Monday, December 28, 2009

Tempest - Living In Fear

I enjoy the first Tempest album quite a lot. The music continues where Colosseum ended and has a lot of similarities with Jack Bruce's work especially on Dark House. This is, I believe, thanks to Hiseman's composing. The music is a bit more rock oriented than Colosseum was. The rhythm section Clarke & Hiseman provides a solid ground for the soloists to work on.

Paul Williams left in June 1973, and his later adventures includes playing the music of blues legend Robert Johnson. He was followed a month later by Holdsworth, who joined Soft Machine, and later Gong, UK, Jean-Luc Pontyand also played with drummer John Stevens among other things.

Tempest Mark 2 (June 1973 to June 1974) consisted of

Jon Hiseman: drums
Mark Clarke: bass
Ollie Halsall: guitar, keyboards, vocals

Ollie Halsall had joined on guitar, keyboards and vocals. Halsall had worked with Timebox which developed into Patto, and also recorded with Scaffold and Brian Eno.

The band's music has been claimed to be more jazz influenced on the second album Living In Fear (Bronze ILPS 9267). For me at least the music is not so different from Tempest, though it has clearly moved a step away from Colosseum. Like the first it was recorded at Air London in October and November 1973.

Track listing:

Funeral Empire (Halsall)

Paperback Writer (Lennon/McCartney)

Star Gazer (Clarke/Bottomley)

Dance To My Tune (Clarke/Bottomley)

Living In Fear (Halsall)

Yeah Yeah Yeah (Halsall/Hiseman)

Waiting For A Miracle (Halsall)

Turn Around (Clarke/Bottomley)

The second album is dominated by Halsall's vocals and guitar. The rhythm section continues as on the first album to build complex rhythms for Halsall to use as a trampolene for his improvisations. Another fine album.

After the split
Hiseman organised a new Colosseum II in 1975
Clarke went to play with Natural Gas,  Mountain and Rainbow.
Halsall went on to play with Kevin Ayers, Boxer and John Otway.


Sunday, December 27, 2009

Woody Woodmansey's U-Boat

Mick "Woody" Woodmansey was raised (as were several influential musicians of the 70s British rock scene) in the English county of Yorkshire, although somewhat farther north than the thriving music community that centered itself around Hull. His interest in the drums developed at the tender age of five, and by fourteen he had formed his first band: an ensemble named The Mutations. This was followed by three years in The Roadrunners, after which he was brought into the ranks of Hull mainstays The Rats in 1969, as a replacement for the departing John Cambridge (who had been tempted away to London by an offer to join Mick Wayne's new band -- and soon-to-be David Bowie back-up -- Junior's Eyes). This new line-up of The Rats did not continue for much longer, and by March of 1970 Woodmansey was himself moving to London to work once again with Rats guitarist Mick Ronson in the Bowie-fronted superhero quartet The Hype -- replacing for the second time drummer John Cambridge, who had abandoned The Hype to join The Mandrakes.

The Hype continued for a short while without Bowie, changing its name to Ronno before releasing the single The Fourth Hour of My Sleep in 1971 on the Vertigo label. The single was received with an enormous upsurge of disinterest, putting the future of the unit in question; but before a complete dispersal could take place, all three members (Woodmansey, Ronson and producer/musician Tony Visconti) were again roped in by Bowie to act as his backing band for the album The Man Who Sold the World (1971). Woodmandsey continued his association with Bowie for three more albums: Hunky Dory (1971), The Rise And Fall of Ziggy Stardust And The Spiders From Mars (1972), and Aladdin Sane (1973). It was the second of these that ultimately cemented the drummers place in music history, as the Ziggy/Spiders spectacle continues to be the most highly revered period of Bowie's work -- despite the extremely brief span of its existence.

Two years after Bowie dissolved the Spiders, the rhythm section of Woodmansey and bassist Trevor Bolder founded their own Spiders From Mars, replacing Bowie and Ronson with Pete McDonald and Dave Black (respectively), and fleshing out the line-up with keyboardist Mike Garson; an eponymous album released the following year was met with little enthusiasm, and the project was abandoned shortly afterwards.

