Joe Byrd and the Field Hippies - 1968 [2004] "The United States Of America"

The United States of America was an American experimental and psychedelic band whose works, recorded in late 1967, are an early example of the use of electronic devices in rock music. The short-lived band was founded in Los Angeles by experimental composer Joseph Byrd and singer and lyricist Dorothy Moskowitz, with musicians Gordon Marron, Rand Forbes and Craig Woodson, but split up shortly after the release of their only album in 1968. Their sound blended a range of musical genres, including avant-garde, psychedelic, and art rock, with many of the songs' lyrics reflecting Byrd's leftist political views. Unusually, the band had no guitar player; instead, they used strings, keyboards and electronics, including primitive synthesizers, and various audio processors, including the ring modulator. According to critic Kevin Holm-Hudson, "what distinguishes the United States of America from some of its contemporaries... is the seriousness and skill with which they incorporated avant-garde and other influences into their music.

Joseph Hunter Byrd (born December 19, 1937) is an American composer, musician and academic. After first becoming known as an experimental composer in New York and Los Angeles in the early and mid-1960s, he became the leader of The United States of America, an innovative but short-lived band that integrated electronic sound and radical political ideas into rock music. In 1968 he recorded the album The American Metaphysical Circus, credited to Joe Byrd and the Field Hippies. After working as a record producer, arranger, and soundtrack composer, he became a university teacher in music history and theory.

Originally released on Columbia in 1968, The United States of America is one of the legendary pure psychedelic space records. Some of the harder-rocking tunes have a fun house recklessness that recalls aspects of early Pink Floyd and the Velvet Underground at their freakiest; the sedate, exquisitely orchestrated ballads, especially "Cloud Song" and the wonderfully titled "Love Song for the Dead Che," are among the best relics of dreamy psychedelia. Occasionally things get too excessive and self-conscious, and the attempts at comedy are a bit flat, but otherwise this is a near classic. 

THE UNITED STATES OF AMERICA

Rock groups are supposed to be hatched in garages and inner-city lofts, not the upper reaches of academia.  That wasn't going to stop Joseph Byrd, experimental composer and ethnomusicologist from the UCLA New Music Workshop, from devising a plan in 1967 to approach rock'n'roll from the opposite direction.

    Byrd, who had frequented avant-garde circles since hanging around with Terry Riley, LaMonte Young, and Virgil Thomson in the early '60s, used the United States of America to bring cutting-edge electronics, Indian music, and "serious" composition into psychedelic rock and roll.  The group's sole, self-titled album in 1968 was a tour de force (though not without its flaws) of experimental rock that blended surprisingly melodic sensibilities with unnerving blasts of primitive synthesizers and lyrics that could range from misty romanticism to hard-edged irony.  For the relatively few who heard it, the record was a signpost to the future with its collision of rock and classical elements, although the material crackled with a tension that reflected the United States of America itself in the late '60s.

    By mid-1968, the grand experiment was over.  Conflicting egos, a drug bust, and commercial pressures all contributed to a rapid split.  The United States of America may have had their roots in the halls of higher learning, but ultimately they were prey to the same kind of mundane tensions that broke the spirit of many a band that lived and died on the streets.

    From the time Byrd founded the band in Los Angeles with colleague Michael Agnello, says singer Dorothy Moskowitz, "group dynamics were never a strong point in the USA."  Moskowitz, Byrd's ex-girlfriend, had a background in writing and performing for musical theater.  She moved from New York to California to join the group and, as she puts it, provide "the requisite schmaltz."  Bassist Stu Brotman, once of the stunningly eclectic L.A. psychedelic group Kaleidoscope, was also an early member.

    But he and Agnello were gone by the time the group began recording for Columbia.  Agnello, a radical sort, was arguing with Byrd over leadership of the band, and not sure the act should even be signing to a record label in the first place.  "When you ask why the group broke up, well, why did the group even record after it broke it up?" points out Moskowitz.

    Yet the lineup that cohered for the album brought impressive credentials to the table.  Electric violinist Gordon Marron expanded the instrument's parameters with a divider that could raiser or lower it an octave, as well as tape echo units and ring modulators.  Rand Forbes played an unfretted electric bass, and drummer Craig Woodson would tinker with his sound in unusual ways, attaching contact microphones to his set and suspending slinkies from cymbals to get a musique-concrete effect.  Ed Bogas added organ, piano, and calliope.

    Most of the material was penned by Byrd and Moskowitz, the latter of whose alto delivered the lyrics -- which are alternately evocative and foreboding -- with a cool precision reminiscent of an icier Grace Slick.  Byrd was chiefly responsible for the electronic textures that would provide the album with its most distinguishing characteristics.  This was 1968, remember, when synthesizers had rarely been employed on rock records.  What Byrd crafted were not simulations of strings and horns, but exhilarating, frightening swoops and bleeps that lent a fierce crunch to the faster numbers, and a beguiling serenity to the ballads.  Byrd had crucial help in his endeavors from Richard Durrett, who designed the Durrett electronic music synthesizer used by the band, and from Tom Oberheim, who pioneered the use of the ring modulator employed by the USA.  Nico, Moskowitz has recalled, tried unsuccessfully to join the band, after leaving the Velvet Underground.

    Add to this mix a fascination with modal playing and Indian music.  Byrd and Moskowitz were serious students of North and South Indian music, and had already made little-known contributions to a Folkways LP of Indian music by Gayathri Rajapur and Harihar Rao, recorded in 1965.  Country Joe & the Fish, the Doors, and others were opening the gates for modal playing in rock and roll, and the USA were one of the first ones through; Frank Zappa had also opened the possibilities for incorporating ideas from contemporary composition into a rock format.  And then there was Byrd's application of concepts from Charles Ives, which simulated marching bands moving from opposite sides of the stereo spectrum...

While most obviously an antecedent of Broadcast's icy, out-rocked torch songs (indeed, "The American Metaphysical Circus" out-Broadcasts Broadcast), you can hear the United States of America's nervous, modulated psychedelia in acts as diverse as Current 93 and Pram. This was daring stuff, even in 1968, when seemingly every band was splicing tape, echoplexing the hell out of everything and generally being far-out. USA have long been relegated to the specialist and trainspotter bins, but their debut is as worthy of discovery and critical re-evaluation as Can and Neu! were a few years ago. Necessary history lessons, here.

Track listing

01.     "The American Metaphysical Circus" (Joseph Byrd)     4:56
02.     "Hard Coming Love" (Byrd, Dorothy Moskowitz)     4:41
03.     "Cloud Song" (Byrd, Moskowitz)     3:18
04.     "The Garden of Earthly Delights" (Byrd, Moskowitz)     2:39
05.     "I Won't Leave My Wooden Wife for You, Sugar" (Byrd, Moskowitz)     3:51
06.     "Where Is Yesterday" (Gordon Marron, Ed Bogas, Moskowitz)     3:08
07.     "Coming Down" (Byrd, Moskowitz)     2:37
08.     "Love Song for the Dead Ché" (Byrd)     3:25
09.     "Stranded in Time" (Marron, Bogas)     1:49
10.     "The American Way of Love"

    "Metaphor for an Older Man" (Byrd)
    "California Good time Music" (Byrd)
    "Love Is All" (Byrd, Moskowitz, Rand Forbes, Craig Woodson, Marron)"  6:38

Bonus tracks:

11.     "Osamu's Birthday" (Byrd)     2:59
12.     "No Love to Give" (Moskowitz)     2:36
13.     "I Won't Leave My Wooden Wife for You, Sugar" (Byrd, Moskowitz)     3:45
14.     "You Can Never Come Down" (Byrd)     2:32
15.     "Perry Pier" (Moskowitz)     2:37
16.     "Tailor Man" (Moskowitz)     3:06
17.     "Do You Follow Me" (Kenneth Edwards)     2:34
18.     "The American Metaphysical Circus" (Byrd)     4:01
19.     "Mouse (The Garden of Earthly Delights)" (Byrd, Moskowitz)     2:39
20.     "Heresy (Coming Down)" (Byrd, Moskowitz)     2:32

Various Artists - 1997 "Hot Jazz Biscuits"

This sampler has one selection apiece from 14 of Hip Bop's first 15 releases, ranging from all-star projects to dates led by Lenny White, Michael Urbaniak, Tom Browne and the Meeting. Many top players make brief appearances (including saxophonists Gato Barbieri, Kenny Garrett, Branford Marsalis and Ernie Watts), and the music ranges from fairly straight-ahead to funk. A good introduction to the label, although the diversity of the music insures that most listeners would be more satisfied with one or two of the regular releases instead.

