Joe Byrd and the Field Hippies - 1969 [1996] "The American Metaphysical Circus"

The American Metaphysical Circus is a 1969 psychedelic album by Joseph "Joe" Byrd. It was recorded after his departure from the band The United States of America, and featured some of the earliest recorded work in rock music utilizing extensive use of synthesizers and vocoder, along with an extended group of West Coast studio musicians Byrd named "The Field Hippies".

As a "conductor" and organ/electronic synthesizer player, Byrd is very much the leader of this circus. With a couple drummers, a half-dozen horn players (including a young Tom Scott), three female vocalists, and a half-dozen or so other musicians popping up over the course of the album, there are a lot more people involved in this project than there were in the (relatively) stable lineup of the United States of America. Despite the ambition of this LP, it ultimately serves to illustrate just how Byrd benefited from the unique synergy provided by the other members of the U.S.A. There are all kinds of adventurous electronics and eclectic ideas bouncing back and forth, but the songwriting is simply not as strong as that of Byrd's previous group. The best songs are the ones which most strongly recall the U.S.A. in their spacy melodicism ("Moonsong: Pelog") and driving psychedelic pulse ("You Can't Ever Come Down"). Unfortunately, the female singers on these tracks are no match for The U.S.A.'s Dorothy Moscowitz, although they seem to be aspiring to the same dreamy, icy quality. Byrd himself is quite a mediocre singer, as his attempts at taking the lead on straightforward rock material prove. Otherwise, there are some bad takeoffs on gospel and old-time music, haphazard primitive early synthesizer, and dated social commentary/satire. As ambitious in its scope as Byrd's first rock project, this album is not nearly as successful. 

After his first album with a band called "United States of America," Joe Byrd released this, his masterpiece, in 1969. Even without the aid of mind-expanding drugs it is obvious that metaphysics is central to the overall theme of this great concept album.
The first section, "The Sub-Sylvian Litanies," is an attempt to turn reality inside-out. Literally meaning "beneath the forest," its three odes get right to the core of our very existence. It employs themes built upon the fourth degree of the octal scale, a Greek mode called phrygian.
The middle section, "Four Songs for a Departing President," are a slap in the face to former president Lyndon Johnson. It is a condemnation of both his "Great Society" movement and his perpetuation of the Vietnam War. "Gospel Music" is a tribute to Byrd's brother, Ruddell, who was imprisoned at Leavinworth for evading the draft.
Finally, the third section deals with aging under the sub-heading "The Southwestern Geriatrics Arts & Crafts Festival." Often morose and overly nostalgic, it nevertheless presents a clear view of the way our elders are shuffled off to nursing homes to await death.
The song writing and arrangements are superb, the use of synthesizers is tasteful and the theme is awesome. You have to get out of the box to receive the full experience this album has to offer.

This album did a great deal to change my brain when I was in high school in the early '70s. Concurrent with ingesting a multitude of substances that shall remain unmentioned, this album saw many, many spins on my and my friends' turntables. It was always a significant experience. There is literally EVERYTHING on this record. Vaudeville, jazz, electronic, psychedelic powerhouses, acid rock, spoken word, and much more. Joe Byrd was an unrecognized genius who put out two incredible, ahead-of-their-time records (The United States of America being the other). Sometimes our minds were expanded. Other times our minds were blown. But our minds always received an EXPERIENCE listening to this fine, unique, well-produced and well-composed music. There is nothing else like it. Nothing!

I originally owned this album as a vinyl record when I was in high school. I bought it for the wrong reason - purportedly the first part of the recording is like an LSD trip. This album kindled my lifelong interest in "new" music. I literally wore the pressing out, I liked it so well.

The pioneering use of a quality synthesizer arraignment superimposed on lyrical vocals. The composer, Mr. Byrd, obviously wrote and orchestrated each piece as though it were a symphonic work. This album is not for people who hate experimental music. John Coltrane's Africa Brass, or Ornette Coleman Shape of Jazz to Come are similar artistic endevors in the jazz vein.

Track listing:

The Sub-Sylvian Litanies

    "Kalyani" – 3:52
    "You Can't Ever Come Down" – 3:02
    "Moonsong: Pelog" – 3:47

American Bedmusic - Four Dreams For A Departing President

    "Patriot's Lullabye" – 2:49
    "Nightmare Train" – 3:20
    "Invisible Man" – 3:33
    "Mister 4th of July" – 1:48

Gospel Music For Abraham Ruddell Byrd III

    "Gospel Music" – 4:29

The Southwestern Geriatrics Arts and Crafts Festival

    "The Sing-Along Song" – 4:05
    "The Elephant at the Door" – 5:13
    "Leisure World" – 2:36
    "The Sing-Along Song (Reprise)" – 0:48

Personnel:

    Pot - Piano, Conductor, Harpsichord
    Ed Sheftel - Trumpet, Flugelhorn
    Christie Thompson - Vocals
    Ernest "Ernie" Anderson - Voices
    Fred Selden - Clarinet, Saxophones, Flute
    Ted Greene - Guitar
    Joseph Hunter Byrd - Organ, Producer, Vocals, Keyboards, Conductor, Synthesizer
    Larry Kass - Tabla
    Michael Whitney - Guitar (Classical)
    Chuck Bennett - Bass Trombone
    Victoria Bond - Vocals
    Bob Breault - Engineer
    Ray Cappocchi - Tuba, Tenor Trombone
    Dana Chalberg - Flute, Piccolo
    John Clauder - Percussion, Drums
    Susan de Lange - Vocals, Electronic Voices
    Meyer Hirsch - Flute, Saxophones
    Don Kerian - Trumpet, Cornet
    Gregg Kovner - Drums, Percussion
    Tom Scott - Clarinet, Saxophones, Flute
    Harvey Newmark - Bass (uncredited on album)
    Harihar Rao - Percussion (uncredited on album) 

Adam Holzman - 1992 "In a Loud Way"

Adam Holzman (born 15 February 1958, New York City) is an American jazz keyboardist. He is the son of Elektra Records' founder, Jac Holzman.

In the early 1980s, Holzman founded the Fents with Ted Hall.^[2] In 1985, he was hired by Miles Davis to play keyboards on the trumpeter's Tutu album, and stayed with him for four years, eventually becoming his musical director. He can be seen performing in the Davis concert video That's What Happened: Live in Germany 1987. In the early 1990s, he founded the band Mona Lisa Overdrive, which subsequently changed its name to Brave New World due to copyright issues.^[2]
Holzman has performed as a sideman with numerous performers and bands including: Abstract Truth, the Jason Becker Tribute, the Bob Belden Ensemble, Big Horns Bee, Bob's Book Club, Tom Browne, Miles Davis, the Miles Davis Tribute, Cesare Dell’Anna, Ray DeTone, Norman Dozier, Wayne Escoffery, Charles Fambrough, Anton Fig, Robben Ford, Jane Getter, Randy Hall, the Jimi Hendrix Tribute, Robin Kenyatta, Kelvynator, Chaka Khan, Steve Louw, the Teo Macero Project, Ed Maguire, the Mahavishnu Project, Ray Manzarek, Francis M'Bappe, Jason Miles, Marcus Miller, Mark Muller, Shaun Mullins, Takanori Niida, Michel Petrucciani, Kim Plainfield, Lincoln Goines, Twana Rhodes, Wallace Roney, Section 31, Sponge, Steps Ahead, Supa Group, David Taylor, Grover Washington, Jr., Lenny White, Ray Wilson, and Steven Wilson.^[3] Many of these performers he has also produced, arranged and composed for.

