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Surfer Girl is the third studio album by The Beach Boys and their second longplayer in 1963. This was the first album by The Beach Boys for which Brian Wilson was given full production credit, a position Wilson would maintain until the end of the The Smile Sessions in 1967. Surfer Girl is also the title of an unrelated 1973 compilation album released by US budget label Pickwick Records, repackaging early 1960s Beach Boys tracks.
Surfer Girl hit #7 in the US during a chart stay of 56 weeks. In the UK, the album was re-released in spring 1967 and reached #13. Surfer Girl (Capitol (S) T 1981) is now paired on CD with Shut Down Volume 2, with bonus tracks from that period, including a German language version of "In my Room". The albums are paired out of sequence to avoid the duplication of "Little Deuce Coupe", "Our Car Club", "Shut Down" and "409" that appear on Little Deuce Coupe.
Brian Wilson himself turns in, along with, variously, Mike Love, Gary Usher and Roger Christian's help, some of his most cherished songs. The title track, a #7 US hit, was the first song Brian had ever composed, at the age of 19, using "When You Wish Upon A Star" as a guide while writing it. As a ballad, it was a risky move for a single, but its obvious quality overcame any potential commercial risks. Its flip-side, "Little Deuce Coupe", proved to be The Beach Boys' most successful B-side, reaching US #15 and becoming a hot rod staple. It also continued the band's current trend of putting a surf-related song on the A-side of singles, and car songs on the B-side. "Catch a Wave" featured Mike Love's sister, Maureen, on harp, while "The Surfer Moon" was the first Beach Boys song to have a string arrangement. "In My Room" was perhaps Brian Wilson's first personal song, a reflection on having a place to go to feel a sense of security and safety from the stress of one's life. Despite some slight material ("South Bay Surfer", "Boogie Woodie"), it was clear that Surfer Girl was a giant step forward for The Beach Boys - and the first of many.
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All Summer Long is the sixth studio album by The Beach Boys and their second in 1964. Recorded in the aftermath of the British Invasion, spearheaded by The Beatles, the album marked a major turning point in The Beach Boys' career, and in leader/prime songwriter Brian Wilson as an artist.
All Summer Long hit #4 in the US during a 49 week chart stay. All Summer Long (Capitol (S) T 2110) is now paired on CD with Little Deuce Coupe, with bonus tracks from that period.
Songs from this album are also featured on the EP Four by The Beach Boys.
Beginning in February 1964, Wilson engaged in a rigorous period of songwriting, emerging some weeks afterwards with songs including "I Get Around", "All Summer Long", "Wendy" and "Girls on the Beach". The Beach Boys dubbed their vocals over the instrumental tracks performed by session musicians, all produced by the 21-year-old Wilson.
"I Get Around" preceded the album's release by some two months and quickly raced to become their first #1 single in the United States; they also had a UK Top 10 debut with a #7 peak. The album was released in July, peaking at #4 in the United States, and being certified gold; the album did not make the UK charts, however.
But there was one major change in the internal structure of The Beach Boys during the making of All Summer Long. After enduring father and manager Murry Wilson's domineering ways for over two years, the band had reached the breaking point. During the recording session for I Get Around, the musicians dismissed him as manager. An attempt at reconciliation on Murry's part, much of it captured on the running tapes for the "Help Me Rhonda" take that appeared on their next album, cemented the break.
A summer feel permeates the cover of this album, with a series of candid snapshots mounted into a montage. Photography was credited to both Kenneth Veeder and George Jerman (who had taken the photographs for the bands earlier albums) but it remains unclear as to who took the color pictures on the front of the sleeve, or the black and white studio shots on the reverse. The location for the shoot was once again Paradise Cove, north of Malibu, the same location used for the Surfin' Safari sleeve. However, whilst it appears that all five band members were present for the session only Brian, Carl, Dennis and Mike were photographed on the sand (along with the two girls, in various outfits) - Al was absent that day for a case of Flu and his images were added at a later date.
