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Christopher McGregor (24 December 1936 – 26 May 1990), was a South African jazz pianist, bandleader and composer born in Somerset West, South Africa.
McGregor grew up in the then Transkei (now part of the Eastern Cape Province) where his father was headmaster at a Church of Scotland mission institution called Blythswood. Here he was exposed to the music of the local amaXhosa people.
This music is a rich and varied music which pervaded every aspect of life - from formal rituals to the casual activities and encounters of everyday life, like herding cattle or just walking home in the evening. Music was everywhere. And this music, as explained in Dave Dargie's seminal book Xhosa Music, is complex. Dargie mentions the following as examples of this complexity which might be seen to have influenced McGregor in his own music, both as composser/arranger and as band leader: "... a great number of style characteristics are to be found: relating not only to harmony and scale, but to melody, structure and phrasing, form, rhythm, instrumentation, singing techniques, and so on."
In his book Chasing the Vibration Graham Lock quotes McGregor saying: "I have this strong imaginative reference to African village music, and the thing I know about that music is that it has a strong centre. It builds up, a lot of people do things together that they know."
After school and a stint in the merchant navy training academy The General Botha at Gordon's Bay in the Western Cape, McGregor enrolled at the South African College of Music, then headed by Professor Eric Chisholm. Here McGregor was exposed to a different set of influences, during the day Bela Bartok and Arnold Schoenberg, and at night recordings of Duke Ellington and Thelonious Monk, and the live music of local jazz musicians like Dollar Brand (now Abdullah Ibrahim), Cecil Barnard (now Hotep Idris Galeta), Christopher Columbus Ngcukana, Vincent Kolbe, "Cup-and-Saucers" Nkanuka, Monty Weber, the Schilder brothers, and many others who were active in the vibrant Cape jazz scene at that time, the middle 1950s. The vibrancy and power of this music has led some to designate the music played around Cape Town as a particular jazz genre called "Cape Jazz." (Miller, 2007).
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Another one-shot Italian prog album (well, at least until the 1990s, when Mellow Records released some live and archival material). Their only album released during their lifetime was released in 1976 on the Grog label (owned by Vittorio de Scalzi of NEW TROLLS). This was a band that featured two keyboardists (Riccardo Zegna, Alessio Feltri), a bassist (Gabriele Siri), a drummer (Flavio Scogna), and vocals (Graziano Zippo), but no guitar. The only guitar you hear is on the opening cut, "...E Verrà L'Uomo", which was provided by Vittorio de Scalzi himself.
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Things We Like is a jazz album by bassist Jack Bruce.
The album was Bruce's second solo album to reach the marketplace; it was released in the U.K. in late 1970, and in the United States in early 1971. However, it was chronologically his first solo album, as it was recorded in August 1968, while Bruce was still a member of the rock power trio Cream.
Things We Like is noteworthy in that it is Bruce's only all-instrumental album, mostly containing tunes that Bruce claims to have composed in 1955, when he was twelve years of age. The album also prominently features Bruce's technique on the double bass, an instrument he rarely otherwise recorded with during his career.
Whereas most of Bruce's recorded work prior to this album was in the rock or blues music genres, Things We Like is jazz-flavored, in particular drawing from 1950s bebop and 1960s free jazz influences. Perhaps not surprisingly given this, the album did not chart upon its release.
Bruce had previously worked with two of his backing musicians on Things We Like – guitarist John McLaughlin and saxophonist Dick Heckstall-Smith – during his tenure with the Graham Bond Organisation prior to joining Cream. (An early version of Things We Like's "HCKHH Blues," under its full title "Ho Ho Country Kickin' Blues," was in fact recorded by the Graham Bond Organisation, and appears on their compilation album Solid Bond.) Bond's band was also Bruce's connection to drummer Jon Hiseman, who joined that band after Bruce's departure. Bruce would subsequently work again with McLaughlin in The Tony Williams Lifetime, and completed his last tour with Lifetime in the U.K. in late 1970, at about the time Things We Like was released there.
The album's original release included tracks 1-7 listed below; "Aging" was included in Polydor's 2003 CD reissue of the album as a bonus track.
The original album featured a distinctly jazz stereo mix with the drums in the right hand channel only, similar to Miles Davis's 1960s Quintet releases. The 1988 U.S. Polydor CD release featured a more rock-oriented mix with the drums centered, and bass and sax in the left and right channels respectively. The 2003 CD re-issue features the original jazz mix. While both mono and stereo versions of Things We Like were issued as promotional albums to U.S. radio stations in 1971, a mono version of the album has not been commercially issued.