This is a wonderfully colorful assortment of 90's hip-bop essence samplers, the core being "The Essence All Stars". It starts in a funky jazz groove and just gets better and better.
At 73 minutes long with stars such as Kenny Garrett, Bennie Maupin, Bob James, Kenny Burrell, Ron Carter, Gato Barbieri, Ernie Watts, Marcus Miller, Lenny White, Mike Mainieri, Chaka Khan and Branford Marsallis it's all too short.
The recording quality is superb and the distinct impression is that it was carefully and lovingly put together.

Track listing:

1 Who Do You Love?     Lenny White     4:59    
2 Hot Jazz Biscuits     Urbanator     4:41    
3 Bluesanova     Tom Browne     6:54    
4 Luny Tune     The Essence All Stars     5:56    
5 Funk In Deep Freeze     Bop City     3:58    
6 Jam Fo’Real     Tom Browne     3:59    
7 Up Jumped Spring     The Essence All Stars     5:37    
8 Late One Night     The Meeting     6:43    
9 Dr. Jackle     The Essence All Stars     5:08    
10 Cubano Chant     The Essence All Stars     4:43    
11 Magic     Urbanator     5:49    
12 Savant     Lenny White     4:34    
13 Bass Blues     The Essence All Stars     4:58    
14 Freedom Jazz Dance     The Essence All Stars     5:10 

Total time - 72:43 

Steve Smith - 1999 "Buddy's Buddies"

When thinking of drummer Buddy Rich, the first thing that comes to mind is a screaming big band propelled by the master. However, Rich also recorded in small group settings, and it's this facet of the drum legend's musical personality that Steve Smith and his friends explore on this CD. Teaming up with four alumni of the Buddy Rich band from the 1970s and '80s, Smith takes on the difficult task of filling Rich's drum chair for this impressive set. It's great to hear saxophonist Steve Marcus cooking again. He and alto saxophonist Andy Fusco provide the perfect frontline, blending seamlessly on the ensemble passages, then taking off in their distinctive solo styles. Marcus gets out there on his soprano and tenor while Fusco locks in closer, only to rise on "Airegin." Pianist Lee Musiker shows talent that deserves wider recognition, providing a fat chordal underpinning one moment and soaring through an inventive solo the next. Bassist Anthony Jackson brings impressive credentials to the gig and delivers a solid bottom throughout. Steve Smith shines in each setting, never aping Rich directly, yet still conjuring images of Rich (and the great Billy Cobham as well) with his facile, polyrhythmic yet swinging approach. His brushwork will surprise those who think of Smith only as a high-energy rock and fusion drummer. The choice of material is good, with a number of mostly familiar pieces mingled among a couple of lesser-known chestnuts. This was one of the best small group jazz recordings of 1999, overlooked perhaps as a mere "tribute" recording. This album actually offers a smoking set of great music by a quintet that sounds like they've been playing together for years.

Steve Smith and Buddy's Buddies is hardly the first tribute to the legendary jazz drummer Buddy Rich, but it is perhaps the first to bring to life the small-group aspect of Rich's enormous legacy. While previous recorded tips of the hat to Rich have focused on his influential big-band work, Buddy's Buddies gathers some of Rich's former sidemen with superstar drummer Steve Smith for a rewarding shot of small-group jazz as intense as Rich's own work in this context. Since this is a tribute to a drummer, much of the focus here is on Smith, and given his cultlike status in musician circles (earned through his varied playing with everyone from Journey to his own jazz-fusion band Vital Information), it's no surprise that he doesn't disappoint--bursting out of the gate on "Nutville" with some ridiculously complex drum fills and going into hyerdrive on the super-uptempo "Airegin" for some telepathic interplay with saxophonists Steve Marcus and Andy Fusco. But it's the rest of the band that makes this far more than a drum clinic or otherwise empty nostalgia recording. Marcus's lyrical soprano solo lights up a beautifully arranged version of the Beatles' "Norwegian Wood," and the whole band swings with effortless ease on "New Blues," transforming what could have been a mere tribute album into a no-holds-barred session that stands just fine on its own--just the way Rich undoubtedly would have wanted it. 

Legendary drummer Buddy Rich is usually associated with soaring Big Bands, but he also made several recordings with small ensembles, using the members of his band to play in a much more intimate setting. This album is a tribute to these small ensemble recordings, initiated by ex-Buddy Rich alumni Steve Marcus and Andy Fusco (both sax players). They joined forces with two other alumni, who also played with Rich on his small group recordings: pianist Lee Musiker and the extraordinary bassist Anthony Jackson. To drive the quintet and fulfill the place of their legendary drummer / leader they invited one of the most respected and musical US drummers Steve Smith. Smith is not only a fantastic player, but also one of the most versatile musicians around. His illustrious career spans back to the 1970 when he played with the Rock group Journey during their hay days and with the French violin virtuoso Jean-Luc Ponty and his Fusion group. Later on he played in several jazz small groups, Big Bands and a myriad of Fusion ensembles (including Steps Ahead), always being one of the most solid and sought after drummers around. Since the early 1980s Smith also leads his own Fusion group Vital Information, recording several albums over the years. It’s no wonder therefore that Smith is up to the challenge set up by this album, leading the quintet with grace and elegance. The music includes a selection of standards mostly associated with Buddy Rich ensembles. The level of musicianship is outstanding, with Smith and Jackson providing rock-solid rhythm foundation for the other musicians to solo. Although the music is well framed within the swing genre, it is fascinating and beautifully played. This album deserves to be considered as one of the best jazz recordings of the 1990s. Definitely a must for all people who cherish the memory of Buddy Rich and hard swinging well played jazz.

Although there have been many tributes to the late Buddy Rich, few have truly captured the explosive energy of the master drummer. Steve Smith, one of the most gifted all-around drummers in the world, admirably accepts the challenge presented by Rich's repertoire. He is joined by various past members of Rich's band, including Anthony Jackson, Lee Musiker, and Steve Marcus in an intimate small group, a setting in which Rich was a master. The result is a powerful performance that allows Smith to reveal his stunning technique and master musicianship while paying tribute to the greatest of them all.

The blistering opener, "Nutville" is a raucous Latin/swing romp that sets up jaw-dropping solo spots by Marcus, Musiker, and Smith, the last of whom plays a smoking cadenza. Other Rich cuts include the Lennon/McCartney masterpiece "Norwegian Wood," here taken as a loping waltz; a steaming Afro-Cuban/swing reading of "Airegin"; and an intricate arrangement of Berstein's "Cool." Throughout, Smith effectively drives and guides the music with his trademark power and precision, producing one remarkable performance after another. The closing barnburner, "Ya Gotta Try," a favorite among Rich fans, is a fitting end to one of the most successful tributes to Rich's spirit yet.

Track Listings

  1. Nutville
  2. Norwegian Wood
  3. New Blues
  4. Airegin
  5. How Do You Keep The Music Playing?
  6. You Stepped Out Of A Dream
  7. Moments Notice
  8. Cool
  9. Ya Gotta Try
  10. Norwegian Wood

Personnel:

Steve Smith (drums);
Steve Marcus (soprano & tenor saxophones);
Andy Fusco (alto saxophone);
Lee Musiker (piano);
Anthony Jackson (bass). 

Brand X - 1982 [2013] "Is There Anything About"

Is There Anything About? is the seventh album by British jazz fusion group Brand X. It is the last album to feature longstanding members Robin Lumley and Phil Collins. It was assembled from outtakes from the "Product" sessions. These sessions produced around twenty tracks which became Product, Do They Hurt and Is There Anything about."Modern, Noisy, and Effective" is the backing track to "Soho" with a new keyboard line overdubbed over the top of it.A Longer April is just an extended version of April from Product with a bit of synth noise added in the middle."TMIUATG" is taken from an old cassette tape running in the studio when the band were improvising.

Brand X was another one of those bands who were beloved of other musicians and the more discerning of critics but which despite everything, never had the commercial success that it deserved.
They were a jazz fusion band active 1975–1980. Noted members included Phil Collins (drums), Percy Jones (bass), John Goodsall (guitar) and Robin Lumley (keyboards). Not long after jazz/rock fusion greats Brand X put out their 1980 album, Do They Hurt?, the band members went their separate ways (until their comeback in 1992, which only featured Goodsall and Jones).
However, they still owed their record label one more album. The solution? Release a rarities album! The problem, though, was that Brand X hardly had any unreleased material in the vaults at all; about three or four tracks at the most. But with a little doctoring & remixing of tapes, keyboardist Robin Lumley extended that number to six tracks (still scant, but better than four), and released Brand X's appropriately-titled collection, Is There Anything About?, in 1982.

It is the last album to feature Phil Collins on drums and includes some absolutely gorgeous slices of Brand X at their very best. This is a peculiar album; at the time many critics panned it, often because it didn't sound anything like the anodyne pop music that Phil Collins was making elsewhere in his career. However, in my opinion and that of thousands of fans worldwide, it acts as a satisfying coda to a body of work that has very few paralells in the world of Jazz fusion.