On first pressings of the LP, the song "Don't Back Down" is misprinted as "Don't Break Down" on the front cover. This version of the LP sleeve also has the song titles printed in the same mustard-colored ink as the album title. Subsequent printings with the typo corrected have the song titles printed in black.
01. "I Get Around" Brian Wilson/Mike Love Brian Wilson/Mike Love 2:12
02. "All Summer Long" B. Wilson/Love Love/group 2:06
03. "Hushabye" Doc Pomus/Mort Shuman B. Wilson/Love 2:40
04. "Little Honda" B. Wilson/Love Love 1:52
05. "We'll Run Away" B. Wilson/Gary Usher B. Wilson 2:00
06. "Carl's Big Chance" B. Wilson/Carl Wilson instrumental 2:25
07. "Wendy" B. Wilson/Love group/Love 2:19
08. "Do You Remember?" B. Wilson/Love Love/B. Wilson 1:40
09. "Girls on the Beach" B. Wilson B. Wilson/Dennis Wilson 2:24
10. "Drive-In" B. Wilson/Love Love 1:51
11. "Our Favorite Recording Sessions" B. Wilson/Dennis Wilson/C. Wilson/Love/Al Jardine spoken word 1:59
12. "Don't Back Down" B. Wilson/Love Love/B. Wilson 1:44
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Traffic was an English rock band whose members came from the West Midlands. The group formed in April 1967 by Steve Winwood, Jim Capaldi, Chris Wood and Dave Mason. They began as a psychedelic rock group whose early singles were influenced by The Beatles, and diversified their sound through the use of instruments such as keyboards like the Mellotron, reed instruments, and by incorporating jazz and improvisational techniques in their music. Their first three singles were "Paper Sun", "Hole in My Shoe", and "Here We Go Round the Mulberry Bush".
After disbanding in 1969, during which time Winwood joined Blind Faith, Traffic reunited in 1970 to release the critically acclaimed album John Barleycorn Must Die. The band's line-up varied from this point until they disbanded again in 1975, although a partial reunion, with Winwood and Capaldi, took place in 1994.
History
Traffic's singer, keyboardist and occasional guitarist Steve Winwood had success as a musician prior to joining Traffic, becoming the frontman of the Spencer Davis Group at age 15 in 1963. The Spencer Davis Group released four Top Ten singles and three Top Ten albums in the United Kingdom, as well as two Top Ten singles in the United States.
Winwood met drummer Jim Capaldi, guitarist Dave Mason, and multi-instrumentalist Chris Wood when they jammed together at The Elbow Room, a club in Aston, Birmingham. After Winwood left the Spencer Davis Group in April 1967, the quartet formed Traffic. Soon thereafter, they rented a cottage near the rural village of Aston Tirrold, Berkshire to write and rehearse new music.
Traffic signed to Chris Blackwell's Island Records label (where Winwood's elder brother Muff, also a member of the Spencer Davis Group, later became a record producer and executive), and their debut single "Paper Sun" became a UK hit in mid-1967. Their 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. The band's third single, "Here We Go Round the Mulberry Bush", was made for the soundtrack of the 1967 British feature film of the same name.[1] Their debut album was Mr. Fantasy, produced by Jimmy Miller, and like the singles, was a hit in the UK but not as big in the US or elsewhere, although it did reach #88 and stayed on the charts for 22 weeks in the US.
Mason quit the group after the release of Mr Fantasy but rejoined for their second album, Traffic, released in 1968, which included the original version of Mason's "Feelin' Alright", which was later covered with great success by Joe Cocker and Three Dog Night. The band began touring the US in late 1968, which led to the following year's release of Traffic's next album, Last Exit, one side of which was recorded live. In 1968 Winwood, Wood and Mason also contributed to the sessions for the watershed Jimi Hendrix double-album Electric Ladyland, and Mason played acoustic guitar on Hendrix's landmark cover of Dylan's "All Along the Watchtower".