We were kinda knocked out when Downbeat gave this disc the full measure near its release date . I had come to equate most highly regarded jazz discs as primarily acoustic (which is by and large still true) . This IS a very electronic date from synth/keyboardist/programmer/pianist/composer Holzman. It's also pretty darn in-the-pocket and grooving. Unlike a lot of its fellow discs led by other artists, it really spreads the gifts of soloing and featuring various folks around quite generously. There's a good bit of acoustic stuff in here as well. Particularly drums, piano and different saxaphones. The songs are quite good too. This album is worth the investment. Adam's clearly a fan of good progressive rock and worked with Miles Davis starting in 1985 (spending four years in his bands) departing his (Miles) musical director in 88/89. This 1993 recording boasts a killer drummer by the name of Dennis Chambers, percussionist Mino Cinelu, Saxaphone great Kenny Garrett, bassist Darryl Jones, and guitarist Jimi Tunnell. Steve logan plays bass on this album as well. This album is funky, varied and upbeat. It's really an Nice CD.

Tracklist

1 No News Is Good News
2 Road Town
3 Hail to the Chief
4 Where Am I?
5 Jane Guitar
6 Pyramid
7 Whoa Nelli
8 Polish Soul Sister
9 Drop Down Daddy
10 Blow Torch Relief Map
11 Global Warming

Personnel :

Adam Holzman - keyboards, synthesizers, programming
Kenny Garrett - alto & soprano saxophones
Jimi Tunnell - guitar, vocoder-guitar
Darryl Jones, Steve Logan - bass
Dennis Chambers - drums
Mino Cinelu - percussion

Weather Report - 1971 [1992] "Weather Report"

Originally released in May 1971, Weather Report was the debut album by the group of the same name. The album was reissued by Columbia Records in 1992. The album was digitally remastered by Vic Anesini in November 1991 at Sony Music Studios in New York City, and then released again under the Sony International label. The style of music on this album can be described as avant-garde jazz with electric instruments. It continues the style of Miles Davis album Bitches Brew (on which Zawinul and Shorter played) but in a more ambient setting.

Here we have the free-floating, abstract beginnings of Weather Report, which would define the state of the electronic jazz/rock art from its first note almost to its last. Their first album is a direct extension of the Miles Davis In a Silent Way/Bitches Brew period, more fluid in sound and more volatile in interplay. Joe Zawinul ruminates in a delicate, liquid manner on Rhodes electric piano; at this early stage, he used a ring modulator to create weird synthesizer-like effects. Wayne Shorter's soprano sax shines like a beacon amidst the swirling ensemble work of co-founding bassist Miroslav Vitous, percussionist Airto Moreira, and drummer Alphonse Mouzon. Zawinul's most memorable theme is "Orange Lady" (previously recorded, though uncredited, by Davis on Big Fun), while Shorter scores on "Tears" and "Eurydice." One of the most impressive debuts of all time by a jazz group.

1st album by Weather Report, the greatest Fusion band ever, and a pivotal recording, which would change the face of music for generations to come. The core members of Weather Report were Joe Zawinul (keyboards) and Wayne Shorter (saxophones), two prominent members of the 1960s Miles Davis ensembles, and a young Czech bass player Miroslav Vitous (who played with Davis for a brief period of time only). Vitous arrived in the US in 1966 on a Berklee scholarship (like Zawinul almost a decade earlier) but soon after left the school to explore the soaring jazz scene in NY, where he played with Chick Corea, Herbie Mann, Stan Getz and many others. After meeting Zawinul and Shorter the decision was made to start a new group, which would continue the direction set by Davis on his historic “In A Silent Way” / “Bitches Brew” sessions, based on a collaborative / group improvisation (Davis was moving in the meantime into a more funk oriented period). To complete the group they drafted another ex-Davis musician, the Brazilian percussionist Airto Moreira and a young drummer Alphonse Mouzon. The debut album, recorded soon after the band was formed, reveals with full force the extraordinary rapport the members of the group established immediately, transcending their individual personalities. The music is mostly atmospheric, free form and with subtle melody lines, mostly concealed beneath the improvisations. Thus began a journey, which lasted for over 15 years, which would place Weather Report on the forefront on contemporary music and create a model followed by countless jazz and fusion musicians all over the world to this very day. Although the group would undergo multiple personnel changes and stylistic swings, their innovative, groundbreaking and often prophetic leadership would remain unchallenged. In retrospect it’s interesting to see that something, which is considered a core of American culture, was in fact created by a group in which American born musicians were in fact a minority, with Zawinul and Vitous coming from Europe and Moreira from Brazil. It can be also considered as foretelling, since future Weather Report would be one of the first bands to include World Music elements into fusion. This is monumental stuff, absolutely essential listening and a historical document of great importance.

One of the best of the post-Bitches Brew jazz-fusion albums out there, and one that doesn't seem to get as much respect as it probably deserves.  It's not 100% original, and probably could be considered a bit of Miles Davis' stuff from the time (one key track, "Orange Lady" was even originally an outtake from Bitches Brew, though not a Davis composition), good music is good music.  What this album DOES have on anything Miles Davis did is a larger variety of sound, and since people have complained about his fusion albums sounding too much the same throughout them, it could be considered a beneficial thing.  Ranging from low-key ambient type stuff to very busy and upbeat stuff, as well as fusing a lot in between, the group produces a solid and full-range collection of fine adventurous jazz music.  It's less abrasive than the similar Miles stuff of the era, but hardly less interesting, so I can't fathom why fans of In A Silent Way and Bitches Brew wouldn't find this a fine collection of music.

Track listing

    "Milky Way" (Shorter, Zawinul) – 2:33
    "Umbrellas" (Shorter, Vitous, Zawinul) – 3:27
    "Seventh Arrow" (Vitous) – 5:23
    "Orange Lady" (Zawinul) – 8:44
    "Morning Lake" (Vitous) – 4:26
    "Waterfall" (Zawinul) – 6:20
    "Tears" (Shorter) – 3:25
    "Eurydice" (Shorter) – 5:45

Personnel

    Joe Zawinul – Electric and acoustic piano
    Wayne Shorter – Soprano saxophone
    Miroslav Vitouš – Electric and acoustic bass
    Alphonse Mouzon – Drums, voice
    Airto Moreira – Percussion
 

Return To Forever - 1974 "Where Have I Known You Before"

Where Have I Known You Before is the fourth album by jazz-rock fusion band Return to Forever, the second since leader Chick Corea had "revamped" the line-up and moved towards electric instrumentation, playing jazz fusion with clear influences from progressive rock.