 A year later Woodmansey assembled Woody Woodmansey's U-boat, but its sole offering in 1977 did not fare much better. For the next decade the drummer kept a much lower profile, recording with Screen Idols (on their Premiere LP, 1979) and Dexy's Midnight Runners (Don't Stand Me Down, 1985), as well as making occasional live appearances with arists including Art Garfunkel and Paul McCartney.

After Mick Ronson's untimely death in 1993, Woodmansey and Bolder once again assumed The Spider's moniker for a tribute concert held in honor of the guitarist at the Hammersmith Apollo in London; the pair were joined by Def Leppard members Joe Elliott and Phil Collen in a repetoire consisting mostly of early 70s Bowie material, with appearances also being made by Ian Hunter, Bill Nelson and Roger Daltrey. The Spiders staged a second tribute in Hull in 1997 with a different selection of guests, and both shows were eventually released together as a 2 CD set on the Citadel label. That same year, The two Spiders and the two Leppards continued their collaboration in the guise of Cybernauts, touring the UK and issuing one of the shows as a limited-run CD. A second Cybernauts tour was undertaken in Japan during 2001.

In 1976 Woody tried to build up a new career with his own band U-Boat, recorded an album and supported Uriah Heep on there Firefly tour.

U-Boat was a five piece group with Phil Murray (vocals), Frankie Marshall (Keyboards), MacKintyre Duncan (guitars, vocals), Phil Plant (bass) and Woody Woodmansey (drums, vocals). Their debut album came out on the famous Bronze label and was produced by Gerry Bron, who had successfully supervised lots of  Uriah Heep recordings.

The album, Has severall interesting tracks on it, but completely failed to succeed comercially, and this fact led to an early end of the band's existence. So U-Boat became less than a footnote in rock history.
Bass - Phil Plant

Drums, Percussion, Vocals - Woody Woodmansey

Electric Guitar, Acoustic Guitar, Vocals - MacKintyre Duncan

Piano, Piano [Electric], Organ, Synthesizer - Frankie Marshall

Vocals - Phil Murray

Producer - Gerry Bron

Engineer - Mark Dearnley

Engineer [Assistant] - Trevor Hallesy


1. U-Boat
2. Movie Star
3. Slow Down
4. Star Machine
5. I'm In Love
6. Rock Show
7. Let You Be
8. Hope They Come Back
9. Oo La La
10. From The Top


Wednesday, December 23, 2009

Tempest - Tempest


After the split of Colosseum in October 1971 Jon Hiseman formed Tempest in the summer of 1972. Tempest lasted for two years until June 1974.

Tempest Mark 1 (June 1972 to June 1973) consisted of

Jon Hiseman: drums

Mark Clarke: bass

Paul Williams: vocals

Allan Holdsworth: guitar

Hiseman and Clarke had, of course, played together in Colosseum.

Paul Williams had played bass with Zoot Money's Big Roll Band (on two Columbia - that's EMI's Columbia - LPs It Should've Been Me and Zoot! Live At Klooks Kleek) and John Mayall's Bluesbreakers (on parts of the live A Diary Of A Band and the single Suspicions). He came more to the attention of the record buying public as the singer of Juicy Lucy on their second LP Lie Back And Enjoy It (Vertigo) and the next two Get A Whiff Of This and Pieces.

Allan Holdsworth played on Nucleus' album Belladonna before his time with Tempest, but other than that I have no more information; maybe later...

The band made one album Tempest (Bronze ILPS 9220). It was recorded at Air London Recording Studios in November 1972 and produced by Jon Hiseman. The album was released in January 1973.

Track listing:

Gorgon (Hiseman/Clarke/Holdsworth)   5:44
Foyers Of Fun (Hiseman/Clarke/Holdsworth)   3:39
Dark House (Hiseman/Clarke/Holdsworth)   5:02
Brothers (Hiseman/Holdsworth)  3:36
Up And On (Edwards/Holdsworth)   4:20
Grey And Black (Clarke/Bottomley)  2:28
Strangeher (Hiseman/Clarke)  4:08
Upon Tomorrow (Clempson/Hiseman)  6:42


Sunday, December 20, 2009

Elton John - Chartbusters Go Pop

Chartbusters Go Pop! 20 Legendary Covers from 1969/70 as Sung by Elton John is an album of cover versions of hit singles.