Enthusiasts expecting to hear a continuation of the type of material that Jack Bruce (bass) had been responsible for during his tenure(s) with Cream or the Graham Bond Organisation might be in for quite a shock when spinning Things We Like (1970) for the first time. Instead of an album's worth of blues-based rockers, the seven instrumentals feature Bruce with other former Graham Bond stablemates John McLaughlin (guitar), Jon Hiseman (drums), and Dick Heckstall-Smith (sax) performing post-bop and free jazz. A majority of the compositions were penned by Bruce in his preteen days of formal scholarship at the Royal Scottish Academy of Music, where he also mastered the cello and composed a string quartet at the age of 11. After having gained significant clout from Cream, Bruce assembled what was initially a trio. However, after a chance meeting with McLaughlin -- who was so broke he had to refuse an offer to fly stateside to join the newly formed Tony Williams Lifetime -- Bruce incorporated the guitarist into the fold in order to help him finance his journey, which was ultimately successful. The entire effort was recorded and mixed in less than a week during August of 1968 -- less than three months prior to the infamous Farewell Concert of Cream at the Royal Albert Hall on November 26, 1968.
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Dick Heckstall-Smith (16 September 1934 – 17 December 2004) was an English jazz and blues saxophonist. He played with some of the most important English blues-rock and jazz fusion bands of the 1960s and 1970s.
Heckstall-Smith was born Richard Malden Heckstall-Smith in Ludlow, England (his father then being headmaster of the local Grammar School), and brought up in Knighton, Powys. He learned to play piano, clarinet and alto saxophone in childhood.
After refusing a second term at a York boarding school, he went to Gordonstoun, where his schoolmaster father, Hugh, had taken a job. Hugh soon fell out with the autocratic Kurt Hahn and the family retreated to Dartington.
Heckstall-Smith completed his education at the Foxhole school before reading agriculture – and co-leading the university jazz band – at Sidney Sussex College, Cambridge, from 1953. Aged 15, he had taken up the soprano sax while at Foxhole, captivated by the sound of Sidney Bechet. Then the smokiness of Lester Young's sound caught him, and the music of tenor saxist Wardell Gray, a major early bebop musician.
Heckstall-Smith was an active member of the London jazz scene from the late 1950s. He joined Blues Incorporated, Alexis Korner's groundbreaking blues group, in 1962, recording the album R&B from the Marquee. The following year, he was a founding member of that band's breakaway unit, the Graham Bond Organization; the lineup also included two future members of the blues-rock supergroup Cream: bassist Jack Bruce and drummer Ginger Baker.
In 1967, Heckstall-Smith became a member of keyboardist-vocalist John Mayall's prominent group the Bluesbreakers. That jazz-skewed edition of the band, which also included drummer Jon Hiseman and future Rolling Stones guitarist Mick Taylor, released the album Bare Wires in 1968.
From 1968 to 1970, Heckstall-Smith and Hiseman were the key creative members of the pioneering UK jazz-rock band Colosseum. The act was a showcase for the saxophonist's writing and his instrumental virtuosity; like American saxophonist Rahsaan Roland Kirk, he could blow two saxophones simultaneously.
After exiting Colosseum, Heckstall-Smith fronted several other fusion units, including Manchild, Sweet Pain, Big Chief, Tough Tenors, The Famous Bluesblasters, Mainsqueeze and DHSS. Collaborating musicians common to many of these outfits included Victor Brox, Keith Tillman and particularly harp player John O'Leary, a founder member of Savoy Brown. He participated in a 1990s reunion of the original Colosseum lineup and played the hard-working Hamburg Blues Band. In 2001 he cut the all-star project "Blues and Beyond", which reunited him with Mayall, Bruce, Taylor, ex-Mayall and Fleetwood Mac guitarist Peter Green.
Rather than a story ended, Dick Heckstall-Smith's debut album was in some ways a continuation of the stories written by his previous bands Colosseum and the Graham Bond Organisation, for the record was recorded with the assistance of several of his past associates from those two groundbreaking British blues-rock-jazz groups, including Mark Clarke, Dave Greenslade, Chris Farlowe, and Jon Hiseman (who both played drums and produced) of the just-disbanded Colosseum, as well as Graham Bond. Pete Brown, who'd worked with several of the musicians who sprang from the Graham Bond Organisation crowd, co-wrote most of the songs with Heckstall-Smith; Chris Spedding and famed Elton John sideman Caleb Quaye contributed guitar. As often happens on solo projects stuffed with contributions by famous friends, however, the album was something of a disappointment in comparison to the leader's respectable track record.