 The album has been panned ever since the day it was released (and judging by the previous Amazon reviews, it's STILL being panned), but honestly, people, this album is nowhere near as bad as you've been led to believe. Is it a masterpiece? No. But is it bad? Absolutely not. "Is There Anything About?" DOES contain some very cool Brand X nuggets. Even the "filler" tracks, in my opinion, are enjoyable. Let's check out the material, shall we?:"Ipanemia": written by guitarist John Goodsall, this piece is an excellent jazz/rock popper. Very cool and breezy."A Longer April": this track is exactly what it says it is---a longer version of "April," from 1979's "Product." Either this is how Brand X originally recorded the tune before having to edit it down for the "Product" album, or Robin Lumley extended the track by doing some re-mixing on it. Either way it's a very dreamy, pleasant piece, and I like it. I also like the spacey little bridge section that's been added to it. "TMIU-ATGA": as the liner notes say, the title stands for "They're Making It Up As They Go Along." Lumley, fellow keyboardist Peter Robinson and bassist John Giblin improvised this short piece in one take, and Lumley stuck it onto the album. Filler? Perhaps. Instrumental noodling? Perhaps. But it's interesting."Swan Song": a fun, poppy, keyboard-heavy instrumental, with a big "Ohh-ohh" chorus at the finale. Some fans reacted to this track with, "Oh my God, they've gone pop!" Chill out, you guys. I think there's always been an oh-so-subtle pop influence to a *little bit* of Brand X's music (just a little bit, mind you), so I don't mind if the band go whole hog and do a rare, full-on pop-music piece. And "Swan Song" IS a very good pop-music piece."Is There Anything About?": Now here is a Brand X instrumental no one should have any complaints about. I can't tell when the band actually recorded it, but it is a smokin' hot, jammin' piece, just as great & funky as anything Brand X have recorded in the past. Brilliant."Modern, Noisy, And Effective": Brand X go pop again (gasp!) with a re-mixed, pop-flavored instrumental rendering of the song "Soho," originally from "Product." Extra keyboards and handclaps are tossed into the mix. Again, I don't have a problem with it. It's a fun piece with a good groove.And, to top off the album, the band's performances are juuuust fine, thank you very much, with Lumley, Giblin, Goodsall and ace drummer Phil Collins all getting in some tasty licks (as well as bassist Percy Jones on the outstanding title track). So, if Brand X's "Is There Anything About?" must be considered a throwaway album, it is a great throwaway album. I'm happy to have it sitting alongside classic Brand X albums like "Unorthodox Behaviour," "Moroccan Roll," and their excellent comeback release from 1992, "X-Communication." I give "Is There Anything About?" 3 1/2 stars, thus, 4 stars on the average curve. I know it's a pretty darn difficult CD to get a hold of these days, but do seek it out. If you are a Brand X fan, PLEASE have an open mind with "Is There Anything About?", and I hope you like it. I do!

Notes

    This album is outtakes from the Product (1979) sessions.
    TMIU-ATGA means "they're making it up as they go along".
    "A Longer April" is a re-engineered version of "April" from the Product (1979) sessions.
    "Modern, Noisy, and Effective" is a recycling of the backing track of "Soho" from the "Product" album; that track had been engineered by Collins, who was described as "modern, noisy, and effective." This phrase, in fact, first appears in the film "Three Dates with Genesis" (1978); the narrator describes the scene in which the stage has been torn down and all the equipment loaded into trucks thus: "Like the rock band they service, the trucks are noisy, modern, and effective; at 2:30 on a Friday morning, they leave Mannheim to drive halfway across Europe to the Dutch border."

Tracks Listing

1. Ipanaemia (4:30)
2. A Longer April (7:00)
3. Tmiu-Atga (5:07)
4. Swan Song (5:30)
5. Is There Anything About? (7:52)
6. Modern, Noisy, and Effective (3:56)

Total Time: 33:55

Line-up / Musicians

- Phil Collins / drums and concussion (1-3)
- Percy Jones / bass (5)
- John Giblin / bass, Whitbread, vocal (1-4,6)
- Robin Lumley / keyboards and vocal
- Peter Robinson / keyboards (6)
- John Goodsall / guitar (1-5)
- Raf Ravenscroft / saxophone (2)
- Stephen Short / syndrums and vocal (4)

Tempest - 1973 [1994] "Tempest"

Tempest was a British progressive rock band active from 1973 and 1974. Its core members were Jon Hiseman on drums and Mark Clarke on bass. They released two studio albums before breaking up.

Hiseman and Clarke had played in Colosseum together and formed Tempest in the beginning of 1973. For the band's first, eponymous album (originally called Jon Hiseman's Tempest), the line up was completed by Allan Holdsworth on guitar and Paul Williams on vocals and keyboards.
Later in Tempest's brief history, they were joined by Ollie Halsall, who had begun playing guitar with progressive rock band Patto]. With two guitarists, the group played a number of shows including a June 1973 show at Golders Green Hippodrome, released as a bootleg called Live in London 1974. By the time a second album was recorded, 1974's Living in Fear, Tempest was down to a trio, consisting of Hiseman, Clarke, and Halsall; reportedly Holdsworth didn't want to play alongside a second guitarist. The band broke up soon after.
In 2007, a double CD anthology was released entitled, Under the Blossom which featured remastered editions of the two studio albums, plus two previously unreleased bonus tracks. It also included the famous 1973 BBC live recording of a concert in Golders Green, which featured both guitarists Allan Holdsworth and Ollie Halsall (in his first appearance with the band).

When Jon Hiseman split Colosseum in 1972. he resolved to take the rock aspects of his music to their logical conclusion. To this end he retained the services of Mark Clarke on bass/keyboards/vocals, who had been with him in the last Colosseum lineup; his rock intentions were signalled by the recruitment of Paul Williams on guitar/ keyboards/vocals, who had previously seen service in Juicy Lucy and Zoot Money's Big Roll Band. 

The fourth member of the new band was Allan Holdsworth on  guitar/vocals/violin. Holdsworth was a rock guitarist with jazz leanings (rather than vice versa), and in a sense this definition tells you the difference between Tempest and Colosseum. It was in this band that Allan Holdsworth came to critical attention, his only previous recorded outing being an album with the band Igginbottom's Wrench on Deram in 1969.

Tempest was an apt name for the band, as their eponymous debut album showed. With Hiseman drumming up a storm and Clarke adopting the wise approach of playing simply but strongly (a flash drummer and a busy bassist never go together), the foundation was laid for Williams and Holdsworth to wail and moan over a series of complex progressive compositions.

 

Formed by drummer Jon Hiseman in 1974 after the break up of COLOSSEUM, TEMPEST (no relation to the US band of the same name) are most notable for their line up rather than their albums. Hiseman brought in an at the time very young guitarist by the name of Allan Holdsworth, with Mark Clark (bass) and Paul Williams (vocals) completing the band. Clark had also been a member of COLOSSEUM. Paul Williams had played with JOHN MAYALL’S BLUESBREAKERS and JUICY LUCY.
TEMPEST released two albums with Peter “Ollie” Halsall (PATTO, SCAFFOLD) replacing Holdsworth for “Living in Fear”, and taking on keyboard duties for that album too. He replaced the departed Williams on vocals, resulting in a completely different sound for that album. Their music is more jazz rock than fusion, and Hiseman’s COLOSSEUM influences can be heard in the jazz influences in both albums. While “Living in Fear” was more direct and dynamic than the first self titled album, neither was particularly satisfactory.
Hiseman went on to form COLOSSEUM II, while Holdsworth found varying degrees of success both as a solo artists, and with bands such as GONG, SOFT MACHINE, UK and BRUFORD. The late Ollie Halsall (died 29 May 1992) recorded with BOXER and Kevin Ayers among others. Clarke worked with various bands including NATURAL GAS, URIAH HEEP, MOUNTAIN AND RAINBOW.
 

 Track listing:

 
1. Gorgon (Hiseman, Clarke, Holdsworth) - 5:41
2. Foyers Of Fun (Hiseman, Clarke, Holdsworth) - 3:38
3. Dark House (Hiseman, Clarke, Holdsworth) - 5:00
4. Brothers (Hiseman, Holdsworth) - 3:35
5. Up And On (Edwards, Holdsworth) - 4:16
6. Grey And Black (Clarke, Bottomley) - 2:26
7. Strangeher (Clarke, Hiseman) - 4:07
8. Upon Tomorrow (Clempson, Hiseman) - 6:15

Personnel:

 
*Jon Hiseman - Drums
*Mark Clarke - Bass
*Paul Williams - Vocals
*Allan Holdsworth - Guitar

Bill Connors - 1986 [1994] "Double Up"

Bill Connors is known in fusion circles primarily for being the guitarist with Return To Forever on their groundbreaking Hymn Of The Seventh Galaxy album in 1973. While that was his breakthrough into the jazz and fusion recording industry, he quit the band after the single album and tour, due to creative differences. Since then, he has gone on to a successful solo career, as well as sitting in with other jazz giants, such as Stanley Clarke, Jan Garbarek and Paul Bley. In recent years, he has even performed again with the revived Return To Forever.