While the style of music did not change much since the previous album, Hymn of the Seventh Galaxy (1973), important changes took place in the band's sound and line-up. Chick Corea, for instance, had started to use synthesizers (most notably the Moog Minimoog and ARP Odyssey synthesizers), developing the distinctive sound he became known for. An equally important change in the band was the replacement of guitarist Bill Connors with the then 20-year-old virtuoso Al Di Meola. Connors left the band before the recording of this album to concentrate on his acoustic solo career. Overall, the band developed a clearer, more focused sound and style. This was due in part to the personnel changes, the implementation of new technology, and new playing techniques, but it was also a product of more careful recording and production in the studio.
Between the album's longer tracks are three of Corea's short piano improvisations that all bear a title that begins "Where Have I...". The first track is Stanley Clarke's "Vulcan Worlds", which features some melodic motifs that would also appear on Clarke's self-titled second solo album Stanley Clarke the same year. The song proved Clarke "one of the fastest and most facile electric bassists around". Each player except for drummer Lenny White takes long solos. The next long track is Lenny White's composition "The Shadow of Lo", a complex piece with many changes in mood. The last track on Side A is Corea's "Beyond the Seventh Galaxy", a sequel to his "Hymn of the Seventh Galaxy", the title track from the group's previous album. Side B begins with the collective jam "Earth Juice". Most of Side B is taken up by Corea's 14-minute epic "Song to the Pharaoh Kings", a song notable for its use of the harmonic minor scale. The track has a long keyboard intro, after which Chick Corea is joined by the full band, and an "eastern" theme appears. Each member of the band plays a long solo.

After the extraordinary stylistic turn of Hymn of the Seventh Galaxy, Return to Forever was sitting at the head of a new jazz movement, introducing a whole new generation to improvised music via high-velocity, intricate and passionate tunes. Where Have I Known You Before is masterpiece of the moment. RTF’s classic quartet lineup — Chick, Al di Meola on guitar, Stanley Clarke on bass and Lenny White on drums — is rock-solid, bringing new harmonic invention and boundless imagination to stadiums full of new jazz fans. Now-classic compositions like “Shadow of Lo” and “Song to the Pharoah Kings” made their first appearances here, providing a new high-watermark for electric group interplay.

This Return to Forever set finds guitarist Al DiMeola debuting with the pacesetting fusion quartet, an influential unit that also featured keyboardist Chick Corea, electric bassist Stanley Clarke and drummer Lenny White. On this high energy set, short interludes separate the main pieces: "Vulcan Worlds," "The Shadow of Lo," "Beyond the Seventh Galaxy," "Earth Juice" and the lengthy "Song to the Pharoah Kings." Acoustic purists are advised to avoid this music, but listeners who grew up on rock and wish to explore jazz will find this stimulating music quite accessible.

Tracks Listing

1. Vulcan Worlds (7:54)
2. Where Have I Loved You Before (1:01)
3. Shadow Of Lo (7:34)
4. Where Have I Danced With You Before (3:11)
5. Beyond The Seventh Galaxy (3:11)
6. Earth Juice (3:45)
7. Where Have I Known You Before? (2:20)
8. Song To The Pharoah Kings (14:21)

Total Time: 43:06

Line-up / Musicians

- Chick Corea / organ, synthesizer, percussion, piano, clavinet)
- Al DiMeola / acoustic guitar, guitar, electric guitar
- Stanley Clarke / organ, bass, percussion, bass guitar
- Lenny White / percussion, bongos, conga, drums

Traffic - 1969 "Last Exit"

Last Exit, released in May 1969, is the third album by English rock band Traffic. It is a collection of odds and ends put together by Island Records after the initial breakup of the band. The album reached number 19 in the American Billboard charts.^[1] As implied by the cover photos, the album features the original lineup of Steve Winwood, Jim Capaldi, Chris Wood, and Dave Mason, though Mason does not actually appear on most of the songs.

Many of the songs of this album were originally released on mono singles. The versions that appear on this album are re-mixed for stereo and sometimes have significant differences. The original American LP has different artwork on the cover. The front features a different picture of the band cut up into the shape of the band's logo with a black background.
"Just For You" was previously released in February 1968 as the A-side of a UK Dave Mason solo single. (The B-side was "Little Woman".) This was released after Mason left Traffic the first time, following Mr. Fantasy. Conveniently for its use on this album, the other members of Traffic backed up Mason on this track. "Medicated Goo" and "Shanghai Noodle Factory" were the A- and B-sides, of a UK Traffic single released in December 1968. Mason does not appear on these tracks. "Medicated Goo" has a false ending on the single which does not appear here. The song would become a staple of the re-formed band's live performances in 1970-71.
"Something's Got a Hold of My Toe" is an instrumental and appears to be an outtake not originally intended for release. It is unclear why producer Jimmy Miller (a lyricist elsewhere on the album) gets a co-writing credit on this. "Withering Tree" was previously released as the B-side to "Feelin' Alright" (September 1968), although the version on the LP is slightly different from the single. Dave Mason does not appear on this although it was probably recorded while he was still in the band. The two Fillmore West live tracks that make up the second half do not feature Mason.

What a unique and gifted group. Jim Capaldi, writing and playing this music, was as steady, soulful, funky and sensitive a drummer as they come. Chris Wood wrung so much emotion from his winds, to me he's? in a class by himself, and too soon gone. Steve Winwood is a superb songwriter, beautiful acoustic piano, and no one made the Hammond B-3 do what he did. And his voice!! Dave Mason, a top-notch songwriter himself, never did better work than during his time with these three wonderful musicians.

Track listing

    "Just for You" (Dave Mason) – 2:18
    "Shanghai Noodle Factory" (Steve Winwood, Jim Capaldi, Chris Wood, Jimmy Miller, Larry Fallon) – 5:06
    "Something's Got a Hold of My Toe" (Winwood, Mason, Miller) – 2:14
    "Withering Tree" (Winwood, Capaldi) – 3:04
    "Medicated Goo" (Winwood, Miller) – 3:36
    "Feelin' Good" (live) (Anthony Newley, Leslie Bricusse) – 10:40
    "Blind Man" (live) (Deadric Malone, Joseph Scott) – 7:06

Personnel

    Steve Winwood – organ, lead vocals (all but 1), piano, bass, guitar (2, 5)
    Jim Capaldi – drums, percussion, backing vocals
    Chris Wood – flute, saxophone, organ
    Dave Mason – guitar (1, 3), lead vocals (1)

Jeff Beck - 1991 "Beckology" [3 CD Box]

Beckology by guitarist Jeff Beck was released in 1991 as a 3 CD career retrospective. Beckology covers the work of a guitarist widely acknowledged as one of the most influential and gifted exponents of the electric guitar, from early days with The Tridents through to his Guitar Shop album in 1989.

• Volume 1 includes previously unreleased tracks from The Tridents, earthy mono recordings of Yardbirds classics like "Steeled Blues" and "Heart Full of Soul", four tracks from a Yardbirds BBC session, and Jeff's first solo single sides.

• Volume 2 covers both incarnations of The Jeff Beck Group which each released two albums and finishes with Beck, Bogert and Appice tunes. Highlights here include the reworking of the Yardbirds' "Shapes of Things" with Rod Stewart on vocals, the driving "Plynth", the beautiful guitar work on "Definitely Maybe" and the reworking of Stevie Wonder's "Superstition".

• Volume 3 tracks through what the sleeve notes call the "instrumental era" of the 1970s with tracks from the jazzy Blow by Blow and the acclaimed George Martin produced Wired albums. There is a live performance of "Freeway Jam" from 1977 with Jan Hammer, with whom Jeff had been touring and collaborated with as most recently as 2004, before concluding at the 1980s with Flash tracks like "People Get Ready" and Guitar Shop tracks like "Big Block" and "Where Were You".

A 60-page booklet comes with the album, and includes a biography by Gene Santoro.