It sounds like a slightly heavier, slightly jazzier Colosseum, with songs that strain and tumble over themselves where the best Colosseum tracks had a powerful glide. Vocals were never Colosseum's strong suit, but the singing here, particularly on those tracks paced by Farlowe's blustery bellow, really drags the lyrically ambitious (and at times convoluted) material down. It might have been better to have had Pete Brown himself sing on those numbers he co-composed, as he was capable of projecting a real sense of his lyrics in spite of his vocal limitations. Instead, listeners are left with a confused-sounding (and at times grating) set that doesn't add up to the sum of the individual talents, though in the most melodic and laid-back number ("What the Morning Was After"), you get a hint of the kind of moody songs that Brown helped craft for Jack Bruce's early solo recordings. [The 2004 U.K. expanded CD reissue on Castle adds three pretty well-recorded live tracks from the touring band Heckstall-Smith assembled shortly after A Story Ended was recorded, including versions of two of the songs from the album ("Moses in the Bullrushourses" and "The Pirate's Dream"), as well as a cover of a Paul Butterfield song ("No Amount of Loving") not on the LP. The CD also adds a couple of previously unreleased studio recordings (credited to Manchild) laid down by the band in early 1973, although the album for which these were intended was never finished due to an injury to Heckstall-Smith.]
01. Future Song
02. Crabs Listen
03. Moses in the Bullrushourses
04. What the Morning Was After
05. The Pirate's Dream
06. Same Old Thing
07. Moses in the Bullrushourses [Live]
08. The Pirates Dream [Live]
09. No Amount of Loving [Live]
10. I'll Go Back to Venus [Previously Unreleased Manchild Recordings]
11. I Can't Get It [Previously Unreleased Manchild Recordings]
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This fine italian prog-rock album is a conceptual-based opus with some awesome theatrical development.
The music (impressive!) is keyboards-oriented, through the master hands of Gianni Leone (organ, piano, mellotron, moog, spinet, celesta) and the result is an intricate and sinister atmosphere "drenched with blood" because of that dark and exciting (shifting moods) frenetic playing. Electric guitar (by Lino Aiello) has not a dominant part here, but many times it's the icing on the cake, being so aggressive and apocalyptical! Many soft and sinister female choirs that seem to be the crying of the Angels' Chorus!
The lyrics are really obscure (already english translated on the forum!), telling the story of a man who starts a journey, all alone, and, during it, he has 3 meeting: a dead man ivy covered and with ripped ears; a dead old man with thorns infixed in his eyes; finally he meets The Death in person, but he doesn't be able to tell its true name because of his mouth is tired and motionless.and because light isn't anymore!
Three chilling scenes, three meeting.Three is a mystical number.it seems to me that the poem is about someone who, listening to the Wrong Voice, follows something which is the negation/contrary of the positive triad of the good (Trinity). Perhaps the album is about suicide but.who could tell it? Its lyrics are dark and with a not directly understandable message!
On the 1994 remastered edition there's also a GREAT bonus track titled "La Tua Casa Comoda" (Your Own Comfortable Home).
This is a great symphonic prog-rock-orientated album, great keyboards, lots of imagination. [progarcives.com]
01. Introduzione (15:11)
02. Primo Incontro (3:27)
03. Secondo Incontro (3:06)
04. Terzo Incontro (4:33)
05. Epilogo (11:30)
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The Stooges is the self-titled debut of the rock band The Stooges. It was released in August 1969 and peaked at number 106 on the Billboard album charts. Two songs, "I Wanna Be Your Dog" and "1969", were released as singles.
For their first album, The Stooges had intended to record five songs: "I Wanna Be Your Dog", "No Fun", "1969", "Ann", and "We Will Fall". The five songs were staples of—and essentially the basis of—The Stooges' live set at the time. A typical Stooges song of the period would involve two minutes of composed song followed by several minutes of improvisation. Presuming that the five songs as normally performed would cover requirements for the album, the Stooges were told by Elektra that they needed more material. According to Iggy Pop, "We handed (the five-song version of the album) in and they refused it. They said, 'There aren't enough songs!' So we lied and said, 'That's OK, we've got lots more songs.'" (liner notes of 2005 reissue, p.9)
In reality, the Stooges were about a day ahead of themselves when Iggy made that statement to Elektra; overnight, the group wrote three more songs, "Real Cool Time", "Not Right", and "Little Doll", and played them for the first time in the studio.
An initial mix by producer John Cale that resembled fellow ex-Velvet Underground member Lou Reed's "closet mix" of their third album was rejected by Elektra. The mix as heard on the album was done by Iggy Pop and Elektra Records president Jac Holzman. Four of Cale's original mixes, and the full studio versions of "Ann" and "Not Right", appear on the bonus disc of the 2005 reissued version.