For another fine example of blazing, burning, incendiary (did we mention fiery) legato guitar playing, look no further than Bill Connors work on "Double Up". A fan favorite, Connors hooks up with bassist Tom Kennedy and drummer Kim Plainfield to deliver fluid fusion in a trio setting in the Holdsworthian vein. Many remember Connors with Return To Forever (predating a young Al DiMeola), and his pedigree helped bring attention to this 1994 release. Six tracks, none less than about five minutes, means plenty of time to stretch, develop themes and -- solo! Which Connors handles with style and fire. Kick yourself if you've not discovered this fusion guitar delight.

Guitarist Bill Connors has forged a successful career by mixing light, pop-oriented fusion cuts with more ambitious works that showcase his considerable solo abilities and compositional skills. This was a trio date with Connors (who doubled as producer) playing in an introspective vein, showing his funk and rock side, and then playing with more imagination and style. The playing time was quite short (35 minutes-plus), but there was enough of Connors' guitar work presented to satisfy his fans and fusion/pop/light jazz followers.

This CD just burns. Bill Connors had been around a long time, playng with Chick Corea ( he was Chicks first guitarist)and Stanley Clarke. This CD is nothing like the Chick Corea stuff. Many people compare his style to Allan Holdsworth, and there are some similarities, but there are also many differences. What is similar are the chord structure that they both use. As far as soloing goes, I think that Allan is much more creative , but Bill is still pretty darn good. The supporting musicians are what make the CD so good. Kim Plainfield is just an awesome powerhouse drummer and that really keeps the music flowing. I have several of Bill Connors albums and I would have to say that this one is my favorite with Step it and Assembler right behind. If you love instrumental jazz/fusion, you are going to love Bill Connors.

Yeah, all the reviewers got it right. This is a fusion classic, simply great playing and quirky, memorable compositions. Bill Connors is not just a finger-busting fretboard speedfreak, he is an intelligent, melodic improviser with amazing technique. Bill Connors plays all parts here, harmony, melody and solo, supported by a rock-solid rhythm section.

I would never guess at what he was capable of while with Return to Forever, not having heard his later work, like this album. It's hard to compare him against Al DiMeola, but I'd say he has a more versatile and robust technique, and an ear for melody. Definitely a must in any fusion collection.

'Double Up' by Bill Connors may be a FEW years old, but I believe it is some of the best guitar fusion out there. Yes, it does have an Allen Holdsworth sound to it, but Bill does have his own voice and perhaps he does hat tip to Mr. Holdsworth. We don't live in a vacuum, so we are influenced by a lot of what we hear. There isn't any neo-classical shredding on this, although one could argue that there is a lot of tasty progressive fusion in the mix. Nothing wrong with that. I still enjoy my shred but I also like to indulged on the other side of the buffet table and Bill fits the 'bill'.

This is by far my favorite release from Bill Connors. If you are into fusion and jazz-like rock..that combined with Bill's mind blowing technical prowess on the guitar, well there's simply no better than Mr. Connors and "Double Up"

Tracks Listing

1. Subtracks (4:58)
2. Tud (5:30)
3. Floor To Floor (6:40)
4. Crunchy Cuts Up (5:45)
5. Long Distance (5:53)
6. Out By Twelve (6:39)

Total Time 35:25

Line-up / Musicians

- Bill Connors / guitar
- Kim Plainfield / drums
- Tom Kennedy / bass

Jimi Hendrix - 1967 [1988] "Radio One"

Radio One is a posthumous live album by English-American rock band The Jimi Hendrix Experience, released in November 1988 by Rykodisc. It compiles tracks recorded between February and December 1967 for broadcasts by BBC Radio.^[1] The album peaked at number 30 on the UK Albums Chart, while in the United States, it charted at number 119 on the Billboard 200. After Hendrix's family gained control of his legacy, Radio One was supplanted by the more comprehensive BBC Sessions in 1998.

In a contemporary review for The Village Voice, Robert Christgau said Radio One is as good an introduction to Hendrix's music as his 1967 debut record Are You Experienced because while non-fanatics do not have to listen to different versions of the same songs, "Hendrix's versions do bear scrutiny like no other rock and roll." He was also impressed by the previously unreleased covers of "Hound Dog" and Curtis Knight's "Drivin' South", calling them first-rate. John Milward from the Chicago Tribune called it "one of the season's best new rock records", writing that it "supplements the first public stage of Hendrix`s tragically brief evolution; the hard rock that forged his background in the blues and rhythm and blues into a sturdy platform for his instrumental pyrotechnics". Rolling Stone magazine's David Fricke was even more enthusiastic, deeming it an all-important Hendrix album that documents his artistry as it developed in its earliest stages, with recordings showcasing his blues roots, lyrical ballads, and frenzied guitar playing. He believed it covers a period of "accelerated evolution" for Hendrix in 1967, from his debut album earlier that year to his performance at the Monterey Pop Festival and his second record Axis: Bold as Love later that year:

This is the sound of Hendrix reinventing rock & roll, almost day by day, in his own image. It is also the sound of Hendrix coping with the pressure and pain that were part of his reward. There's no other experience on record like it.

Seventeen songs from 1967 BBC broadcasts, when the Jimi Hendrix Experience had yet to burn out from the wheel of constant touring, management hassles, and internal strife. They're in good, enthusiastic form as they run through early gems like "Hey Joe," "Foxy Lady," "Fire," and "Stone Free," the lack of studio polish giving these versions a loose feel. The Experience studio albums are still considerably superior to this set, but it's certainly worth acquiring by any serious Hendrix fan, not least because it has several covers that didn't make it on to the three proper Experience LPs. Several of these ("Hoochie Koochie Man," "Killing Floor," "Catfish Blues") reveal his sometimes overlooked affinity for Chicago-style electric blues; there are also a couple of surprises ("Hound Dog" and "Day Tripper"). With good sound, it's a solid addition to the Hendrix library, demonstrating his versatility in various rock, soul, and blues styles. 

If you don't have at least one Jimi Hendrix album in your CD collection, you really need to rethink your musical priorities. I don't think I need to explain the revolutionary legacy of Hendrix to anyone, so I'll just get right to the content on this particular CD. The year was 1967, and Hendrix's career had just blasted off in the UK, when The Jimi Hendrix Experience (Hendrix, Noel Redding, and Mitch Mitchell) came together for several recording sessions for BBC Radio. You will find a number of Hendrix's most memorable songs in this collection, but they differ from the versions most fans are familiar with. Alongside these more familiar tracks are a number of very interesting covers and blues-oriented recordings, a few of which could and should be considered true rarities.

Appropriately enough, this collection starts out with an anthem song, Stone Free. With the funk established, it's time to jam. Hendrix standards emerging from these early recordings are Fire, Foxy Lady, Purple Haze, and Hey Joe. Hendrix pulls out all of the heavy guitar stops on the short but enervating Killing Floor. This killer track is then followed by what is still, as far as I am aware, the only live version of the classic Love or Confusion. Hendrix's mastery of the guitar is made most evident in a scintillating performance of Drivin' South. I find the background vocals on Wait Until Tomorrow somewhat questionable, but this track is a real treat indeed, as this was a song Hendrix never performed on stage. You get a somewhat light version of Hear My Train a Comin', infused with a lot of interaction with the small studio audience. Spanish Castle Magic is pretty faithful to the later studio version, but this is probably the earliest recording made of this standout song. Yet another significant recording is Burning of the Midnight Lamp, a much different version from that which appeared on the Electric Ladyland album of the following year.

Radio One Theme is a playful bit of filler, really, a half-joking new theme song for Britain's insurgent Radio One rock station. Hendrix's cover of the Beatles' Day Tripper takes the song to heights never imagined by the team of Lennon and McCartney. The novelty of this cover still pales in comparison to that of Hound Dog, which comes complete with all sorts of barks and howls from band members.

For me, the best this album has to offer are the blues-oriented recordings, in which Hendrix pays tribute to some of the strongest influences of his youth - the legendary Muddy Waters, in particular. Catfish Blues is great, but Hoochie Koochie Man is easily my favorite song on this album.