These were taken from the time prior to Elton John's first success as a solo performer and were used on budget-priced compilations of hit songs by nameless 'soundalike' performers under such brand names as Top of The Pops and Hot Hits .

These compilations were extremely cheap and sold in vast quantities in the years before compilations featuring the original artists were on sale from such labels as K-Tel. On this particular album some of the tracks do not sound like Elton because he was trying to replicate the sound of the original artist as best he could

The title is no joke, but dead-on truth in advertising. Circa 1970, Elton helped pay the rent and gain studio expertise as a session vocalist for British quickie budget exploitation LPs that "re-created" the sound of current hit singles. Elton takes on such vintage AM mothballs as "In the Summertime," "Up Around the Bend," "My Baby Loves Lovin'," "Yellow River," and "Signed Sealed Delivered" here, along with a few songs that were only hits in the U.K. These records were never intended to be taken seriously as artistic statements, and one suspects that the studio players were having fun at someone else's expense on "In the Summertime," with farting raspberry noises and ridiculous orgiastic grunts by John during the instrumental break. Most of the time, though, he played it straight, his supple pipes proving to possess the necessary versatile anonymity required of such projects. This reissue, complete with scholarly liner notes, aspires to do nothing more than preserve this footnote in the budding superstar's career, of interest mostly to completists and novelty seekers. As far as unintentionally funny moments go, the highlight has to be John extolling, "To be young, gifted and black, that's where it's at!" on his cover of the Nina Simone classic. ~ Richie Unterberger, All Music Guide

As a piece of history, this is interesting. They all sound like Elton (EXCEPT "It's All in the Game" Which has been pointed out to me is obviously one mr David Byron), and the arrangements are serviceable. The "original hits by the original artists" are better, but this is a good addition for a completist.

01  "My Baby Loves Lovin'" - 2:44 (White Plains)
02  "Cotton Fields" - 2:47 (Lead Belly, popular cover by The Beach Boys)
03  "Lady D'Arbanville" - 3:41 (Cat Stevens)
04  "Natural Sinner" - 2:50 (Fair Weather)
05  "United We Stand" - 2:48 (Brotherhood of Man)
06  "Spirit in the Sky" - 3:37 (Norman Greenbaum)
07  "Travelin' Band" - 2:16 (Creedence Clearwater Revival)
08  "I Can't Tell the Bottom from the Top" - 3:42 (The Hollies)
09  "Good Morning Freedom" - 3:07 (Blue Mink)
10  "To Be Young, Gifted and Black" - 3:04 (Nina Simone)
11  "In the Summertime" - 2:51 (Mungo Jerry)
12  "Up Around the Bend" - 2:38 (Creedence Clearwater Revival)
13  "Snake in the Grass" - 3:02 (Dave Dee, Dozy, Beaky, Mick & Tich)
14  "Neanderthal Man" - 3:35 (Hotlegs)
15  "She Sold Me Magic" - 1:56 (Lou Christie)
16  "Come and Get It" - 2:14 (Paul McCartney, popularized by Badfinger)
17  "Love of the Common People" - 2:33 (Waylon Jennings, popular cover by Nicky Thomas)
18  "Signed, Sealed, Delivered I'm Yours" - 2:32 (Stevie Wonder)
19  "It's All in the Game" - 2:23 (Tommy Edwards, popular cover by the Four Tops)
20  "Yellow River" - 2:35 (Christie)


Saturday, December 19, 2009

By Invitation Only - Vinyl Rip - 1976 Various Artists

By Invitation Only displays the genuine regard in which Alan Freeman was held by all those included on the album. Having contributions by Led
Zepplin Yes, The Rolling Stones and Emerson, Lake And Palmer on one double album was an unbelievable coup and that their agreement was secured following a personal invitation from Freeman is attested to by copies of a number of hand-written replies on the inside cover. Nowadays, compilations are viewed as such a lucrative money spinner that even the biggest bands allow their material to be used but, in 1976, this was a veritable triumph.

Apart from its unique nature, the main reason I was looking forward to Pick Of The Pops becoming a regular series was the opportunities it offered to widen my musical boundaries. Not until over twenty years later, and the beginning of Uncut magazine's Unconditionally Guaranteed collection, would a compilation demand the same attention. So, here, contributions by The Pretty Things, PFM, Wally and Heavy Metal Kids are as important as anything by the big guns.