In 2003, the album was ranked number 185 on Rolling Stone magazine's list of the 500 greatest albums of all time. The same magazine included "1969" in their "100 Greatest Guitar Songs of All Time" list.
In March 2005, Q magazine placed "I Wanna Be Your Dog" at number 13 in its list of the 100 Greatest Guitar Tracks.
01."1969" – 4:05
02."I Wanna Be Your Dog" – 3:09
03."We Will Fall" – 10:18
04."No Fun" – 5:15
05."Real Cool Time" – 2:32
06."Ann" – 2:59
07."Not Right" – 2:51
08."Little Doll" – 3:20
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Fun House is the second album by the American rock band The Stooges.
It was recorded in May 1970 and released in July of the same year. Like its predecessor, The Stooges (1969), Fun House did not sell well. In subsequent years, however, it has been cited as very influential on later musicians, notably in punk rock. In 2007, the album was voted Loudest Album Ever by Q Magazine.The 1,000 Best Albums Since 1965, according to Fast 'N' Bulbous, "Fun House" stands at number 1.
The tracks were recorded live in the studio with few or no overdubs, in roughly the same order as on the record. The Stooges were known at the time more for their cataclysmic live shows than for any established musicality, so "Fun House" being recorded in this pseudo-live fashion made it the Stooges album which most closely captures the essence of their sound. It also allowed for the collector-friendly release of 1970: The Complete Fun House Sessions in 2001.
The Stooges intended that "Loose" open the album, but Elektra thought "Down On The Street" would be the stronger opener.
An alternate version of "Down On The Street", with Doors-style organ overdubbed on it by producer Don Gallucci, was pulled from the album and made into a single. It was released the same month as Fun House, and fared slightly better on the charts.
In 1989 indie rock band Blake Babies covered "Loose" for their album Earwig. They sampled Iggy's voice into the song.
Numerous other musical artists have cited Fun House as their favorite album, including Joey Ramone, Jack White, Nick Cave, Henry Rollins (along with The Velvet Underground's White Light/White Heat) and musician/engineer Steve Albini
In 1999 Rhino Records released a limited edition box set, 1970: The Complete Fun House Sessions, featuring every take of every song from every day of the recording sessions, plus the single versions of "Down On The Street" and "1970". On August 16, 2005, the album was reissued by Elektra and Rhino as a two-CD set featuring a newly remastered version of the album on disc one and a variety of outtakes (essentially highlights from the Complete Fun House Sessions box set) on disc two. Jack White contributed a quote to Iggy biographer Paul Trynka's liner notes to the reissue, in which White dubbed Fun House "by proxy the definitive rock album of America."
In 2003, the album was ranked number 191 on Rolling Stone magazine's list of the 500 greatest albums of all time.
In 1998, the Paris-based music magazine Rock & Folk placed Fun House in the top position of its "discothèque idéale."
In 2005 the album was performed live in its entirety as part of the All Tomorrow's Parties-curated Don't Look Back series.
01."Down on the Street" – 3:42
02."Loose" – 3:33
03."T.V. Eye" – 4:17
04."Dirt" – 7:00
05."1970" – 5:14 (also known as "I Feel Alright")
06."Fun House" – 7:45
07."L.A. Blues" – 4:52
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High Time was the third and final album released by the protopunk band MC5; it was released in 1971. After losing money on this and the group's previous album, Atlantic Records dropped the group.
MC5 were nearing the end of their long and bumpy trail when they cut High Time in 1971, and it was widely ignored upon initial release. While it lacks the flame-thrower energy and "off the man!" politics of Kick Out the Jams or the frantic pace and "AM Radio of the People" sound of Back in the USA, High Time sounds like MC5's relative equivalent to the Velvet Underground's Loaded, their last and most accessible album, but still highly idiosyncratic and full of well-written, solidly played tunes. Fred Smith's "Sister Anne" and "Skunk (Sonically Speaking)" bookend the album with a pair of smart, solidly performed hard rockers (bolstered by fine horn charts), and Wayne Kramer's "Poison" ranks with the best songs he brought to the band (he later revived it for his solo album The Hard Stuff).
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Back in the USA is the 1970 debut studio album, and second album overall, by the American protopunk band MC5. The opening track is a cover of the classic hit "Tutti Frutti" by Little Richard, "Let Me Try" is a ballad, "The American Ruse" attacks what the Detroit quintet saw as the hypocritical idea of freedom espoused by the US government, and "The Human Being Lawnmower" expresses opposition to the US involvement in the Vietnam War. The last song on the album, which is the title track, is a cover of Chuck Berry's 1959 single "Back in the U.S.A.."