Winwood, Wood, and Capaldi quarrelled with Mason, who eventually left the group. The remaining three members wanted to take the group in a different direction, opting for a folk/blues style rather than their earlier psychedelic/eclectic rock sound, but they split again before making any more recordings or tours.
Winwood then formed the highly touted supergroup Blind Faith with Eric Clapton and Ginger Baker of Cream and bassist Ric Grech from Family, but it lasted less than a year, recording one album and undertaking one US tour. The remaining members of Traffic began a project with Mick Weaver, the short-lived Mason, Capaldi, Wood, and Frog, which played a few live dates and recorded some BBC sessions, but broke up before releasing any formal recordings.
After the break-up of Blind Faith in 1969, Winwood began working on a solo recording, bringing in Wood and Capaldi to contribute, and the project eventually turned into a new Traffic album (without Mason), John Barleycorn Must Die, their most successful album yet. Traffic went on to expand its lineup in 1971, adding Ric Grech on bass, drummer Jim Gordon of Derek and the Dominos, and percussionist Rebop Kwaku Baah. The live album Welcome to the Canteen was released in September and marked the band's break with United Artists Records. It did not bear the "Traffic" name on the cover, but instead was credited to the band's individual members including Mason, who returned for his third and final spell with the band. Mason played two songs from his recent solo album, Alone Together, and the album ended with a cover of The Spencer Davis Group song "Gimme Some Loving".
Following the departure of Mason, Traffic released The Low Spark of High Heeled Boys (1971), which was a Top 10 American album but did not chart in the UK; the LP is also notable for its striking die-cut cover. It sold over half a million copies in 1972 when it received a gold disc, and was awarded a R.I.A.A. platinum disc in March 1976 for over a million total sales. Once again, however, personnel problems wracked the band as Capaldi began a solo career, and Grech and Gordon left the band. Grech and Gordon were replaced by drummer Roger Hawkins and bassist David Hood, the rhythm section of the famed Muscle Shoals Sound Studio house band.
The new lineup (Winwood, Capaldi, Wood, Kwaku Baah, Hawkins, Hood) toured America in early 1972 to promote the LP, and their concert at the Santa Monica Civic Auditorium on 21 February was recorded in multitrack audio and captured on colour videotape with multiple cameras. The 64-minute performance, which features a selection of Traffic classics in excellent stereo sound, is thought to be the only extended live footage of the group. It was evidently not broadcast on television at the time, but was later released on home video and has recently been reissued on DVD.
Following Winwood's recovery from a long case of peritonitis, Traffic's sixth studio album, Shoot Out at the Fantasy Factory, released in 1973, was another hit. When the Eagle Flies (1974) included bassist Rosko Gee. After this, Traffic disbanded. Their breakup was followed by two compilations from United Artists (Heavy Traffic and More Heavy Traffic), both of which only drew from the first half of their output.
Rosko Gee and Rebop Kwaku Baah joined German band Can for their albums Saw Delight (1977), Out of Reach (1978) and Can (1979).
Capaldi and Winwood reunited as Traffic in 1994 for a one-off tour, after a fan left a voice mail message at Bob Weir's (of the Grateful Dead) hotel in Chicago during the 1992 "Scaring the Children" tour, and suggested it would be cool if Traffic toured with the (then Grateful) Dead. Traffic opened for The Grateful Dead during summer tour, and they recorded and released a CD of all-new material Far From Home, but it was made without Chris Wood, who had died in 1983 from alcohol-related causes. The flute/sax role on the tour was played by Randall Bramblett, who had never been a member of Traffic, but had worked extensively with Steve Winwood. The bass player for the tour was Rosko Gee. Michael McEvoy joined the line up playing keyboards, guitar and viola, and Walfredo Reyes Jr. played drums and percussion.
Traffic was inducted into the Rock and Roll Hall of Fame on 15 March 2004.
Tentative plans for another Traffic project were cut short by Jim Capaldi's death at age 60 in January 2005, ending the songwriting partnership with Winwood that had fueled Traffic from its beginning.