This triple-CD set -- obviously modeled after the four-CD Eric Clapton Crossroads box -- was the first attempt to survey Jeff Beck's entire career. In actual fact, that would be a hopeless task, given the amount of anonymous session work that the guitarist did circa 1964-1966, but Beckology still manages to touch a few unexpected bases, even as it strings together all of the obvious and most of the important sides in Beck's output. Disc one opens with the most alluring part of the entire set, three demo tracks left behind by Beck's 1963-1965 group, the Tridents; the first official releases by this band are of far more than academic interest, presenting a first-rate blues/R&B outfit supercharged by Beck's guitar and Ray Cook's drumming, doing killer Jimmy Reed and Bo Diddley material, and even showing off Beck's prowess as a singer. The next 15 tracks represent the core of the Yardbirds' output during Beck's tenure, which lasted from March of 1965 through the summer of 1966 -- anything here could justify a place on a Yardbirds best-of set; the makers have rounded this disc out with four live cuts by the band from the BBC archives, including Beck's extraordinary homage to Elmore James' guitar playing on "The Sun Is Shining" and the unheralded group original "Love Me Like I Love You", and finish the platter with Beck's first three solo single sides, two of which, "Hi Ho Silver Lining" and "Tally Man," comprise the guitarist's brief, achingly beautiful virtuoso digression into trippy psychedelic pop, before he broke through to the more fertile field of what came to be known as heavy metal. Disc two is all of that, made up of the core of his output with the Jeff Beck Group and Beck Bogert & Appice, the latter filled out with a pair of previously unissued tracks: a live version of "Blues Deluxe/BBA Boogie" and "Jizz Whizz." Disc three skips across Beck's instrumental sides off of Blow by Blow, Wired, and There and Back and his tour with the Jan Hammer Group from the later 1970s, and wraps up with ten songs from Flash and Jeff Beck's Guitar Shop, sandwiching some key odd singles and Beck's contributions to the soundtracks of the movies Twins and Porky's Revenge. There are flaws in this set, to be sure; originally conceived as a four-disc retrospective, it was reduced to three, over Beck's wishes that some proposed cuts be omitted and Sony Music's timidity over the sales prospect of the four-CD set. But it is a good package within those boundaries, with fairly thorough annotation accompanied by great photos and a Pete Frame family tree, and, above all, excellent tape research -- not only were the right masters (i.e., the mono masters) used on "Hot House of Omagarashid" and "Lost Woman," but this is also the only CD package to combine the Yardbirds' 1965 catalog material with their 1966 tracks (owned by separate parties who will not get together). The mastering of it all is so clean that it put most of the older versions of this material to shame at the time. 

This is a CD spanning Jeff Beck's entire career. It starts with the Tridents and goes all the way through Jeff Beck's guitar shop.
As you probably know Jeff Beck was with the Yardbirds and later in the Jeff Beck Group along with Rod Stewart and Ronnie Wood.
He also was with Beck, Bogart and Appice and another formation of the Jeff Beck Group with a different cast.
With Blow By Blow in the early 70's he started his instrumental phase which he continues to this day.
Beck has always been known but never in the forefront.
You get all the classic Yardbirds hits like Heart Full of Soul, I'm a Man, Shapes of Things,Over Under Sideways Down and Happenings Ten Years Ago.
You also get his classics with Rod Stewart including Jailhouse Rock, Plynth (water down the drain) among others.
And his work with BB&A including Superstition, Black Cat Moan.
You also get his instrumental era including Cause We Ended As Lovers,Freeway Jam, Goodbye Pork Pie Hat, Love is Green and the Pump from There and Back.
Also included is his duet with Rod Stewart, People Get Ready, a killer version of Sleep Walk, Big Block and Where Were You.
This is an Anthology that any Jeff Beck fan should not be without.

Track Listings:

Disc: 1
1. Trouble In Mind - The Tridents
2. Nursery Rhyme (Live) - The Tridents
3. Wandering Man Blues - The Tridents
4. Steeled Blues - The Yardbirds
5. Heart Full Of Soul - The Yardbirds
6. I'm Not Talking - The Yardbirds
7. I Ain't Done Wrong - The Yardbirds
8. The Train Kept A-Rollin' - The Yardbirds
9. I'm A Man - The Yardbirds
10. Shapes Of Things - The Yardbirds
11. Over Under Sideways Down - The Yardbirds
12. Happenings Ten Years Time Ago - The Yardbirds
13. Hot House Of Omagarashid - The Yardbirds
14. Lost Woman - The Yardbirds
15. Rock My Mind - The Yardbirds
16. The Nazz Are Blue - The Yardbirds
17. Psycho Daisies - The Yardbirds
18. Jeff's Boogie - The Yardbirds
19. Too Much Monkey Business (Live) - The Yardbirds
20. The Sun Is Shining (Live) - The Yardbirds
21. You're A Better Man Than I (Live) - The Yardbirds
22. Love Me Like I Love You (Live) - The Yardbirds
23. Hi Ho Silver Lining - Jeff Beck
24. Tally Man - Jeff Beck
25. Beck's Bolero - Jeff Beck

Disc: 2
1. Shapes Of Things - Jeff Beck Group
2. I Ain't Superstitious - Jeff Beck Group
3. Rock My Plimsoul - Jeff Beck Group
4. Jailhouse Rock - Jeff Beck Group
5. Plynth (Water Down The Drain) - Jeff Beck Group
6. Drinking Again - Jeff Beck Group
7. Definitely Maybe - Jeff Beck Group
8. New Ways Train Train - Jeff Beck Group
9. Going Down - Jeff Beck Group
10. I Can't Give Back The Love I Feel For You - Jeff Beck Group
11. Superstition - Beck, Bogert, Appice
12. Black Cat Moan (Live) - Beck, Bogert, Appice
13. Blues Deluxe/BBA Boogie (Live) - Beck, Bogert, Appice
14. Jizz Whiz - Beck, Bogert, Appice

Disc: 3
1. Cause We've Ended As Lovers - Jeff Beck
2. Goodbye Pork Pie Hat - Jeff Beck
3. Love Is Green - Jeff Beck
4. Diamond Dust - Jeff Beck
5. Freeway Jam (Live) - Jeff Beck
6. The Pump - Jeff Beck
7. People Get Ready - Jeff Beck & Rod Stewart
8. Escape - Jeff Beck
9. Gets Us All In The End - Jeff Beck
10. Back On The Street - Jeff Beck
11. Wild Thing - Jeff Beck
12. The Train Kept A-Rollin' - Jeff Beck
13. Sleep Walk - Jeff Beck
14. The Stumble - Jeff Beck
15. Big Block - Jeff Beck
16. Where Were You - Jeff Beck 

Rory Gallagher - 1976 [1991] "Calling Card"

Calling Card is the sixth studio release by Irish singer/guitarist Rory Gallagher. A 1976 release, it was his second of four albums released on Chrysalis Records in the 1970s. Deep Purple/Rainbow bass guitarist Roger Glover co-produced with Gallagher: it was the first time that Gallagher worked with a "name" producer and the only successful such collaboration. It was also the last album Gallagher would do with Rod de'Ath (drums) and Lou Martin (keyboards). After Calling Card Gallagher retained only his long-time bass guitarist Gerry McAvoy and hired Ted McKenna on drums. This revised power trio was Gallagher's line up for the next five years, when Brendan O'Neil took the sticks.
The sessions for the album began at Musicland Studios in Munich, Germany, in the summer of 1976. Glover came on board as co-producer after having met Gallagher when the latter opened for Deep Purple on an American tour. The choice of Glover signified a conscious attempt by Gallagher to try new directions from the hard rock he was best known for. Calling Card is one of his most diverse albums. It also reflects the synergy that the band had developed after years of playing together. As producer Roger Glover commented “they all seemed very dedicated to Rory, there was an allegiance, born of years of smoky clubs and endless journeys”. This was the fifth and last release featuring this line-up.