All told, these 17 early recordings showcase the variety of musical styles that Jimi Hendrix made his own, and the entire album has a fresh and jubilant feel that differs from the heavier sound of Hendrix's later career. I wouldn't necessarily recommend Radio One as someone's first introduction to Jimi Hendrix, but Hendrix fans will definitely love every one of the 59 - plus minutes of this album.

The sound quality on these recordings is really superb. I own the BBC Sessions collection, remastered and released on Experience Hendrix which does not have as good a sound as this Ryko release. The Rykodisc release does not contain any of the tape hiss which is present on the Experience Hendrix material. I am at a complete loss as to how this can be. So much for the advances in mastering and sound technology over the years. If you come across a copy of this disc, now long out of print, grab it as it runs rings around any other available sources of the same material.

Track listing

No.     Title     Writer(s)     Length
1.     "Stone Free"       Jimi Hendrix     3:23
2.     "Radio One"       Hendrix     1:27
3.     "Day Tripper" (The Beatles cover)     Lennon–McCartney     3:18
4.     "Killing Floor"       Chester Arthur Burnett     2:27
5.     "Love or Confusion"       Hendrix     2:52
6.     "Drivin' South"       Hendrix     4:49
7.     "Catfish Blues"       Robert Petway     5:28
8.     "Wait Until Tomorrow"       Hendrix     2:55
9.     "Hear My Train a Comin'"       Hendrix     4:52
10.     "Hound Dog" (Big Mama Thornton, Elvis Presley cover)     Jerry Leiber, Mike Stoller     2:44
11.     "Fire"       Hendrix     2:39
12.     "Hoochie Coochie Man"       Willie Dixon     5:30
13.     "Purple Haze"       Hendrix     3:02
14.     "Spanish Castle Magic"       Hendrix     3:06
15.     "Hey Joe"       Billy Roberts     4:01
16.     "Foxy Lady"       Hendrix     2:57
17.     "Burning of the Midnight Lamp"       Hendrix     3:42
Total length:
    50:12

Personnel

    Jimi Hendrix – guitar, lead vocals
    Noel Redding – bass, backing vocals on track 3
    Mitch Mitchell – drums, backing vocals
    Jimmy Leverton – backing vocals on track 11
    Trevor Burton – backing vocals on track 11

Recording details

    Tracks 1, 5, 15 and 16 recorded at the BBC Broadcasting House in London, England on February 13, 1967
    Tracks 2, 3, 8, 9 and 14 recorded at the BBC Playhouse Theatre in London, England on December 15, 1967
    Tracks 4, 11 and 13 recorded at the BBC Broadcasting House on March 28, 1967
    Tracks 6, 7, 10 and 17 recorded at the BBC Playhouse Theatre on October 6, 1967
    Track 12 recorded at the BBC Playhouse Theatre on October 17, 1967 

John Mclaughlin - 1978 "Electric Dreams"

Electric Dreams is the sixth solo album by English jazz guitarist John McLaughlin and his "One Truth Band", released in 1979. Between his fourth and fifth solo albums he spent several years active with the Mahavishnu Orchestra.
While performing with Miles Davis, Davis had titled a song on the album Bitches Brew after McLaughlin. McLaughlin returns the favour here, naming a song "Miles Davis".

At this point, it is easy to see that the John McLaughlin story has become a peripatetic journey of electric-acoustic switchbacks, with the formation of the One Truth Band that plays on this CD being just another short chapter in the saga. And this time, McLaughlin is thoroughly in charge: there is little of the competitive dueling or tightly drilled, high-volume unison lines of the past; it's the guitarist and his sidemen, although sometimes keyboardist Stu Goldberg steps out with some wicked chops. McLaughlin returns Miles Davis' favor of naming a piece on Bitches Brew after him by turning the tables, and indeed, "Miles Davis" often has the loose, jamming feeling (and a quote of "It's About That Time") of the maestro's own jazz-rock sessions. There are also some aftershocks from the Shakti experience on "Love and Understanding." For the most part, though, McLaughlin conforms to the controlled funk and electronic sounds of the times, with generally more restraint and a considerable musical payoff. 

The last three minutes of "Desire and the Comforter" from Electric Dreams say it all about John McLaughlin. He just tears apart his electric guitar with cascades of funk, blues, rock, jazz, and Far-Eastern scales. Every strike of a string has individual meaning. His guitar soars above the chord changes and captures the spirit of the music. He leaves space (or texture) where it should be left. Like no other guitarist on earth, John McLaughlin knows when not to play, despite claims from those who say he plays too many notes. And even though there are a million notes a minute on this tune, the spaces in between the notes create the epiphany.

McLaughlin recorded Electric Dreams with the One Truth Band, which also included L. Shankar on violin, Tony Smith on drums, Stu Goldberg on keyboards, Fernando Saunders on bass, and Alyrio Lima handling various percussion duties. The OTB was a much more rhythmic unit than JM's previous bands, and although its members may not have been the "master" musicians like those who comprised The Mahavishnu Orchestra, they certainly knew how to "funk a groove". Electric Dreams is full of such grooves and infectious tunes. Sure, we could have lived without the God-awful "Love and Understanding". But Electric Dreams offers the beautiful "Electric Dreams, Electric Sighs", featuring JM on banjo! The classic “Dark Prince” is a brooding, straight-ahead jazz-fusion homage to Miles that overshadows the album’s other Miles tribute piece, “Miles Davis."

On this recording, McLaughlin used a guitar that had a scalloped fret board. The concave spaces allowed McLaughlin to stretch notes beyond believability. A main component of the band's sound, Shankar's far-eastern violin, does seem ill placed at times, and Goldberg's synth patches are outdated in some areas as well. But, these issues actually endow the album with a bit of charm. The veterans Smith and Saunders make for a very steady rhythm section. Lima is more effective in concert than on this recording. Saxophonist David Sanborn, a guest star on several McLaughlin albums, makes a more than welcome guest appearance on the haunting “Unknown Dissident”.

The mix wasn't always successful. But on the whole, Electric Dreams offers some of the best composing and playing of McLaughlin's career and has been unfairly overlooked.

Tracks Listing

1. Guardian Angels (0:52)
2. Miles Davis (4:54)
3. Electric Dreams, Electric Sighs (6:27)
4. Desire And The Comforter (7:35)
5. Love And Understanding (6:39)
6. Singing Earth (0:38)
7. The Dark Prince (5:17)
8. The Unknown Dissident (6:18)

Total Time 39:05

Line-up / Musicians

- John McLaughlin / Electric guitar, 6 + 12 + 13 string acoustic guitars and banjo
- L. Shankar / Acoustic and electric violin
- Stu Goldberg / Electric piano, Moog synthesizer with Steiner Parker modifications, Prophet synthesizer, Hammond organ
- Fernando Sanders - Fender bass, acoustic bass, vocals on "Love And Understanding"
- Tony Smith / Drums and vocals
- Alyrio Lima / Percussion, amplified Chinese cymbals
- David Sanborn / Alto saxophone on "The Unknown Dissident"

Zephyr - 1969 [1990] "Zephyr"

Zephyr is the debut album by the band Zephyr, released in 1969.

Zephyr was a blues-based hard rock band formed in 1969 in Boulder, Colorado by guitarist Tommy Bolin, keyboardist John Faris, David Givens on bass guitar, Robbie Chamberlin on drums and Candy Givens on vocals. Although the charismatic performances by Candy Givens were originally the focal point for the band, it was the flashy guitar work of Tommy Bolin that the band is best remembered for.^[1] After Bolin left, he was replaced by Jock Bartley, and the band recorded the album Sunset Ride, their second for Warner Brothers Records. The album is still in print and is much loved by a small but loyal following. On Sunset Ride, Candy Givens displayed her gifts as a singer, composer, and harmonica player. The album was produced by David Givens who also authored the majority of the tunes. As a result of his stint with Zephyr, Bartley went on to a successful career with Gram Parsons and Firefall and drummer, Michael Wooten, went on to play for several years with Carole King. Various versions of Zephyr continued to play in Colorado until Candy's death in 1984. The release of "Heartbeat" in 1982 was promoted by a video that incorporated very early examples of analog computer animation combined with live action.
Other Zephyr members of note include trance blues maven, Otis Taylor, who played bass during the mid-1970s, Kenny Wilkins (Drums) and also later on as (guitarist), guitarist Zack Smith (founder of Columbia Records band Scandal), and blues guitarist, Eddie Turner, who played guitar in the last incarnation during the early 1980s. Candie and David, Tommy, and John Faris were all founding members of The Legendary 4Nikators, Boulder's oldest and best loved party band. Taylor and Turner were later additions to The Legendary 4Nikators - Taylor noted for playing motorcycle on stage during "Leader Of The Pack" and performing in a kilt and Turner for his renditions of Jimi Hendrix classics.
40 years after, Zephyr's music is still in print and continues to be played in the various media. YouTube has brought new eyes and ears to the band.
In 2014, record producer, Greg Hampton and David Givens collaborated on a project that resulted in the release of a limited edition boxed set that included a remastered version of the "bathtub" album, two albums of live material - mostly previously unreleased, and a booklet featuring liner notes by Givens and photos from his private collection. The remastered first album is an unqualified improvement over the original and the live material justifies the high esteem the band accrued with the audiences that witnessed their performances. The boxes sold out in less than a month.