Dear Mr Fantasy was a celebration for Capaldi that took place at The Roundhouse in Camden Town, London on 21 January 2007. Guests included Steve Winwood, Paul Weller, Pete Townshend, and many more. Dear Mr Fantasy featured the music of Jim Capaldi and Traffic, and all profits went to The Jubilee Action Street Children Appeal.
01. Low spark of the High Heeled Boys
02. Light Up or Leave Me Alone
03. John Barleycorn
04. Rainmaker
05. Glad / Freedom Rider
06. Forty Thousand Headmen
07. Dear Mr. Fantasy
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The Dictators are a rock and roll band formed in New York City in 1973.
Critic John Dougan said that they were "one of the finest and most influential proto-punk bands to walk the earth."[2]The Dictators' debut album, The Dictators Go Girl Crazy! (1975) was perhaps the first album released by a New York punk group. They found relatively little commercial success, and their smart-guys-playing-dumb shtick would be further refined by later punkers -- notably The Ramones.
The Dictators are represented in the "Punk Wing" of the Rock and Roll Hall Of Fame, in Cleveland, Ohio. Steven Van Zandt called them"The connective tissue between the eras of The MC5, Stooges, NY Dolls, and the punk explosion of the mid to late 1970's".
The original recording lineup consisted of bassist/vocalist Andy (aka "Adny") Shernoff, lead guitarist Ross "The Boss" Friedman (aka Ross Funicello), rhythm guitarist Scott "Top Ten" Kempner, and drummer Stu Boy King (who was, in fact, the band's fourth drummer since forming in 1973). It was this lineup - along with roadie/occasional vocalist and "Secret Weapon" Handsome Dick Manitoba - which recorded the band's 1975 debut album, The Dictators Go Girl Crazy for Epic Records, produced by Sandy Pearlman and Murray Krugman (best known for their work with Blue Öyster Cult). Although the album sold poorly at the time, today it is considered one of the most important albums ever recorded by a New York punk band of the period, and still stands as arguably one of the funniest records ever made.
Frustrated by the lack of sales, the band broke up for a few months in late 1975, but reconvened in early 1976, with bassist Mark "The Animal" Mendoza replacing Shernoff. After a few months Shernoff was persuaded to return to the group as the group's keyboardist. This lineup soon secured a contract with Asylum Records (at least partly due to the notoriety the group had developed following a well-publicized brawl between Manitoba and Wayne County) and released their second album, Manifest Destiny, in 1977. The album - again produced by Pearlman and Krugman - is usually considered the weakest of the group's first three albums, and featured a considerably more mainstream sound. The band resisted playing songs from Manifest Destiny for several years because the album hadn't been re-released on CD.
During this period the band was christened with their nickname, "The 'Taters." This culminated in an incident during a tour with Uriah Heep and Foreigner in which Foreigner's roadies strung a net filled with potatoes above the stage and released it during the Dictators' set.
By 1978 Mendoza had left the band (he soon joined Twisted Sister) and Shernoff had returned to his original position on bass guitar. It was this lineup of Manitoba, Shernoff, Friedman, Kempner, and Rich Teeter which recorded Bloodbrothers (yet again produced by Pearlman and Krugman). At the time it was - and still is - generally considered to be a stronger album than Manifest Destiny. It was the first album to feature Manitoba as the group's vocalist on all the songs, though Bruce Springsteen - a big fan of the group to this day - can be heard counting "1-2-1-2-3-4" during the album's opening track, "Faster and Louder." The album's "Baby, Let's Twist" was a minor hit on a number of east coast radio stations, but the lack of mainstream success caused the band to split the following year. Shortly before the split drummer Mel Anderson had left Twisted Sister and joined The Dictators, replacing Teeter. After the breakup, Manitoba drove a cab, Shernoff worked as a producer, and Friedman became something of a gun-for-hire; working first with the French hard rock band Shakin' Street, then becoming a founding member of Manowar in 1982, and producing the first demo for Anthrax.