Gallagher's second album for Chrysalis -- and last with his longstanding trio of Lou Martin (keyboards), Rod De'Ath (drums) and Gerry McAvoy (bass) -- was a milestone in his career. Although Calling Card was produced by Deep Purple bassist Roger Glover and not surprisingly contained some of his most powerfully driving rockers, tracks like the acoustic "Barley & Grape Rag" and the jazzy, soulful, finger snapping title cut -- a perennial concert favorite -- found the Irish rocker not only exploring other musical paths, but also caught him on one of his most consistent songwriting streaks ever. Even "Do You Read Me," the muscular opening track, is a remarkably stripped-down affair that adds subtle synths to the rugged blues rock that was Gallagher's claim to fame. While "Moonchild," "Country Mile," and "Secret Agent" displayed catchy hooks, engaging riffs, and raging guitar work (the latter adds a touch of Deep Purple's Jon Lord-styled organ to the proceedings), it's the elegant ballad "I'll Admit You're Gone" that shifts the guitarist into calmer waters and proves his melodic talent was just as cutting on quieter tunes. And it's a crime that the gorgeous "Edged in Blue," certainly one of the artist's saddest and most beautiful pop melodies, was overlooked in his catalog. The 1999 reissue sports track-by-track and first person liner notes from Gallagher's brother Donal, crisp remastered sound, and two additional songs not included on previous versions, one of which, "Public Enemy (B-Girl Version)," later appeared on the Photo-Finish album in an inferior performance to this. Arguably Rory Gallagher's finest studio effort, it was among his best and most varied batch of songs, and it is a perfect place for the curious to start their collection as well as an essential disc showing Gallagher at the peak of his powers.

Rory Gallagher's "Calling Card" was never a huge commercial success and it will probably never make a top 100 albums list, but those who are lucky enough to know Rory's work are aware that this is perhaps the greatest album ever recorded.
First off, I can't overemphasize the incredible musicianship this album offers. Rory Gallagher was one of the most amazing guitar players who ever lived. Give him shred, blues, jazz, folk, rockabilly, he could play it and any given subgenre flawlessly. Also, he was a tasteful player. No "excess" noodling and repetitive A minor runs here. "Calling Card" also features the stunning Lou Martin on piano, Gerry McAvory on bass (great chemistry between he and Rory) and the enormously talented Rod de'Arth on drums.
There's no shortage of good rockin' tunes on "Calling Card". Most notably, "Country Mile", "Jackknife Beat", and the almost Deep Purple-esque "Moonchild".
But there's something for everybody, including the jazz/blues fusion title track, the melancholy acoustic number "I'll Admit You're Gone", the folk jam "Barley and Grape Rag", and arguably the best track, "Edged In Blue" (which might have been a hit for Rory had he decided to release singles).
I urge anybody to give "Calling Card" a listen. Without a doubt, you'll be hooked.

Track Listings

1. Do You Read Me
2. Country Mile
3. Moonchild
4. Calling Card
5. I'll Admit You're Gone
6. Secret Agent
7. Jack Knife Beat
8. Edged In Blue
9. Barley & Grape Rag

Personnel:

Rory Gallagher
    Guitar, Vocals, & Harmonica
Gerry McAvoy
    Bass
Lou Martin
    Keyboards
Rod De’Ath
    Drums & Percussion

King Crimson - 1993 "The First Three"

The First Three: In the Court of the Crimson King / In the Wake of Poseidon / Lizard Box set, Limited Edition. Collectors' Edition. 3 Limited Edition Picture Discs in standard jewel CD cases housed in cardboard flip-top box. This compilation ℗ & © 1993 Virgin / EG Records.
First Three album for sale by King Crimson was released on the Caroline label. THE FIRST THREE box set includes the first three King Crimson releases: COURT OF THE CRIMSON KING (1969), WAKE OF POSEIDON (1970), and LIZARD (1971). First Three CD music is a 3-disc set with 18 songs.

Caroline combined King Crimson's first three albums -- In the Court of Crimson King, In the Wake of Poseidon, and Lizard -- in one slip-cased box set in 1994. First Three songs For any fan who had yet to replace their vinyl with CDs, this is an ideal purchase, but collectors who already own the discs may want to think about this set twice, since it contains no bonus tracks or new packaging. First Three albums.

1969 "In the Court of the Crimson King"

In The Court Of The Crimson King (subtitled An Observation by King Crimson) is the debut studio album by the British rock group King Crimson, released on 10 October 1969. The album reached number five on the British charts, and is certified gold in the United States, where it reached #28 on the Billboard 200.
The album is generally viewed as one of the first works to truly embody the progressive rock genre, where King Crimson largely departed from the blues influences that rock music had been founded upon and mixed together jazz and classical symphonic elements. In his 1997 book Rocking the Classics, critic and musicologist Edward Macan notes that In the Court of the Crimson King "may be the most influential progressive rock album ever released". The Who's Pete Townshend was quoted as calling the album "an uncanny masterpiece". In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album came fourth in its list of "40 Cosmic Rock Albums". The album was named as one of Classic Rock magazine's "50 Albums That Built Prog Rock".
The album was remastered and re-released on vinyl and CD several times during the 1980s and 1990s. All of these versions were based on tape copies that were several generations removed from the originals. The original first-generation stereo master tapes were thought to be lost, but were finally located in a storage vault in 2003. This led to a much improved remastered CD version (see below), released in 2004.
Once again, in time for the album's 40th anniversary, the album was re-released both on vinyl and CD with newly cut masters approved by Robert Fripp. The CD/DVD set includes a stereo and 5.1 mix done by Steven Wilson, as well as the original mix.

The group's definitive album, and one of the most daring debut albums ever recorded by anybody. At the time, it blew all of the progressive/psychedelic competition (the Moody Blues, the Nice, etc.) out of the running, although it was almost too good for the band's own good -- it took King Crimson nearly four years to come up with a record as strong or concise. Ian McDonald's Mellotron is the dominant instrument, along with his saxes and Fripp's guitar, making this a somewhat different-sounding record from everything else they ever did. And even though that Mellotron sound is muted and toned down compared to their concert work of the era (e.g., Epitaph), it is still fierce and overpowering, on an album highlighted by strong songwriting (most of it filled with dark and doom-laden visions), the strongest singing of Greg Lake's entire career, and Fripp's guitar playing that strangely mixed elegant classical, Hendrix-like rock explosions, and jazz noodling. Lineup changes commenced immediately upon the album's release, and Fripp would ultimately be the only survivor on later King Crimson records.