I saw this band on PBS when i was 12. They played Cross The River then St. James Infirmary, complete with the 'echoplex' segue (i can still see Tommy siding the 'speed' bar). I was hooked. Bought the album a short time later. Side 2 opens with the tracks i saw them play on tv and i still spin that first. Always seemed right to me.

Great band, Tommy doing the chameleon thing on guitar. Rock, blues, jazz? All present and accounted for.
I know Candy doesn't have many fans here. Heck, my Mom didn't like her and neither does my Wife. No matter-mind to me. I love the sheer abandon when she sings. Plus, i always thought she was cute.

Great start for Tommy. He formed this band when he was 17 or 18.
I have Spectrum, Teaser and Private Eyes. This First Zephyr release will always be my fave.

This was Tommy Bolin's first album, and his playing on this heavy blues rock album is pretty impressive. He had a great guitar tone, and occasionally his playing really reminds me of Jimmy Page's style on some of the slower early Zeppelin blues numbers. The rest of the band is impressive as well, and I really have to give kudos to the organist for some pretty wild soloing. The songwriting is generally strong, and will appeal to fans of early 70's progressive blues rock. In my opinion, the only thing holding this band back from true greatness are the really grating vocals of Candy Givens. She tries to sound like Janis Joplin, along with the blues moaning of Robert Plant. The problem is with her Robert Plant fixation. Plant was usually successful in escaping total embarrassment with his vocal excesses simply because he had a strong voice. Candy Givens sings on-key and all, but she sings too much from the throat when she does her Plant-style moaning, thus producing an irritating, thin tone that sounds more like screaching rather than blues-moaning. Simply put, it's absolutely horrible. If you can get past this, then by all means, check out this album. Like I say....the band rocks! 

Track listing

    "Sail on" (Tommy Bolin, Candy Givens) – 7:22
    "Sun's a Risin'" (Bolin, David Givens) – 4:45
    "Raindrops" (Dee Clark) – 2:40
    "Boom-Ba-Boom" (D. Givens) – 1.20
    "Somebody Listen" (D. Givens, C. Givens, Bolin, John Faris) – 6:10
    "Cross the River" (C. Givens, D. Givens) – 4:43
    "St. James Infirmary" (Joe Primrose) – 5:15
    "Huna Buna" (C. Givens, Bolin) – 2:26
    "Hard Chargin' Woman" (Bolin, Robbie Chamberlin, Faris, C. Givens, D. Givens) – 8:40

Personnel

    Candy Givens – lead vocals, harmonica
    Robbie Chamberlin – drums, backing vocals
    David Givens – bass, backing vocals
    John Faris – keyboards, flute
    Tommy Bolin – guitar, backing vocals

Steve Hackett - 1975 [2005] "Voyage of the Acolyte"

Voyage of the Acolyte is the debut solo album from progressive rock guitarist Steve Hackett. It was released while he was still a member of Genesis. The album was recorded two weeks after the last show of the The Lamb Lies Down on Broadway tour and was released in 1975 on Chrysalis Records in the U.S. and Charisma Records for the rest of the world.
It featured heavy contributions from Genesis bandmates Phil Collins and Mike Rutherford. In an interview with Phoenix FM Hackett stated that some of the tracks, particularly "Shadow of the Hierophant," were rehearsed by Genesis during the writing and recording of Foxtrot in 1972.^[2]
The album went silver in the UK. In a 1987 MTV interview Genesis keyboardist Tony Banks stated that the album didn't do much for Genesis, however it is considered by many Genesis fans to be a lost Genesis album.
The tracks are named after, or with reference to, the Minor and Major Trumps of the Tarot card deck.
The album was reissued in 2005 by Virgin Records, and in the U.S. in 2006 by Astralwerks, featuring bonus tracks.

Best known as the main guitarist for Genesis from 1971 to 1977, Steve Hackett has long been regarded as one of the leading progressive rock guitarists of his generation. This remastered pressing of his 1975 album features 10 tracks including the 2 bonus tracks 'Ace Of Wands' (live) & 'Shadow Of The Hierophant' (extended playout version). EMI. 2005. 

This is rightly considered one of the masterpieces of progressive rock. It has the whole spectrum of the genre-- great, unpredictable arrangements (Ace of Wands), esoteric lyrics (The Hermit, Star of Sirius, Shadow of the Hierophant), manic instrumental sections (The Tower Struck Down), astoundingly beautiful moments (Hands of the Priestess), and the drama of classical-like buildups (Shadow of the Hierophant.) In order to perform progrock, you had to have the skills to pull off a wide range of musical moods.

Three vocalists contribute a variety of styles-- Steve himself delivers a quiet folkish song, Phil Collins his high and airy style, and an operatic approach from soprano Sally Oldfield (sister of Mike Oldfield). Steve's brother John Hackett is superb on flute and ARP synthesizer, while John Acock provides moody keyboard backdrops. Steve himself gives a more restrained performance than you would expect from a lead guitarist let loose on his first solo album, but his allegiance if first and foremost to compositional development, as was the tradition in progrock.

I'm not much of an audiophile, but I noticed the improvement in this disc immediately. This was one of the first albums I bought on CD, and I was glad to purchase it again for the improved quality. If you want to begin to explore Steve Hackett's career, or just want to relive a peak of the genre, start right here in 1975 when progrock was still one of the most commercially uncompromised genres in the history of popular music.

Recorded in June/July of 1975 (soon after Peter Gabriel left Genesis), this debut solo album by Steve more or less pointed in the direction that Genesis would travel following the Lamb Lies down on Broadway (1974). The album was also somewhat successful and reached No. 26 in England and No. 191 in America, which was a source of encouragement for the guys in Genesis (they were recording A Trick of the Tail at the time). More importantly however, Voyage of the Acolyte gave Steve an opportunity to record music that had been dismissed by some of the guys in Genesis.

Joining Steve (electric and acoustic guitars; mellotron; harmonium, bells, autoharp, vocal, effects) were Genesis mates Mike Rutherford (bass guitar, Taurus bass pedals, fuzz 12-string); and Phil Collins (drums, percussion, vibes, vocals); along with Steve's brother John Hackett (flute, ARP synthesizer, bells); keyboardist John Acock (Elka Rhapsody, mellotron, harmonium, piano); Sally Oldfield (vocal); Robin Miller (oboe, cor anglais); and Nigel Warren-Green (cello). For those of you Brand X fans out there (like me) Percy Jones contributes an excellent bass part on A Tower Struck Down. The musicians on this album are all excellent and I loved hearing Phil's drumming, not to mention his vocal contributions. Steve of course, shines throughout and his playing is both delicate and adventurous.

The eight tracks on the album range in length from 1'34" to 11'45" - the pieces are all superb and it is clear that Steve was (and is) an excellent composer. This is a very well recorded and soft album loaded with dreamy mellotron and warm synthesizer tones all over the place. Steve contributes some absolutely gorgeous and haunting acoustic guitar pieces and the proggy group workouts on tracks like Star of Sirius are a great deal of fun to listen to. All of the tracks flow together nicely and seem to form a larger work of sorts. I have to admit that this is easily my favorite Genesis - related solo album.

This was a well recorded album to begin with and the sound quality is simply excellent.

Voyage of the Acolyte ultimately gave Steve the impetus he needed to break off from Genesis (after having his ideas squashed) and strike out on his own. A simply superb album that is very highly recommended along with the Genesis albums A Trick of the Tail (1976) and the moody Wind and Wuthering (1976). By the way, Wind and Wuthering would be Steve's last album with Genesis and presents some of his finest playing with the group.

I bought this on import LP in 1975 and have been listening to it a couple of times a year for 32 years. I know this recording. At least I thought I did. The remastering of this music is steller. I am hearing things in this original mix that I have never heard before. I even compared this to the initial CD release and there is no comparison. The acoustic instruments have much more depth and presence. The electric soundstage is well balanced. For the first time, the bass and bass pedals can be heard in full depth and brilliance. There could be some serious foundation shaking with the right subwoofer. I always believed this LP could have fit comfortably between Foxtrot and Selling England if Genesis had recorded it. The only thing that keeps this work from being a true Genesis project is the absence of Peter Gabriel's vocals and flute playing. This recording IS that good. It has always been my favorite Hackett release. You need to add this to your collection. 