It may be a well worn phrase. but never more apt than here: they don't make them like this anymore.

1. Whole Lotta Love performed by Led Zeppelin - 5:31

2. It's Only Rock & Roll (But I Like It) performed by Rolling Stones - 5:08

3. Love the One You're With performed by Stephen Stills - 3:04

4. Pick Up the Pieces performed by Average White Band - 3:59

5. Expecting to Fly performed by Buffalo Springfield - 3:40

6. World Became the World performed by Marconi, Premiata Forneria - 4:43

7. Rock & Roll Man performed by Heavy Metal Kids - 4:52

8. Yours Is No Disgrace performed by Yes - 9:45

9. Nez Perce performed by Wally - 4:59

10. The First Time Ever I Saw Your Face performed by Roberta Flack - 4:20

11. Karn Evil 9:1st Impression, Pt. 1 & 2 [Complete] (Emerson/Lake/Palmer) - 13:22

12. Sound Chaser performed by Yes - 9:45

13. The Immigrant Song performed by Led Zeppelin - 2:22

14. Angie performed by Rolling Stones - 4:32

15. Only You Know and I Know performed by Delaney & Bonnie - 4:23

16. Somewhere performed by Aretha Franklin - 6:16

17. Is It Only Love performed by Pretty Things, The - 5:06

Link Part 1

part 2

Tuesday, September 22, 2009

Chapman Whitney - Streetwalkers

Here we go again another vinyl rip from an album I dont remember aquiring. This time its an album by Roger Chapman and Charlie Whitney entitled Streetwalkers and released in '74 on the reprise lable

the band, put out three consistent albums of funky booze rock in the mid to late '70s, but the origin of the band was not a mediocre affair. Roger Chapman and Charlie Whitney led their previous outfit, Family, through eight LPs of limited success, breaking up the band in late 1973. But their partnership continued and months later they set out to record a one-off album as a duo. A number colleagues contributed to the project, including alumni of Family (John Wetton, Ric Grech, Poli Palmer, Jim Cregan) and King Crimson (Wetton, Mike Giles, Boz Burrell, Ian Wallace, Mel Collins). The resulting LP, Chapman Whitney Streetwalkers, was released in May, 1974. The mixture of rockers and ballads was not Family; yet there was added depth to the music, stemming from the evolved songwriting and from the involvement of so many musicians. "Roxianna" and "Showbiz Joe" were part New Orleans jazz, continuing the Americana feel of Family's last album. "Systematic Stealth," a lovely textured ballad, and the slunky "Creature Feature" demonstrate the range of Roger Chapman's unusual voice, from gravelly crooning to just plain gravel. The album's most stunning moments, "Parisienne High Heels" and "Hangman," are brooding and hair-raising in their energy and dark themes. Chapman and Whitney kept drummer Ian Wallace and horn player Mel Collins to form a touring group, adding bassist Phil Chen and guitarist Bob Tench. Only Tench would stay for the full-fledged Streetwalkers band, which embraced funk and hard rock in a less subtle way than this first venture. Whitney's biting lap steel guitar would become a signature sound of the Streetwalkers, but the songwriting never matched what was accomplished on this album. ~ Patrick Little, All Music Guide

1. Parisienne High Heels

2. Roxianna

3. Systematic Stealth

4. Call Ya

5. Creature Feature

6. Sue And Betty Jean

7. Showbiz Joe

8. Just Four Men

9. Tokyo Rose

10. Hangman

The Band
Charlie Whitney - Guitars and Steel Guitars

Roger Chapman - Lead Vocals And Percussion
Tim Hinkley, Max Middleton - Keyboards