The central focus of the album is the band's actual movement away from the raw, thrashy sound pioneered and captured on their first release Kick Out the Jams. This was due in part to producer Jon Landau's distaste for the rough psychedelic rock movement, and his adoration for the straightforward rock & roll of the 1950s.
Landau, who originally wrote for Rolling Stone Magazine, was looking to get more involved in actual music production. Becoming close with Atlantic Records executive Jerry Wexler was his chance and led Landau to the politically radical MC5, who had just been picked up by Atlantic after being dropped from Elektra Records in 1969 - ironically, the Kinney National Company (later known as Time Warner), parent of Atlantic, would acquire Elektra in the same year of this album's release; both labels are now part of the Warner Music Group (now a separate company from TW), through the Atlantic Records Group.
01."Tutti Frutti" (Dorothy LaVostrie, Joe Lubin, Richard Penniman) – 1:30
02."Tonight" – 2:29
03."Teenage Lust" – 2:36
04."Let Me Try" – 4:16
05."Looking at You" – 3:03
06."High School" – 2:42
07."Call Me Animal" – 2:06
08."The American Ruse" – 2:31
09."Shakin' Street" – 2:21
10."The Human Being Lawnmower" – 2:24
11."Back in the U.S.A." (Chuck Berry) – 2:26
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According to the Prog Archives information the line up on this album was Aldo Tagliapietra on bass, vocals and guitars, Nino Smeraldi on guitars, Giuseppe Michi on drums, Claudio Galieti on guitars and bass and Antonio Toni Pagliuca on keyboards. When Le Orme started touring to promote this album, one of their guests was PETER HAMMILL. And both this LP as the single "Gioco di bimba" turned into a very successfull effort. Le Orme were hot in Italy in those days!
This famous album by Le Orme, rapidly became a Classic in Italy and in the world prog scenario itself. Seven strong organ and keyboard oriented songs, with always delicate touch of acoustic guitar and warm vocals provided by Aldo Tagliapietra (Cutstone, I repeat it). But, what about the lyrics? After listening with attention to the album I've realized it is a quasi-concept album, if not a concept completely! The main theme has been always under my eyes.just look to the cover, what do you see? Surrealistic and oneiric images, a distorted vision of the reality! The feelings represented in it seem to be solitude, sadness, alienation etc. I think it is a further proof of the main theme: PSYCHOLOGICAL DISEASES, MENTAL DISTURBS, EMOTIONAL FRAGILITIES, IMAGINERY FEARS, PEOPLE THAT ARE OUT OF TOUCH WITH REALITY.
The opener (Una Dolcezza Nuova- A New Sweetness) is a great duet between organ and classic piano. The lyrics are revealer: ".there's in your eyes an ancient fear, ashes' dreams now burn in you. When the fears fade away, believe in me.the storm is in your heart, you take refuge in me. In the space shouts the thunder, your voice is now a sigh and you trembles beside me.". Is this a romantic interlude? Or is it the narrator the second of a double personality which tries to replace the first one, not able to bear all the crude reality anymore?
Gioco di Bimba (Baby's Game) was the hit single that helped Le Orme to established theirselves as one of the major band in Italy: ". she wakes up in the night, walks silently with closed eyes, like she follows a magical singing. And on the swing she restarts to dreams.with dressing gown, white face, moonlight rays on her hair. swinging swinging.in the baby's game a woman loses herself.". A sleepwalker's story. It could be also the representation of that emotive state in which a person don't manage to exit from his (or her) childhood.
La Porta Chiusa (The Locked Door) is a stunning 7,30 mns piece with really captivating keyboards, great bass guitar and drums' work. ".As every evening you're alone in the dark, only your whiteness keeps you company. You hear a rustle at the doorstep and you don't know who is it.you listen in silence. who's knocking at your door at this late hour?".
Breve Immagine (Brief Image) is a wonderful short track with dreaming atmosphere and lyrics:".it's a sweetest image, it's a fleeting image.".
Figure di Cartone (Cartboard Figures) is a great synth played song about the losing touch with reality: ".in your own strange world, made of cartboard's figures and lots of cloth's dolls.you live there between those four walls, you don't remember who've leaded there, you only know who's playing with you. You don't have anxiety for the future, time for you has no value.you talk with the Angels. In that closed circle of madness you've lost your youth.".
Aspettando l'Alba (Waiting for the Dawn) is a romantic track with a nice soft acoustic guitar. ".guitar's sound, a singing in the night, a fire on the beach.many footprints on the sand.there was an empty and dull face.a silent thought.".