Although Friedman had spoken to the press with some bitterness about The Dictators during the early Manowar period, he and the other members of the band began reuniting occasionally in 1981, and later that year ROIR released the cassette-only Fuck 'Em If They Can't Take a Joke, which featured numbers from all three of the group's studio albums, covers of the Velvet Underground's "What Goes On" and Mott the Hoople's "Moon Upstairs," and two new Shernoff numbers; "Loyola" and "New York New York."
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Twice as Much was composed of David Skinner (born David Ferguson Skinner, 4 July 19??) and Andrew Rose (born 12 March 1947, Edgware, Middlesex) and were harmony singers who also wrote much of their own material. They were signed to Immediate Records, which was run by The Rolling Stones manager, Andrew Loog Oldham.
The pair recorded four singles ("Sittin' on a Fence" b/w "Baby I Want You"; "Step Out of Line" / "Simplified"; "True Story" / "You're So Good For Me"; "Crystal Ball" / "Why Can't They All Go And Leave Me Alone") and two albums, Own Up and That's All (featuring Vashti Bunyan) between 1966 and 1968 for Immediate. Most of these recordings were pop in the Peter and Gordon/Chad and Jeremy mold, with light orchestral pop/rock arrangements, that sometimes employed a touch of the baroque.
Their only UK Top 40 success was a cover of the Mick Jagger and Keith Richards composition "Sittin' on a Fence" (1966). The Stones released it a year later.
In 1972, Skinner joined Uncle Dog, a group including vocalist, Carol Grimes. He penned most of the tracks on their album, Old Hat. He was also a member of Clancy. In 1977/8, Skinner toured as the keyboard player with Roxy Music. He also contributed to albums by Phil Manzanera and Bryan Ferry.[3]
One of the most anonymous-sounding acts of the British Invasion, Twice as Much was the duo of Dave Skinner and Andrew Rose, harmony singers who also wrote much of their own material. Signed to the Immediate label (run by Rolling Stones manager Andrew Loog Oldham), the pair recorded several singles and a couple of albums between 1966 and 1968. Most of these recordings were innocuous, pleasantly forgettable pop affairs in the Peter & Gordon/Chad & Jeremy mold, with light orchestral pop/rock arrangements that sometimes employed a touch of the Baroque.
They had their only British Top 40 success with a cover of the Stones' "Sitting on a Fence"; although the Stones' version was one of their best cuts from the Between the Buttons era, the Twice as Much interpretation seems to miss the point completely, transforming it into a chipper, quasi-vaudevillian tune without a hint of ambiguity or sullenness.
Twice As Much's debut album was an odd exercise in twee pop-baroque production, very typical of producer Andrew Oldham's ornate, sometimes over-the-top grandiosity. The LP was evenly divided between group originals and covers of hits by the Beatles, Rolling Stones, and Small Faces. There was also the Spector-Goffin-King composition "Is This What I Get for Loving You Baby?" and "I Have a Love," both of which, coincidentally or not, were done in the mid-1960s by another one-time Oldham client, Marianne Faithfull. The originals, interestingly, were better, though hardly great. David Skinner and Andrew Rose were pleasant, though unexceptional, harmony singers, and played out their introverted, somewhat sad pop-rock ballads against orchestral production with heavy debts to the mid-1960s Beach Boys and California sunshine pop. "Life Is But Nothing" would be covered to good effect by Del Shannon on another Oldham production, and "Why Can't They All Go and Leave Me Alone?," in which the introversion slides into solipsism, is a notable obscure exercise in crashing, epic symphonic pop-rock. The covers do the originals no favors, emasculating classics like "Help" and "Sha La La La La Lee" into fey pop ballads suitable for upper-class parlors. Incidentally, there's a true all-star supporting cast on this record. The session musicians include guitarists Jimmy Page, John McLaughlin, Joe Moretti, and Big Jim Sullivan; drummer Andy White; keyboardists Nicky Hopkins and Art Greenslade (the latter of whom did the arrangements); and engineer Glyn Johns. This is so dissimilar to the music Page, McLaughlin, Hopkins, and Johns made later, though, that you wouldn't suspect their presence if not for the credits.