Tracks Listing

1. 21st Century Schizoid Man (7:20) including
- a. Mirrors
2. I Talk To The Wind (6:05)
3. Epitaph (8:47) including
- a. March For No Reason
- b. Tomorrow And Tomorrow
4. Moonchild (12:11) including
- a. The Dream
- b. The Illusion
5. The Court Of The Crimson King (9:22) including
- a. The Return Of The Fire Witch
- b. The Dance Of The Puppets

Total Time: 43:45

Line-up / Musicians

- Robert Fripp / guitar
- Greg Lake / bass guitar, lead vocals
- Ian McDonald / reeds, woodwind, vibes, keyboards, mellotron, vocals
- Michael Giles / drums, percussion, vocals
- Peter Sinfield / words and illumination


1970 "In The Wake Of Poseidon"

In the Wake of Poseidon is the second studio album by the progressive rock group King Crimson. The album was recorded during instability in the band, with several personnel changes, but repeats the style of their first album, In the Court of the Crimson King. Also like their first album, the mood of this album often changes from serene to chaotic.

King Crimson opened 1970 scarcely in existence as a band, having lost two key members (Ian McDonald and Michael Giles), with a third (Greg Lake) about to leave. Their second album -- largely composed of Robert Fripp's songwriting and material salvaged from their stage repertory ("Pictures of a City" and "The Devil's Triangle") -- is actually better produced and better sounding than their first. Surprisingly, Fripp's guitar is not the dominant instrument here: The Mellotron, taken over by Fripp after McDonald's departure -- and played even better than before -- still remains the band's signature. The record doesn't tread enough new ground to precisely rival In the Court of the Crimson King. Fripp, however, has made an impressive show of transmuting material that worked on stage ("Mars" aka "The Devil's Triangle") into viable studio creations, and "Cadence and Cascade" may be the prettiest song the group ever cut. "The Devil's Triangle," which is essentially an unauthorized adaptation of "Mars, Bringer of War" from Gustav Holst's The Planets, was later used in an eerie Bermuda Triangle documentary of the same name. [In March of 2000, Caroline and Virgin released a 24-bit digitally remastered job that puts the two Mellotrons, Michael Giles' drums, Peter Giles' bass, and even Fripp's acoustic guitar and Keith Tippett's acoustic piano practically in the lap of the listener.]

Tracks Listing

1. Peace - A Beginning (0:49)
2. Pictures Of A City(including 42nd At Treadmill) (8:03)
3. Cadence And Cascade (4:27)
4. In The Wake Of Poseidon (incl. Libra's Theme) (7:56)
5. Peace - A Theme (1:15)
6. Cat Food (4:54)
7. The Devil's Triangle (11:39)
- a. Merday Morn
- b. Hand Of Sceiron
- c. Garden Of Worm
8. Peace - An End (1:53)

Total Time: 40:56

Line-up / Musicians

- Robert Fripp / guitar, mellotron, devices
- Greg Lake / vocals
- Michael Giles / drums
- Peter Giles / bass
- Keith Tippett / piano
- Mel Collins / saxes, flute
- Gordon Haskell / vocals on 'Cadence And Cascade'
- Peter Sinfield / words


1970 "Lizard"

Lizard is the third studio album by the British band King Crimson. It was the second recorded by a transitional line-up of the group that never had the opportunity to perform live, following In the Wake of Poseidon. This is the only album by the band to feature bassist and vocalist Gordon Haskell, apart from his appearance on the song "Cadence and Cascade" from the previous album, and drummer Andy McCulloch as official members of the band.

Lizard is very consciously jazz-oriented -- the influence of Miles Davis (particularly Sketches of Spain) being especially prominent -- and very progressive, even compared with the two preceding albums. The pieces are longer and have extensive developmental sections, reminiscent of classical music, and the lyrics are more ornate, while the subject matter is more exotic and rarified -- epic, Ragnarok-like battles between good and evil that run cyclically. The doom-laden mood of the first two albums is just as strong, except that the music is prettier; the only thing missing is a sense of humor. Jon Anderson of Yes guests on one key number, "Prince Rupert Awakes" (which vocalist/bassist Gordon Haskell never completed), and the album is stronger for his presence. At the time of its release, some critics praised Lizard for finally breaking with the formula and structure that shaped the two preceding albums, but overall it's an acquired taste.

Tracks Listing

1. Cirkus(including Entry Of The Chameleons) (6:28)
2. Indoor Games (5:41)
3. Happy Family (4:16)
4. Lady Of The Dancing Water (2:44)
5. Lizard:
- a. Prince Rupert Awakes (4:36)
- b. Bolero - The Peacock's Tale (6:39)
- c. The Battle Of The Glass Tears (10:58)
- i) Dawn Song
- ii) Last Skirmish
- iii) Prince Rupert's Lament
- d. Big Top (1:13)

Total Time: 42:35

Line-up / Musicians

- Robert Fripp / guitar, mellotron, electric keyboards & devices
- Mel Collins / flute & saxes
- Gordon Haskell / bass guitar & vocals
- Andy McCulloch / drums
- Peter Sinfield / words & pictures

WITH:
- Robin Miller / oboe & cor anglais
- Mark Charig / cornet
- Nick Evans / trombone
- Keith Tippet / piano & electric piano
- Jon Anderson of YES / vocals on "Prince Rupert Awakes"

Atomic Rooster - 1970 [1990] "Death Walks Behind You"

Death Walks Behind You is the second studio album by British rock band Atomic Rooster. It was their first album to receive US release, albeit in a different sleeve. It is commonly thought of as the archetypal Atomic Rooster album, recorded by the 'classic' line-up of Vincent Crane, John Du Cann and Paul Hammond. It is certainly, critically and commercially, their most successful album and often hailed as a classic of the progressive rock genre. It also produced the hit single "Tomorrow Night" (UK #11), which became one of the band's best-known songs. The album's cover features the William Blake monotype Nebuchadnezzar.

"Devil's Answer" might be the record for which Atomic Rooster are remembered, but it was their second album that posted warning that they were on the verge of creating something dazzling -- simply because the record itself is a thing of almost freakish beauty. With only organist Vincent Crane surviving from the original lineup, and John Du Cann coming in to relieve him of some of the songwriting duties, Death Walks Behind You opens at a gallop and closes with a sprint. The title track is effectively spooky enough for any Hammer horror aficionado, all descending pianos and Psycho-screaming guitars, while "Gershatzer," a duet for organ and percussion, proves that new drummer Paul Hammond is more than a match for the departed Carl Palmer. It's in between these dramatic bookends, however, that Rooster truly peak, with the stately "VUG," the pensive "Nobody Else," and the truly amazing "Tomorrow Night" (one of the scariest love songs ever let loose on the U.K. chart) all impressing. Crane's liner notes, incidentally, remind us that the album packed a different version of the hit, with an extended ending that descends into unimagined chaos -- a shocker for the pop kids, perhaps, but a fabulous bridge into the succeeding "7 Streets." Possibly the best evidence for this being Atomic Rooster's masterpiece, however, comes not simply from what's on the album, but for what has been left off. An excellent repackaging and remastering job restores the original artwork in all its gatefold glory, but you'll search in vain for bonus tracks -- not because there were none to add, but because they simply wouldn't fit. Sit through Death Walks Behind You, after all, and you really won't need any more surprises.

This album is (or should be) considered as a landmark and a masterpiece in the hard rock category by metalheads, progheads, and progmetalheads. The North American version came with a different cover depicting a rooster at atomic speed in fire. With Palmer gone to ELP, and Graham forming his own band, Crane had to restart this band from scratch and conVinced John (Du)Cann (formely of psych bands The Attack and Andromeda) and Paul Hammond to take the drum stool (since the organ seat was already taken), Vincent Crane soldiered on. The partnership between Cann and Crane was like cat and dog, but they did manage to pull off some classic early heavy metal for almost two albums. Every track here is a gem in its genre and Seven Streets is my fave although the public will remember mostly their outstanding single Tomorrow Night. 