Alienazione (Alienation), using the words of Erik this is the ".most bombastic tribute to ELP with dynamic drums and spectacular keyboard play"! Alienation could be the result of all the disturbed mental states mentioned above!
The theme is somehow complex and fascinating, what a pity the non-italian people cannot understand it! Le Orme's lyrics are great, always being a perfect marriage with their fantastic music! The five stars are a must (as well as a pleasure after listening to such an opus!).
01. Una dolcezza nuova (5:28) : After a church organ-like intro, the music alternates between propulsive and bombastic featuring a dynamic rhtyhm-section and great organ runs (with strong echoes from ELP) and dreamy with sensitive acoustic piano. The Italian vocals sound very warm with a melancholical undertone, EXCELLENT!
02. Gioco di bimba (2:54) : This was the hit single featuring a mellow atmosphere with acoustic rhythm guitar, synthesizer flights and warm vocals along a surprising break with mandolin and clavinet.
03. La porta chiusa (7:28) : This track has captivating climates that changes from romantic to bombastic with great Hammond and Moog play, the final part contains first wonderful interplay between the Hammond organ and Grand piano and then a short but sensational, very dynamic piece in the vein of ELP.
04. Breve immagine (2:42) : WONDERFUL VIOLIN-MELLOTRON ERUPTIONS along warm vocals and bass, GOOSE BUMPS!
05. Figure di cartone (3:48) : This track delivers fat Moog flights with obvious hints from Keith Emerson his work on the Moog synthesizer during "Lucky man".
06. Aspettando l'alba (4:43) : A romantic climate with warm vocals and acoustic rhythm guitar, in the end delivering some flute-Mellotron.
07. Alienazione (4:43) : This is Le Orme in their most bombastic tribute to ELP with dynamic drums and spectacular keyboard play, this sounds so exciting! [progarchives.com]
01. Una dolcezza nuova (5:28)
02. Gioco di bimba (2:54)
03. La porta chiusa (7:28)
04. Breve immagine (2:42)
05. Figure di cartone (3:48)
06. Aspettando l'alba (4:43)
07. Alienazione (4:43)
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LE ORME is a prime example of a band drastically changing their sound, in this case for the better. Back in 1969 they released their first album, "Ad Gloriam", which finds the band exploring pop/psychedelia. Realizing that style of music was quickly going out of fashion, thanks to the rise of prog rock, they decided to go prog, and the results is "Collage", which is the first in a series of albums that would serve them well for their next three releases. They moved to Philips from a label called Car Juke Box, and reduced their lineup to a three piece with Claudio Galieti and Nino Smeraldi now out of the picture, leaving the band with bassist/guitarist/vocalist Aldo Tagliapietra, keyboardist Toni Pagliuca, and drummer Michi dei Rossi.
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The 5000 Spirits or the Layers of the Onion is the second LP by The Incredible String Band, released in July 1967.
Since recording their debut album the previous year, the original trio had been reduced to two, Mike Heron and Robin Williamson. They recorded The 5000 Spirits... in London in early 1967. The album also featured Pentangle's Danny Thompson on double bass, Williamson's girlfriend Licorice McKechnie on vocals and percussion, master sitar player Nazir Jairazbhoy (credited as "Soma"), and, on piano, counter-culture activist John "Hoppy" Hopkins, who had just set up London's UFO Club with the album's producer, Joe Boyd.
The album demonstrated considerable musical development and a more unified ISB sound. It displayed their abilities as multi-instrumentalists and singer-songwriters, and gained them wide acclaim. As well as winning favourable reviews in the music press, it was received enthusiastically by the DJ John Peel, who regularly featured tracks from the album on his influential Perfumed Garden programme on the pirate radio ship Radio London. The 5000 Spirits... went to Number One in the UK folk chart, and was named by Paul McCartney as one of his favourite records of that year.
The lyrics, the band's various Indian and Arabian instruments, and the striking cover art by The Fool, led to it being placed as a psychedelic work. Much of the music itself, however, draws more widely on traditional British folk music. The album included Heron's "The Hedgehog's Song", Williamson's "First Girl I Loved", later recorded by Judy Collins, Jackson Browne and Don Partridge, and his "The Mad Hatter's Song". With its mixture of musical styles, the album paved the way for the band's more extended forays into psychedelia, while also containing whimsical references to talking clouds and a magic Christmas tree.
In 2002, Rowan Williams, the Archbishop of Canterbury, chose "The Hedgehog's Song" for his appearance on the BBC radio programme Desert Island Discs. He described the chorus - "Oh, you know all the words, and you sung all the notes / But you never quite learned the song, she sang / I can tell by the sadness in your eyes / That you never quite learned the song" - as "a powerful summing-up of life and relationships".