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There was certainly a good blues pedigree behind this band with musicians like Mick Fleetwood (of Fleetwood Mac), Bob Brunning and Bob Hall (both of Brunning-Hall Sunflower Blues Band), Jo-Ann Kelly, Dave Kelly and Danny Kirwan (who was also in Fleetwood Mac and later made solo albums) involved, but the end results, two rather unimaginative bar-room blues albums, were frankly disappointing. On account of who played on them, both albums are expensive so the CD reissue, which comes with an information booklet, is welcome from this point of view.
Recording sessions involving musicians who do not regularly work together can be notoriously unproductive, the shelves of second hand record shops are littered with dusty remnants of what might have been a great session.
Happily 'Tramp' is a very fine exception to this rule, perhaps because although there is plenty of creative and spontaneous playing on these tracks, the songs themselves, written by Bob Hall and Dennis Cotton, are economical, witty and tightly constructed; there are no twelve minute guitar solos on this record. Every musician contributed hugely to the overall strength of performance that is obvious throughout the set.
And Jo-Anne Kelly are renowned for their ability as blues singers, and they tackled each song whole-heartedly, often adding new ideas whilst actually recording. Bob Hall is surely the finest boogie pianist in Britain, and has never played better than on these sessions. Bob Brunning is also a highly experienced bass player who has worked and recorded with many blues giants, forming a unit with Bob Hall which has become much in demand by impressed visiting American performers, many of whom have invited them back to the States to form a permanent band! Mick Fleetwood has been the mainstay of Fleetwood Mac for a long time, and when one listens to this exciting playing on this album, one can see why - listen to his inspired and absolutely spontaneous drum lead in during the entirely unrehearsed piano break in 'Too Late For That Now' which leads incidentally to one of the most exciting solos heard in a long while.
Danny Kirwan plays crisply and economically, showing his ability, unusual among rock guitarists - to know when not to play, nevertheless turning in some pleasing solos. Dave Brooks proves just how easily he recently stole the show on some of the '73 American Blues Legends performances, and last but not least, percussionist Ian Morton adds a lot of excitement to the proceedings. Here then is a fresh and exciting album representing of more than worthwhile gathering together of some well known musical 'Tramps'.
Perhaps I had my hopes too high for "Put a record on" after hearing the classic first Tramp album (which was selftitled from 1969) but I don't think the addition of Dave Brooks on sax and Ian Morton on percussion was a good idea as I found those parts intrusive and most of the material on this album is given a forced funk type sound which is just not as appealing as the raw, more improvisational approach used (and that worked so well) on the first Tramp album. Having said that, it is not horrible as the peppy opener "Too late for that now" is a highlight of the material here but that is followed by a draggy funk called "Now I aint a junkie anymore".
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Fondly remembered, if only by a select few, String Driven Thing were Scottish progressive rockers whose appeal rested largely on the scrapings of their classically trained violinist, Grahame Smith. Nothing jaunty or celtic, mind, his style was almost Mogadon morose. With leader Chris Adams supplying the suitably dark and troubled musings, their crowning moment came in 1973 with "The Machine that Cried". Charisma, their label at the time, considered it a little too grim for public consumption and forced a few key changes. This, though, is the band's own restored version and a fine, creepy period piece it is too, never more so than on Heartfeeder and the epic, if flawed, River of Sleep, which was cut to ribbons first time around.
EVERY ROCK REVIEWER has a clutch of bands that he likes a little and he waits and waits until the day they might just produce something very good from their increasing professionalism and the bleak suffering that comes from being a barely successful rock band. It is all the more pleasing when a band one has almost written off as permanently second-rate, suddenly issues an album that is a classic. Where String Driven Thing has nurtured this brilliance, I know not.