Tracks Listing

1. Death Walks Behind You (7:24)
2. VUG (instrumental) (5:03)
3. Tomorrow Night (4:02)
4. 7 Streets (6:47)
5. Sleeping For Years (5:30)
6. I Can't Take No More (3:36)
7. Nobody Else (5:04)
8. Gershatzer (instrumental) (8:01)

Total Time: 45:27 

Line-up / Musicians

 - John Cann / acoustic & electric guitars, lead vocals
- Vincent Crane / Hammond organ, piano, backing vocals
- Paul Hammond / drums, percussion

Spirit - 1970 [1996] "TheTwelve Dreams Of Dr. Sardonicus" (Original Master Recording)

Twelve Dreams of Dr. Sardonicus is the fourth album by the American psychedelic rock group Spirit. It was produced by David Briggs, who is best known for his work with Neil Young. The original LP was released in 1970 by Epic. It peaked at #63 on the Billboard 200 in February 1971—the band's lowest charting album to that point—and spent 14 weeks on the chart. However, with strong catalog sales it also became the band's only album to be certified Gold in the U.S., achieving that status in 1976.
"Nature's Way" became one of Spirit's signature songs, but was not a big hit at the time, peaking at #111 on the Billboard pop charts in 1971. In 1973, the B-side of "Nature's Way", "Mr. Skin", also charted, peaking at #92.
The album was re-issued on CD in 1996 by Sony in remastered form, with bonus tracks.

Although Twelve Dreams of Dr. Sardonicus has the reputation of being Spirit's most far-out album, it actually contains the most disciplined songwriting and playing of the original lineup, cutting back on some of the drifting and offering some of their more melodic tunes. The lilting "Nature's Way" was the most endearing FM standard on the album, which also included some of Spirit's best songs in "Animal Zoo" and "Mr. Skin." [The 1996 CD reissue has four bonus tracks, though these are on the nonessential side: mono versions of "Animal Zoo" and "Morning Will Come," the 1970 single "Red Light Roll On," and the previously unissued "Rougher Road."] 

Spirit was formed with the intention to combine jazz, rock, classical, and folk with a mystical orientation. Led by the family duo of Hendrix-inspired guitarist Randy California and his uncle, jazz drummer Ed Cassidy (whose shaved head--some 20 years ahead of its time--was the band's visual focus), Spirit had a few idiosyncratic hits such as "I Got A Line On You." The band didn't reach its prime until Twelve Dreams, after which they promptly broke up. A loosely constructed sci-fi concept album, it contains the band's biggest hit, the ecological "Nature's Way" (complete with booming kettle drums), the surreal rock of "Animal Zoo," and the orchestral psychedelia of "Life Has Just Begun." Bristling with ideas, energy, and California's meaty guitar, Twelve Dreams exemplifies the best of the late '60s experimentalism.

A hearty "Amen" to all the five star reviews before. This is simply one of the greatest rock albums of all time, debatably the most successful concept album ever (probably due to the elasticity and emotional resonance of its "dream" theme), and in my opinion the best "headphone album" ever. Spirit made some wonderful tunes before, but were hampered by the laconic and inconsistent production of Lou Adler on their prior records. Fortunately they connected with David Briggs in time to produce this masterpiece of psychedelia prior to their untimely breakup. Interestingly, for a psychedelic album it is remarkably extroverted, emotionally engaging, accessible, and musically disciplined. Every damn song is memorable, and indispensible to the flow of the album. It manages to somehow collapse the emotional experience of a fitful night (Asleep? Awake? Drugged out?) into a breathtaking forty minutes or so, with stunning moments of beauty and sonic adventure. Thirty years down the line, this album refuses to sound dated, and showcases the instrumental and vocal talents of the band at their height. All you young ones (especially musicians) out there who think that they've heard it all from the 60's through the 90's, well if you haven't heard 12 Dreams (and Randy California on guitar) then you are very wrong. The only contemporary reference I can think of off-hand is OK Computer by Radiohead, but this album is more consistent and more fun than that one. Buy this record, and appreciate one of the pinnacle achievements of an era when musicianship and artistic vision was prized as a mark of hipness. Limp Bizkit and Snoop fans can pass--nothing of interest here.

Spriit was (and still is) sadly one of the most overlooked bands from the psychedelic era- perhaps it was due to drummer Ed Cassidy's famous bald shaved head; perhaps it was the fact that the music was more skin to the Soft Machine and other jazz-oriented bands of the day during the era when country/rock (the Dead, Flying Burrito Brothers, Poco, etc) began to dominate California rock... whatever the reason, Spirit deserves greater attention and praise than it has received.
While they DID score a surprise hit in 1968 with "I Got a Line on You," it is without question the concept oriented lp "The 12 Dreams of Dr.Sardonicus" that will forever define the band. The songs, like the talent in the band, are enormous and special, spanning the gamut from the jazzy blues of the wonderful "Mr. Skin" (tribute to drummer Cassidy)to the out n out psychedelia of the gorgeous "Love has Found a Way," to the surrealism of "Animal Zoo."
"12 Dreams" remains one of the most consistent listens that I own from late 60's, early 70's rock n roll. This is due most to the brilliant musicianship of Jay Ferguson, John Locke, Mark Andes, Ed Cassidy, and Randy California. The wonderful interplay between these men is top-rate, with California's brilliance on the guitar meshing perfectly with stepfather Cassidy's jazzy drumming (he was drummer for the Rising Sons, featuring Taj Mahal and Ry Cooder). The songs, as I mentioned earlier, are brilliant and flow wonderfully. The combination of the 2 equals an album that I can't put down for very long.
Now with alternate takes, Spirit's colossal lp comes to life again- better than ever. Fans of late 60's rock know about Spirit. The time has come for the rest of the world to do the same. An absolute no-brainer of a purchase. One of the most underrated and brilliant lps ever made. Period.

Tracks Listing

1. Prelude - Nothin' to Hide (3:43)
2. Nature's Way (2:40)
3. Animal Zoo (3:10)
4. Love Has Found a Way (2:42)
5. Why Can't I Be Free (1:05)
6. Mr. Skin (4:01)
7. Space Child (3:25)
8. When I Touch You (5:37)
9. Street Worm (3:43)
10. Life Has Just Begun (3:29)
11. Morning Will Come (2:50)
12. Soldier (2:50)

Total Time 54:13

Line-up / Musicians

- Jay Ferguson / vocals, percussion, keyboards
- Randy California / guitars, vocals
- John Locke / piano, keyboards, moog synthesizer
- Ed Cassidy / drums, percussion
- Mark Andes / bass, vocals

Stuart Hamm - 1988 "Radio Free Albemuth"

Radio Free Albemuth is the debut solo album by bassist Stuart Hamm, released in 1988 on Relativity Records. Hamm is backed up by guitarists Allan Holdsworth and Joe Satriani. The title of the album and many of the songs were inspired by the novels of Philip K. Dick.

