny Wheeler, pianist John Taylor, bassist Harry Miller, and percussionist Tony Oxley.
Two of the six tracks are credited to John Surman, and one, the sultry "Old San Juan," is penned by John Warren, Surman's collaborator on Tales of the Algonquin, another classic release from the same year. If the Surman material reveals the discreet influence of the late-'60s Miles Davis quintet, Oxley's "Majaera" begins to explore the more dangerous territory of free playing he would return to the following year on his Four Compositions for Sextet. Elsewhere, John Taylor's "The Yolk" is a boisterous, brilliant piece of hard bop, and the last three tracks, segued together as a suite, explore a similarly wide range of styles. So much so that Skidmore aficionados tend to prefer the greater coherence of the following year's septet release on Philips, TCB, but Once Upon a Time remains one of the landmark albums of British jazz.
Bass - Harry Miller
Drums - Tony Oxley
Engineer - Bill Price, David Grinsted*
Flugelhorn - Kenny Wheeler
Piano - John Taylor (2)
Producer - Peter Eden
Tenor Saxophone - Alan Skidmore
01. Once Upon A Time
03. The Yolk
04. Old San Juan
05. Free For Al