John Wetton, Ric Grech - Bass Guitar

Neil Hubbard - Guitar

Ian Wallace, Mike Giles - Drums

Godfrey McLean - Congas

Poli Palmer - Electric Vibes

Backing Vocals -
John Wetton, Linda Lewis, Jim Cregan,Tim Hinkley, Boz

Mel Collins - Brass, Woodwind and arrangement on track 7


Friday, September 18, 2009

Gordon Giltrap - Fear of the Dark Vinyl Rip

This is a very nice little, almost entirely instrumental, guitar dominated album. Giltrap is a very good guitarist and he plays primarily acoustic, but also some electric, guitars. Other instruments like drums, bass, piano, keyboards and violin complement the sound as well as female vocals on one track. The album is very well crafted and the pieces are perfectly recorded and produced. Giltrap's guitar style is mostly a bit gentler than those of Steve Howe and Steve Hackett, for example. Perhaps Mike Oldfield is a good reference point, in his acoustic and most technical moments.
The music is mostly quite inoffensive but never dull. Titles like Melancholy Lullaby and Inner Dream describe the music quite well even if some parts are not very melancholic at all. The moods and feelings shift and the feel of the music often remind me of Anthony Phillips' albums. It is somehow innocent and fragile.
The title track is the hardest rocking number and perhaps also the most progressive piece on this album. However, this is not music that will take the Prog fan by storm. But I'm sure that many Prog fans can find some enjoyment in it.
Reviewd by Fritz-Anton
See his other reviews here
1. Roots (Part 1 & 2)
2. Nightrider
3. Inner Dream
4. Weary Eyes
5. Fast Approaching
6. Melancholy Lullaby
7. Fear Of The Dark
8. Visitation

FM The Original Soundtrack

New links

Part 1

Part 2

Babe Ruth - Amar Caballero Vinyl Rip

Babe Ruth are a rock music group, primarily active through the 1970s, from Hatfield, Hertfordshire, England. Their characteristically 'heavy' sound is marked by powerful vocals from Janita Haan and full arrangements by Alan Shacklock. They are acknowledged as having more commercial success in North America than in their home country.
When the group was first formed in 1971, they were called Shacklock after their guitarist Alan Shacklock. Members included Janita Haan and Dave Hewitt, with Dave Punshon and Dick Powell later joining. The first release was their single "Elusive"; their first album, First Base, went gold in Canada. In 1973, Ed Spevock replaced Powell and Chris Holmes replaced Punshon on the second album. In 1975, Steve Gurl, keyboardist from Glenn Cornick's Wild Turkey replaced Holmes for the third album. The same year, Shacklock exited and Bernie Marsden (Wild Turkey,Whitsnake etc) joined the team for the fourth album. After this, Haan and Hewitt left.
Though no original member remained, the group incorporated Ellie Hope and Ray Knott for the fifth album in 1976. Shortly before Babe Ruth disbanded, they were joined by the young 17 year old Birmingham born Simon Lambeth who made a few appearances on their last tour. Lambeth's hauntingly naive sound on rhythm guitar, behind the lead of Marsden, promised much but sadly it was too late; Marsden moved on to bigger things and joined Whitesnake. Simon changed careers and sadly was lost to the music scene.
Ellie Hope did an outstanding job on the lp and later had a solo effort in the booming disco era but later efforts are hard to pin down.
A disco cover of Babe Ruth's classic "The Mexican" appeared in the late 70s, performed by the Bombers. This version inspired an electro/freestyle cover produced by John Jellybean Benitez in 1984, for which he managed to recruit Haan on vocals - the cover subsequently becoming noted for its popularity as an underground dance hit.
Between late 2005 and early 2006, Haan (now Janita Haan Morris), Shacklock, Punshon, and Hewitt recorded new material together in Nashville, with Spevock recording his drums in London. The album was completed September 2006, and after being made available in digital form via the band's official web site, it is scheduled for release on CD in the first quarter of 2009.

Oh man is this one great album. I decided to trawl through my record collection Starting at a and working my way up, well I came across this and to be honest i don't remember when or how I acquired it I don't Even remember listening to it at any point so onto the record deck it went. well I was not disappointed this is a tremendous album from 74 released on the harvest label it features some great vocals from Janita Haan highly recommended

1. Lady
2. Broken Cloud
3. Gimme Some Leg
4. Baby Pride
5. Cool Jerk
6. We Are Holding On (insrumental)
7. Doctor Love
8. Amar Caballero(a) El Caballero de la Riena Isabella(b) Hombre de la Giutarra(c) El Testament de n'Amelia

The Band

Janita Haan - Vocals

Ed Spevock - Drums Percussion

Dave Hewitt - Fender Bass

Chris Holmes - Keyboards

Alan Shacklock - Keyboards,Percussion, All Guitars

Thursday, September 3, 2009

Lost my internet connection the other day so there wont be anymore posts for a while
i can only access the blog from work which is not an ideal situation