Track listing

All songs written by Steve Hackett, except where indicated.

1.    "Ace of Wands" – 5:23
2.    "Hands of the Priestess, Part I" – 3:28
3.    "A Tower Struck Down" (Steve Hackett, John Hackett) – 4:53
4.    "Hands of the Priestess, Part II" – 1:31
5.    "The Hermit" – 4:49
6.    "Star of Sirius" – 7:08
7.    "The Lovers" – 1:50
8.    "Shadow of the Hierophant" (Steve Hackett, Mike Rutherford) – 11:44

    2005 Remaster Bonus Tracks

9.    "Ace of Wands" (Live) – 6:32
10.   "Shadow of the Hierophant" (Extended Playout Version) – 17:01

Personnel

- Steve Hackett / electric & acoustic guitar, Mellotron, harmonium, bells, autoharp, vocal, effects
- John Hackett / flute, Arp synthetizer, bells
- Mike Rutherford / bass guitar, bass pedals, Fuzz 12-String
- Phil Collins / drums, vibes, percussion, vocals
- John Acock / Elka, Rhapsody, Mellotron, harmonium, piano
- Sally Oldfield / vocal
- Robin Miller / oboe, cor Anglais
- Nigel Warren-Green / solo cello
- Percy Jones / extra bass on "Tower"
- Johnny Gustafson / bass on "Star"
- Steve Tobin / parrot and cough

Allan Holdsworth - 1985 "Metal Fatigue"

Metal Fatigue is the third studio album by guitarist Allan Holdsworth, released in 1985 through Enigma Records (United States) and JMS–Cream Records (Europe).

Criminally unknown and underappreciated, Allan Holdsworth is one of the greatest musicians ever to pick up the electric guitar. Here, on 1985's Metal Fatigue, everything finally comes together for him. For the majority of this record, Holdsworth is joined by bassist Jimmy Johnson and drummer Chad Wackerman, and these two musicians, virtuosos in their own right, complement Holdsworth beautifully (check out Johnson's wonderful part in "Home" and lovely solo on "Panic Station"). The leader is known for his extremely legato phrasing and rich harmonic vocabulary, both of which are on display in the solo and frantic fills of "Metal Fatigue." Anchored by Paul Williams' vocals, the song is marvelously constructed, with a strong verse melody supported by Holdsworth's upper-register guitar chords. The guitarist's much-vaunted whammy bar work is also on full display here. Certain fills in "Metal Fatigue" are almost queasy sounding, as Holdsworth bends and slurs in impossible ways. His use of the tremolo bar comes out not only during his melodic playing, but also during his rhythm playing, where he allows his chords just a trace of shimmer, enough to lend body to his playing but not enough to blur the harmonies. The influence of Holdsworth's unique style is evident in the work of such rock guitarists as Eddie Van Halen and Alex Lifeson (listen to VH's "Drop Dead Legs" or Rush's "YYZ" for a taste of this connection), but the watered-down and otherwise assimilated adaptations of his style pale compared to the unadulterated stuff. One of the most important fusion records of the '80s is also Holdsworth's best work. Absolutely essential for those who like their rock with a healthy dose of jazz.  All Music.

This album is great and it shows how one can create an atmosphere of hard distorted guitar with jazz. Allan is the master and he show his skills on this recording, which far exceed his work with Soft Machine. He has truly come into his own on this recording.

Metal Fatigue is an INCREDIBLE achievement that lingers in the mind for years after your first listen. Simply put, this recording is one of Holdsworth's best and exemplifies his incredibly unique approach to the guitar. So different is Holdsworth's sound that he essentially redefines the boundaries of the instrument. But understand this, you DONT buy a HOLDSWORTH recording to hear catchy lyrics or a typical song composition. What you DO get it for is to hear an unparalleled genius provide his take on the music, whatever it is, that's happening around him. That's what he he delivers and it's what makes him great. Holdsworth's amazing achievements can be appreciated stand-alone, or as MUSICAL INTEPRETATIONS by a genius. And make no mistake about it - Holdsworth is in every way a genius.
Whoever equated "Mr. Mister" to ANYTHING on METAL FATIGUE is completely out of line. Yeah, the lyrics drive me crazy sometimes and they don't always sound as cool as an 80's pop tune, but are you reviewing the lyrics or are you reviewing Holdsworth? Even if you take the approach that you must review the entire work and all supporting members, Holdsworth's is such a triumph of musical possibilities and sheer passion that he simply overshadows anything "Mr Misterish".
I can listen to Holdsworth over and over again, and each time take something different away from the experience. Holdsworth is an artist, and like many artists past and present, he is misunderstood and underappreciated by many whose brains have been turned to jello by what our collective FM radio stations pump out on a daily basis. Boring? Not at all - Holdsworth speaks through his music, and he has an incredible story, an EPIC story to tell with each musical passage, but nobody said understanding it would be easy.  - By Chris McCabe

Again a perfect CD, a trascendental recording of the unique Master. This recording is a perfect blend between Jazz and Rock stations because the Rock rhythmic and tempo formats against all the bizarre Jazz harmony that is accuratetly used song by song. The opening track "Metal Fatigue" begins with a great distorted riff with an intriging guitar efect (a pitch shifter pedal?) that makes sense when the rhythm section begins to play conducting this extraordinary riff to the first Paul Williams vocal lines... Then the clear chorused comping chords appear wonderfully. What a fantastic gimmick to begin a record! Only a talented genious like him would had done something like that...

"Devil Take The Hindmost" is another OUT OF THIS WORLD song that still is breaking standar listening formats. The solo is everything, it is perfection in every note, in every single bar, demostrating not only its sonic ambiguity but the fast liquid legato Holdsworth trademark... The solo of "In The Mistery" is a real "easy" one too, against the others, as well as the "Panic Station" song, just to give place to the science fiction suite "The Un-Merry Go-Round", another fantastic theme to continue with the emotion and take it to a highest level, the climax of the recording: Outstanding, Extraordinary, Trascendental...

Since the first day I heard this record, I thought ¿What is happening here?... I've already heard some years before to Allan Holdsworth in the first Bill Bruford solo album (1977), where the music gave birth to a new genre: the PROGRESSIVE JAZZ FUSION! music category, afterwards Allan Holdsworth had another big shot with Jean Luc-Ponty in "Enigmatic Ocean" and with U.K. near to Bill Bruford, John Wetton and Eddie Jobson. I was really amazed by the progressive statement that those four guys were doing there. It was a maravelous sensation!... If this 1977 and 1978 recordings are trascendental, then METAL FATIGUE (1985) is a higher stage into the mastery of Allan Holdsworth as solo artist, and as the years go by, the time will reveal this work, as the most important recording not only to the Rock station but to the Jazz station too... Good Luck! - By Jesmorh  

Although his guitar playing continued to improve on later recordings, and compositions became a little more jazz oriented, this is still one of my favorite Holdsworth records ever. This one rocks, and shows off the unique phrases and voicings that made him legendary. For the shredder guitar fans, also check out some later recordings like Hard Hat Area and 16 Men of Tain. I love Sands too. Not only is this guy possibly the greatest guitarist ever, I believe he truly is the greatest musician/composer of the last 100 or so years.- By SAFETYTHOMAS

I first heard Metal Fatigue in 1990. At that time I was beginning my trip through the Rock-Jazz-Fusion world and Fatigue has since then been in my heart and I`m sure my relation with this masterpiece will last forever.
Allan`s ability has always impressed me, but in this album he is at his best, I haven`t seen anything like this in his whole discography.His riffs are amazing and his solos stand out not only because of his technique, but because they all translate into melodical sequences that constantly dives into the unexpected. It is very creative, innovative, genius stuff...
Chad`s drums are also something to appreciate. Because of his work with Allan Holdsworth, he has become one of my favorite drummers and that is big because my favorite drummers are Weckl, Cobham, Colaiuta, Chambers, Hakim, Donati and Gavin Harrison.
The bass lines are so cool, clean, melodical, such as the voice of Paul Williams...
This is a perfect album. 10 out of 10.
Get it and enjoy something that you may carry with you for long, long pleasant years. - By The cimmerian

Track listing

All songs written and composed by Allan Holdsworth, except where noted.