In the 2008 film Summer Hours by director Olivier Assayas, "Little Cloud" is played over the end credits. The Album was seen in the 2009 Philip Seymour Hoffman film Pirate Radio as the last item Bob Silver attempts to rescue from the sinking broadcast platform that was the vessel Rock Radio. (Doctor Dave declares "Oh dear, that is not a good record." and throws it back.)
In 1967, Joe Boyd had signed the Incredible String Band, who were then down to Robin Williamson, Mike Heron, and Licorice McKechnie, to Elektra. The 5000 Spirits or Layers of the Onion had been crafted in cottage in Glasgow, but Boyd wanted a proper recording studio to get it on tape. He chose engineer John Wood's Chelsea studio for the sessions. Recorded on a four-track machine, Boyd and Wood proceeded to capture the very best of the dozens of songs Williamson and Heron brought in. Influenced heavily by the era -- this was the summer of love, after all -- and North African music due to Williamson’s recent trip to Morocco, the set is one of the most ambitious albums in the band’s catalog. The trio were also accompanied by Danny Thompson on bass on seven tracks, as well as Nazir Jarazbhoy on sitar. The standout tracks include “First Girl I Loved” (later covered by Judy Collins and Jackson Browne), and the cosmic folk-blues “The Mad Hatter’s Song.”
On this set, British folk often comes up against against Williamson’s fascination with Middle Eastern sounds -- check the bowed gimbri hovering and flitting about the acoustic guitar on “Chinese White,” and the hand drums underscoring the acoustic slide guitar on “The Hedgehog Song.” Thompson’s bass and Williamson’s harmonica are the only elements that keep “Blues for the Muse” on the ground -- barely a blues at all because of the way it pushes the 12-bar envelope. The brief “My Name Is Death” begins as a one-chord drone before it moves back to a more formally constructed 18th century traditional song. The meld of all ISB’s influences are heard on “Gently Tender,” a beautiful if somewhat anarchic tune where flutes, acoustic blues, hand drums, bass, gimbri, and sitar are all employed. This set stands as one of the true masterpieces in the group's catalog.
01. "Chinese White" Mike Heron 3:40
02. "No Sleep Blues" Robin Williamson 3:53
03. "Painting Box" Heron 4:04
04. "The Mad Hatter's Song" Williamson 5:40
05. "Little Cloud" Heron 4:05
06. "The Eyes of Fate" Williamson 4:02
07. "Blues for the Muse" Williamson 2:49
08. "The Hedgehog's Song" Heron 3:30
09. "First Girl I Loved" Williamson 4:55
10. "You Know What You Could Be" Heron 2:46
11. "My Name Is Death" Williamson 2:46
12. "Gently Tender" Heron 4:49
13. "Way Back in the 1960s" Williamson 3:11
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Ripped by: ChrisGoesRock
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Recorded in 1971, Beau's Creation receives a makeover after 40 years, with lots of bonus material from 1972 and 1975. It would of course have to be Cherry Red who would release this gem of folk rock music.
Beau, aka Trevor Midgley, released the album in a singer songwriter style, which definitely brings up association with other legends of the folk rock genre, like Bob Dylan or Nick Drake, sans the mouth organ. The lyrics are also very important, again showing that Beau is very much a match to the best in the singer songwriter tradition.
Creation Recreated is a pretty standard folk rock album, with lots of beautiful 12-string guitar work and soothing vocals. The electric guitar solos make sure that the music doesn't become a little too familiar and boring, providing some nice space rock interludes. There's also some organ work from Beau himself to help in the cause.
Beau is a specialist twelve-string guitar player who first became known in the late 1960s through his recordings for John Peel's Dandelion Records label. He released two albums on Dandelion - Beau (1969) and Creation (1971)[2] which featured Jim Milne and Steve Clayton from Tractor as backing musicians on some tracks, plus the single "1917 Revolution" which had greater success abroad than it did in the UK. "1917 Revolution" is said to have been the inspiration for America's "A Horse With No Name".
His best known song however is probably "The Roses Of Eyam" (written under the name of John Trevor) which folk singer Roy Bailey took around the world and which he recorded on his Hard Times LP in 1985. This version was subsequently re-released on Bailey's Past Masters CD in 1998. Beau himself released the song officially for the first time as a bonus track on the 2007 UK reissue of the original Beau disc (Cherry Red), and on the 2008 Japanese release of the same album (Airmail Recordings).