Radio Free Albumeth is Stuart Hamm's most diverse and best CD. The follow up,Kings of Sleep, is also excellent but not nearly as diverse. The title track is an example of Stu playing Jazz/Rock Fusion and is even made better by Alan Holdsworth contributing an amazing solo. "Dr. Gradus Ad Parnasum" is a great reading of Debussy and is imitated verbatim by the bassist. "Moonlight Sonata" is another excellent reading of a classical piece and Stu captures the mood of the movement very well. Both are examples of the artist not allowing technique to overpower the tune but use it to capture the essence of the tune. "Sexually Active" is a tour de force for Stu. Slap and Tap abound in this piece and Stu even imitates sweep picking by sweeping with his thumb. The technique is mind numbing but,once again, the groove is never lost. Joe Satriani contibutes a funky solo of his own in this song."Simple Dreams" is a short song and Stu restrains from the pyrotechnics to show that he can play without overabundance. "Flow My Tears" is a borderline new age song but technique is abound in it. New-age influenced music has never sounded better and Satch adds another perfect solo to this piece."Country Music/Night in Hell" is another Stu tour de force. Many will recognize part of it since he plays a brief version of it live at Satriani concerts. Once again, Stu pulls out all of the stops. This Cd is essential for any bassist. Stu combines technique with good composition to give bassists plenty to work on in both categories.This is the stuff that Bassists dream of and any musician will appreciate.

Track listing

All songs written by Stuart Hamm, except where noted.

    "Radio Free Albemuth" – 5:10
    "Flow My Tears" – 8:23
    "Dr. Gradus Ad Parnasum" (C. Debussy) – 3:05
    "Sexually Active" – 7:51
    "Simple Dreams" – 4:05
    "Country Music (A Night in Hell)" – 3:45
    "Moonlight Sonata" (Beethoven) – 4:54

Personnel

    Stuart Hamm - Bass guitar
    Allan Holdsworth - Electric Guitar on "Radio Free Albemuth"
    Joe Satriani - Electric Guitar on "Radio Free Albemuth", "Flow My Tears" and "Sexually Active"
    Mike Barsimanto - Drums
    Amy Knoles - Percussion on "Radio Free Albemuth"
    Scott Collard - Keyboards
    Glen Freundl - Keyboards on "Radio Free Albemuth", "Sexually Active" and "Country Music"
    Tommy Mars - Keyboards on "Radio Free Albemuth"

Jazz Funk Unit - 1994 "Beauty Is Only Knee Deep"

The Band: Ivan Bodley and Jazz/Funk Unit
The Cats: Ivan Bodley-Electric & Acoustic Bass, Julian Coryell-guitar, Adrian Harpham-drums, Deji Coker, Jr.
-Alto Saxophone, Peter Adams-Keyboards.

The Guests: Corey Glover-vocals (on "Nature Boy"). Platinum and Grammy award winning singer from the band Living Colour. Raphael Cruz-Percussion (tracks 1-6). Percussionist extraordinaire, Grammy nominee, alumnus to stars like Dr. John, McCoy Tyner, and George Benson.

The Music: Bebop with Bump! Jazz standards redefined with modern funk, Latin, and swing beats: Nefertiti (by Wayne Shorter), Nardis (Miles Davis), Nature Boy (Eden Ahbez), Fee Fi Fo Fum (Wayne Shorter), Stella by Starlight (Victor Young), Anthropology (Charlie Parker, Walter Bishop, Jr.
, Dizzy Gillespie), Just Blues (Kenwood Denard), Blue in Green (Miles Davis).

The Project: Recorded "live in the studio" (mostly), June, 1994 at Loho Studios, NYC. Produced and arranged by Ivan Bodley. Recorded by Victor and Ed Luke. Mastered by Tony Dawsey.

The Deal: In the Swing Era, jazz was to popular culture what Saturday Night Fever was to the 1970s. It was a wild dance craze, outrageous fashion statement and the popular music of the 1920s and 30s. Neo-traditionalist automatons are now regurgitating the rhetoric of fossils and charlatans, claiming that the only true jazz is that played to a swing beat with certain traditional instruments, denying most rhythmic innovations since about the late 1950s. It's time we all got on with our lives! And who said serious music can't be fun?

The Jazz/Funk Unit are educated musicians, disproportionately talented, who play like all hell. The melodies and harmonies navigated here are largely post bebop, beyond the scope of what Bird and Dizzy were dealing with at the time. And the rhythms? Well, suffice to say this music is designed to vigorously stimulate any part of your body that you care to wave at it.

These cats are the new breed, the young lions, Berklee College of Music graduates with a plethora of professional credits ranging from Larry Coryell and The Osmond Brothers to The Blue Note Club House Band, Harry Connick, Jr.
, and The Shirelles. They know the score.

Reviews of Ivan Bodley and Jazz/Funk Unit:
With Jazz/Funk Unit: "Bassist/bandleader Ivan Bodley lives up to the description of his sound: bebop with bump. He gives backbeat to modern standards." -Billboard

"Bassist/producer Ivan Bodley gets to make syncopated groove music out of jazz standards. It's feisty and fun." -Nelson George, Playboy

Jazz Jackpot! Review: "Impassioned and equally intelligent, featuring Bodley's buzz-like bass work. Hats off to the Jazz/Funk Unit." -CMJ

"**** [four stars]. Jazz/Funk Unit tight and swinging, delightfully different." -The Music Paper
"Ivan Bodley, producer, arranger, and bassist!.

I'm happy to inform you the record is at least twice as interesting as the accompanying story." -Jazziz
Ivan Bodley Biography

Bassist Ivan Bodley is a Magna Cum Laude Berklee College of Music graduate with diverse music industry experience. Specializing in acoustic, electric, fretted, fretless, four-string, five-string, eight-string, and piccolo basses, Ivan is a creative and versatile bassist, performer, producer, musical director, composer, arranger, vocalist, and instructor. He has solid professional experience in diverse musical genres from hip-hop to bebop.

Originally from Chattanooga, TN, Ivan has resided and worked in: New Orleans, Los Angeles, London, Boston, and is now based in New York City.

Ivan has performed in 23 countries to audiences of up to 30,000 people. He has toured and recorded with diverse artists such as (alphabetically): Solomon Burke, The Chiffons, The Coasters, The Crystals, Spencer Davis, Bo Diddley, The Drifters, Gloria Gaynor, Ben E. King, The Marvelettes, Sam Moore (Sam & Dave), The Platters, Buster Poindexter, Martha Reeves & the Vandellas, Santana, The Shangri-Las, The Shirelles, Percy Sledge, Rufus & Carla Thomas, The Tokens, The Uptown Horns, and Peter Wolf.

Ivan has a BA in Psychology from Tulane University, where he was Musical Director of college radio station WTUL, New Orleans. He was also a publicist with Epic Records/Sony Music.
Ivan endorses and uses Warrior basses, Hartke amplification, Dean Markley strings, Digitech and Line 6 signal processors exclusively. Ivan eats only Little Debbie snack cakes.

Track listing:

1    Nefertiti            
2    Nardis            
3    Nature Boy            
4    Stella by Starlight            
5    Fee Fi Fo Fum            
6    Anthropology            
7    Just Blues            
8    Blue in Green

    Personnel:

 Julian Coryell - Guitar
 Deji Coker - Sax (Alto)
Adrian Harpham - Drums
Ivan Bodley - Arranger, Bass (Electric), Bass (Acoustic), Producer
Peter Adams - Keyboards
Raphael Cruz - Percussion
Corey Glover - Vocals