1.     "Metal Fatigue" (lyrics: Paul Williams)     4:56
2.     "Home"       5:33
3.     "Devil Take the Hindmost"       5:36
4.     "Panic Station" (lyrics: Williams)     3:36
5.     "The Un-Merry-Go-Round"       14:10
6.     "In the Mystery" (lyrics: Paul Korda)     3:49

Total length: 37:40

Personnel

    Allan Holdsworth – guitar, engineering, production
    Paul Williams – vocals (tracks 1, 4)
    Paul Korda – vocals (track 6)
    Alan Pasqua – keyboard
    Chad Wackerman – drums (except tracks 5, 6)
    Gary Husband – drums (track 5)
    "Mac Hine" – drum machine (track 6)
    Jimmy Johnson – bass (except track 5)
    Gary Willis – bass (track 5)

Bill Bruford - 1980 "Gradually Going Tornado"

Gradually Going Tornado is the third and final studio album by Bruford. It was co-produced by Weather Report collaborator Ron Malo and released in 1980 (see 1980 in music). In contrast to the band's previous all-instrumental effort, several songs were sung by bassist Jeff Berlin. The closing Dave Stewart composition 'Land's End' includes music previously used on the opening and closing tracks of the National Health album Of Queues and Cures (1978). This album is considered among one of the best albums in the progressive rock/fusion genre.
The name of this album was taken from the British-based Romanian artist Paul Neagu who did a performance under that name in 1974 in London.

The Bruford Tapes demonstrated a more raucous energy than Bruford's first two releases, but the follow-up studio album, Gradually Going Tornado, proved that the group was capable of generating the same kind of power in the studio. And while Berlin's singing on half of the album's eight tracks may have seemed a concerted bid for greater acceptance, it's important to note that Bruford had already featured vocals on Feels Good to Me—although the relaxed phrasing of sultry singer Annette Peacock was considerably more artful than Berlin's tighter tenor. The inclusion of vocal tracks might have appeared, on the surface, to be a calculated commercial move rather than an artistic one. Still, the fact is that Bruford and Stewart's writing— which despite the verse-chorus approach of the vocal tracks—retained its harmonic and rhythmic complexities. In that respect Gradually Going Tornado was every bit as progressive as the group's previous albums.

Writing around vocals inherently implies a different kind of structure. Episodic writing becomes a challenge when one has to continually return to predefined verse-chorus song form with its inherent hooks. Still, by this point Stewart and Bruford had proved themselves highly creative at working around such restrictions. And while Berlin may not have had the most memorable voice—adequate, but lacking the kind of quality that gives it weight—the fact is he was called upon to execute melodies that would have challenged singers possessing more appealing tone. As was the case in Hatfield and the North, Stewart was absolutely unprepared to concede any harmonic ground for the inclusion of vocals and neither, it would appear was Bruford. The result is melodies that feel a little awkward on first hearing, but feel more natural on repeated exposure. And while tunes like "Plans for J.D." and "The Sliding Floor" veer closer to the rock side of the group's breadth than anything that's come before, there are plenty of twists and turns to keep things interesting.

The addition of vocal tracks may have turned off some of the progressive intellectuals, but Gradually Going Tornado also had its share of distinctive instrumentals. Berlin's "Joe Frazier," like Bruford and Stewart's "Sample and Hold" from Feels Good to Me, revolves around a lengthy theme that would test the skills of bassists around the world. Bruford and Stewart's episodic "Q.E.D." would have sounded completely at home in the repertoire of either Hatfield and the North or National Health, featuring Stewart's bell-like electric piano work. Bruford's "Palewell Park" is an uncharacteristic duet, with Stewart's acoustic piano trading off with Berlin's bass throughout its tender changes. Stewart's "Land's End," the ten-minute closer, features wordless vocals by singers Barbara Gaskin and Amanda Parsons—last heard with Hatfield and the North and National Health—and lifts a theme directly from "The Bryden Two-Step," off the latter's Of Queues and Cures. "Lands End," in fact," is demonstrative of just how key Bruford's drumming style was to defining the overall group sound, as it takes on a completely different complexion to Pip Pyle's kit work on the National Health version.

The reissue of Gradually Going Tornado contains a live version of the Berlin/Stewart/Bruford tune "5G" from One of a Kind. While the recording quality isn't the best, it's great to hear a full version, as the take on The Bruford Tapes fades out just when they seem to be getting going.

Gradually Going Tornado would be the last recording by the group. It was around this time that Bruford rejoined guitarist Robert Fripp for a new incarnation of King Crimson that would include guitarist Adrian Belew and bassist Tony Levin, so it's uncertain whether it was the commitment to Crimson that signed the deal-knell or lack of commercial interest. Either way the four discs that Bruford recorded in the mid-to-late 1970s served as notice that he had a greater role to play as bandleader, writer and performer—a role that continues to evolve to this day and shows no sign of slowing down.

After leaving King Crimson in 1974, Bill Bruford had drifted briefly between a number of bands (Gong, National Health, Genesis, Pavlov's Dog), before recording his first solo album, the excellent Feels Good To Me (1978). He then joined UK, taking part in their first (and best) release, and then wisely leaving before John Wetton and Eddie Jobson turned the band into the prototype for Asia.

Following this, his semi-eponymous quartet recorded One Of A Kind (1979), which, if not quite at the level of Feels Good To Me, was still pretty damned close. Bruford and bassist Jeff Berlin (not yet the star virtuoso that he is today) provided for an incredible and unconventional rhythm section, while guitarist Allan Holdsworth and keyboardist Dave Stewart contributed soaring melodic passages. All told, the music was the perfect bridge between the pure progressive rock of King Crimson, and the jazz-pop sensibilities of the Canterbury scene. Bruford's career seemed poised for continued artistic success, accordingly.

So, what happened to make Gradually Going Tornado a relative disappointment?

The first blow was Allan Holdsworth's departure. Always something of a temperamental figure, Holdsworth left the band before they were able to record their live release, The Bruford Tapes (1980). Stuck for a top notch replacement, Bruford replaced him with John Clark -- who, in a nice touch of English humour, was described as "the unknown John Clark" on the album's release (were Bruford from Canada, he might've referred to him as "John Who?"). Clark subsequently proved capable of performing in much the same style as Holdsworth, but not at quite the same level. It probably isn't fair to cast all the blame on his shoulders, but there's little doubt that the band would've been better served by Holdsworth's talents.

Then, Jeff Berlin decided that he wanted to sing. Worse, Bruford (or someone at EG records) decided to let him. Bruford's albums had featured vocals before, of course -- Annette Peacock had lent her inimitable style to Feels Good To Me, and the Gaskin/Parsons duo had made an ephemeral appearance on One Of A Kind. The difference in these cases, though, is that Peacock, Gaskin and Parsons actually had voices that were worth hearing. Berlin, while possessing some technical ability, also possessed a voice that was ... well, boring and colourless. Of Berlin's four vocal parts on the album, only one ("Age Of Information") can in any respect be called a success; "Gothic 17" and "Plans For J.D." come off as flawed, and his cloying efforts at swing-jazz on "The Sliding Floor" are simply annoying.

Third (and perhaps tied in with Berlin's vocal inclinations), the material on GGT is rather more poppish than on Bruford's previous works. This isn't necessarily a strike against the album, of course -- indeed, its Canterbury roots almost necessitate some poppish touches on the work. But when the streamlined form has a direct impact on the material, it's almost invariably going to be negative, and such is the case here.

Such were the strikes against GGT before the album's recording was even finished. They weren't enough to completely sink the project, thankfully; there's a fair bit of good material on the album, which ultimately overshadows most of the bad. That said, anyone interested in exploring Bruford's solo projects would be hard-pressed to find a less appropriate introduction than this.

And such we have Gradually Going Tornado. Can it be described as a good album? Possibly, but the mere fact that the question has to be asked is a sign that something wasn't right in the band's constitution at the time. Bruford, Berlin and Stewart were musicians from related but fairly distinct backgrounds -- when they joined together, the results could be magic (and frequently were). GGT, however, suggests that the combination had run its course by 1980. It is possible that the quartet could have bounced back with a better follow-up; it's much more likely, though, that the group broke up at the right time.

And then came Discipline ...

Track listing

1.    "Age of Information" (Bruford, Stewart) – 4:41
2.    "Gothic 17" (Bruford, Stewart) – 5:07
3.    "Joe Frazier" (Berlin) – 4:41
4.    "Q.E.D." (Bruford, Stewart) – 7:46
5.    "The Sliding Floor" (Berlin, Bruford, Stewart) – 4:58
6.    "Palewell Park" (Bruford) – 3:57
7.    "Plans for J.D." (Bruford) – 3:50
8.    "Land's End" (Stewart) – 10:20

Personnel

    Bill Bruford - drums, producer
    Dave Stewart - keyboards
    Jeff Berlin - bass, vocals
    The "Unknown" John Clark - guitar

Contrary to the belief of many, John Clark is not actually Allan Holdsworth. He was a guitar student of Holdsworth's whom Allan recommended as his replacement. He is now a long-term guitar player with Cliff Richards' band.

Guests

    Georgie Born - cello (2)
    Amanda Parsons & Barbara Gaskin - choir (8)