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IMPORTANT: For best result: Change (w. Photoshop etc.) the pixels to: 100 and print as: "A4" (A3 as maximum).
A poster is any piece of printed paper designed to be attached to a wall or vertical surface. Typically posters include both textual and graphic elements, although a poster may be either wholly graphical or wholly text. Posters are designed to be both eye-catching and convey information. Posters may be used for many purposes. They are a frequent tool of advertisers (particularly of events, musicians and films), propagandists, protestors and other groups trying to communicate a message. Posters are also used for reproductions of artwork, particularly famous works, and are generally low-cost compared to original artwork. Another type of poster is the educational poster, which may be about a particular subject for educational purposes.
Many people also collect and sell posters, and some famous posters have become quite valuable. Collectors' posters and vintage posters are usually framed and matted. Posters may be any size.
According to French historian Max Gallo, "for over two hundred years, posters have been displayed in public places all over the world. Visually striking, they have been designed to attract the attention of passers-by, making us aware of a political viewpoint, enticing us to attend specific events, or encouraging us to purchase a particular product or service." The modern poster, as we know it, however, dates back to 1870 when the printing industry perfected color lithography and made mass production possible.
"In little more than a hundred years," writes poster expert John Barnicoat, "it has come to be recognized as a vital art form, attracting artists at every level, from painters like Toulouse-Lautrec and Mucha to theatrical and commercial designers." They have ranged in styles from Art Nouveau, Symbolism, Cubism, and Art Deco to the more formal Bauhaus and the often incoherent hippie posters of the 1960s.
Posters, in the form of placards and posted bills, have been used since earliest times, primarily for advertising and announcements. Purely textual posters have a long history: they advertised the plays of Shakespeare and made citizens aware of government proclamations for centuries. However, the great revolution in posters was the development of printing techniques that allowed for cheap mass production and printing, including notably the technique lithography which was invented in 1796 by the German Alois Senefelder. The invention of lithography was soon followed by chromolithography, which allowed for mass editions of posters illustrated in vibrant colors to be printed.
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Rock Advertise Posters 1956-75 in High Rezolution, 620MB, hundreds of posters.
For best result: Change (w. Photoshop etc.) the pixels to: 100 and print as: "A4" (A3 as maximum).
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Robert's first solo album is one of the crazier you'll get to hear on this site, especially so early in the chronology of the prog movement. Outside some Experimental Zappa albums in the late 60's, you'll be hard pressed to find a rock persona that managed such a "difficult" album especially for a debut album. This album is to be approached with great care, and must only be listened to when in the mood for some really depressive music ala Rock Bottom. If I speak of Robert's second album, that happened after his accident, TEOAE was released as he was still in Soft Machine (between Third and 4) some three years before RB.
With TEOAE, his music was certainly a step ahead of the group "that was making him so miserable", partly because on this album, Robert gets to exercise his scat vocals as much as he pleases (not the case in SM), and believe he catches up on lost time, as he signs: "out of work pop singer, currently on drums with SM". Self produced (with a quite interesting artwork), very aptly-titled and issued on the same Columbia label as SM, you can bet these piques did not smooth out the difference with his other partners. Robert speaks in all admiration of almost pure jazz avant-gardist in the liner notes, such as McGregor, Keith Tippet, Mongezi Fiza and friend Gary Windo, and his music goes to some point as far as these people's works. He might have mentioned Colemen or the post-Ascension Coltrane as well.
Recorded with some "Canterbury" friends (most well known, but some lesser family members: Cyril Ayers, Marl Ellidge as well), TEOAE is a really difficult album to get into, because of the nature of the dissonant music developed everywhere on the album, an early sign of Robert's future lunacy in his music some three years later.
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https://rapidshare.com/files/2755343094/Robert_Wyatt.rar
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http://uploadmirrors.com/download/1QQKVN14/Robert_Wyatt_1.rar
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