A CD of eighteen previously unissued songs - Edge Of The Dark - was issued on the Angel Air label in 2009, followed in 2011 by the Cherry Red download albums The Way It Was and Creation Recreated. The latter is a remastered, partially remixed and much expanded version of 1971’s Creation. Beau also contributed a previously unreleased song - In The Court Of Conscience - to vinyl specialist Fruits de Mer Records' 2012 Annual.
Beau has produced several hundred songs, and has also recorded under the names of John Trevor and Trevor Midgley. Though mostly known as a "folk" performer, his writing has also been strongly influenced by blues and rock. He co-wrote "WARHOL - The Musical" with Steve Clayton of the band Tractor.
01. "Nine Minutes" 2:53
02. "There Once Was A Time" 3:40
03. "Spider" 2:40
04. "April Meteor" 2:44
05. "Is This Your Day" 3:06
06. "Creation" 4:09
07. "Blind Faith" 3:55
08. "Ferris Street" 2:20
09. "Release" 2:38
10. "A Reason To Be" 3:22
11. "Silence Returns" 4:00
12. "Sky Dance " 2:58
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Mr. Fantasy (not to be confused with "Dear Mr. Fantasy", the title song on this album) is the debut album by British rock band Traffic. It was released in 1967. For the recording, group members included Jim Capaldi, Steve Winwood, Chris Wood, and Dave Mason, however Mason left the band before the album was released. The album reached the number 16 position in the UK album chart on 30th December 1967
Considered by far the strangest and most art rock style album that Traffic released, Mr. Fantasy didn't gain much more than a cult following for Traffic at the time. Critics seemed to like the album, though, and most said it was clear that Steve Winwood and Traffic were good at putting together semi-mainstream psychedelic rock, except this album was not quite mainstream enough. By their next release, the eponymous Traffic, the band was said to have worked through that.
This album features even more horns, flutes, and less rock-style instruments than most of Traffic's future releases. The sitar was used much more in this album than any other later Traffic albums, undoubtedly because of Dave Mason's influence.
The first US version of the album on United Artists Records had a different title Heaven Is In Your Mind and a different cover that featured 3 members of the group without Dave Mason. The title was quickly changed back to Mr. Fantasy but the new cover remained until Island Records re-issued the UK version in the late 1970s.
For the original US edition the group changed the album substantially. The song order was changed and a short snippet of the group's November 1967 single "Here We Go Round The Mulberry Bush" was added between all the songs. The US LP also added three songs from the group's UK singles, "Paper Sun" and "Hole In My Shoe" and "Smiling Phases" (B-side) while deleting two Dave Mason songs "Hope I Never Find Me There" and "Utterly Simple." The final track on the US album "Were A Fade, You Missed This' is actually the ending of "Paper Sun" as it appeared in the earlier single. There are also many differences between the stereo and mono mixes for the album. Both the US and UK editions were released in stereo and mono.
Traffic was a rock band from Birmingham, England, formed in early 1967 by Steve Winwood with Jim Capaldi, Chris Wood and Dave Mason.
The group's distinctive sound, innovative recordings and collaborative songwriting (which they attributed to massive pot smoking with Richard Ellis) influenced many other groups in the progressive rock genre in the late 1960s and early 1970s.[dubious – discuss] Like many other groups of the period, Traffic was heavily influenced by the early recordings of The Band[citation needed], and, like The Band, they also retreated to a country house (in Berkshire, England) at the beginning of their career in order to write and develop their material before making their live debut.
Winwood had become friends with his future bandmates in the latter days of the Spencer Davis Group (which also hailed from Birmingham) and Capaldi, Wood and Mason are reputed to have performed (uncredited) on at least two Spencer Davis Group singles, "I'm A Man" and "Gimme Some Lovin'".
The four musicians often jammed together at a club called The Elbow Room in Aston, Birmingham. With Mason and Capaldi eager to form a new group, Winwood agreed to join the partnership along with Chris Wood and so the four members retreated to a secluded cottage in Aston Tirrold, Berkshire (now Oxfordshire) to rehearse. Their first official recordings together were made for the soundtrack of the 1967 British feature film Here We Go Round The Mulberry Bush.
Traffic signed to Chris Blackwell's Island Records label (of which Steve Winwood's elder brother Muff Winwood later became an executive) and their debut single "Paper Sun" was a UK hit in mid-1967. The second single, Mason's psych-pop classic "Hole in My Shoe," was an even bigger hit, and it became one of their best-known tracks, but it set the stage for increasing friction between Winwood and Mason, the group's principal songwriters. Their debut album was Mr. Fantasy which, like the singles, was a hit in the UK but not in the U.S. or elsewhere.
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