I will be back at sometime though just not sure when

Friday, August 14, 2009

Rough Diamond - Live '77

Recorded live in 1977 this is an audio rip of the rough diamond portion that was presented on the collectors dvd "Classic Heep Live From The Byron Era" The sound quality is a bit ropey but it still captures the sound of a band in excellent form. Rough Diamond really were un underrated band with each and every member proving what great musicians they really were

The Band

Clem Clempson - Guitar
Geoff Briton - Drums
Damon Butcher - Keyboards
Willie Bath - Bass
David Byron - Vocals

The Songs

1 Rock 'N' Roll
2 Looking For You
3 Seasong
4 Scared
5 Lock 'N' Key

The Link

Saturday, August 8, 2009

blog direction

Well its taken me about 8 months or so to come to the conclusion that this blog has a theme. whilst I have posted music not related to the group in question it has become apparent that the vast majority does!. It was not my intention at the start. but hey what the hell if you have a passion in life no point in hiding it
SO GUESS WHAT'S THE BIGGEST PASSION IN MY LIFE (apart from my kids,sex and the occasional drink of course)
I Would love to make this blog everything about
but unfortunately I'm running out of music to post. so if anyone out there has anything and i mean anything by Heep or related artists and would be willing to share it, I would dearly love to hear from you (I know there is plenty out there)
PS Just in case the wife reads this, you come a close second !!!

Blogger Rant

No posts for a while basically because I've loaded windows 7 onto my PC (legally) and its been giving me major headaches mainly with incompatible programmes. I am not knocking the system as I have been reasonably impressed so far but finding compatible drivers for my printer etc is sending me insane. then there's the programme issue for example I have Nero 7 bought and paid for with my own hard earned cash it will load OK (eventually) but then it just doesn't want to know (I refuse to pay for a newer edition when 7 does exactly what I need). But then there are some older programs that were written in the days of windows 95, possibly earlier, like wave repair that I use virtually daily that loaded and work superbly
Anyway enough of the ranting
I will persevere

Saturday, July 18, 2009

Uriah Heep - Live at the Glasgow Apollo 1985

I wouldn't normally post bootlegs but this one is very special to me because I was in the audience. Recorded at the same venue, Which is sadly no longer there, that Rush recorded the wonderful live version of Closer to the Heart (I was there also). This concert sticks in my memory more than others probably because it was literally the loudest concert I have ever been to in my life, I swear I was deaf for about a weak afterwards

While this is not the complete show (they played Poor Little Rich Girl among others) it still showcases a remarkable band live. Heep always give there all on stage (regardless of the size of the crowd) and this night was no exception. Listen to the intro to bad blood and I can tell you there was barely 1000 people there never mind 15000.

This show was recorded barely a couple of months after David Byron's death and its nice to hear Pete Goalby dedicating the wizard to one of the greatest front men rock had ever seen

Now if anyone has a copy of Heep playing during the TT festival on the Isle of Man during the Abominog tour in '82 I would love to hear from you


1 The Other Side Of Midnight
2 Too Scared To Run
3 Angel
4 The Wizard
5 July Morning
6 Bad Blood/Easy Livin'
7 That's The Way That It Is


Peter Goalby - Demos

Peter Goalby is a singer and guitarist. He was the lead vocalist for Uriah Heep between 1982-1985, recording three albums with the band. He also wrote Blood Red Roses, recorded by the band for their 1989 album Raging Silence and released as the second single from the album.

Before singing for Uriah Heep, As far as i can make out his first recording was for the band Fable releasing a self titled album on magnet records in 1973 where he is credited as lead vocalist also playing guitar and mandolin. He was also lead singer and second guitarist in Trapeze on the studio recording Hold On (1978) and the live album Live in Texas: Dead Armadillos (1981). He also plays mandolin.

Not much info on these demos although I suspect that the majority of them are from his ill fated Perfect Stranger project. It is interesting to listen to these songs as it doesnt take much to imagine some of these songs being on Uriah Heeps raging silence album had pete still been in the band



1 Perfection
2 Take Another Look
3 They'll Never Find Us
4 Easy With The Heartaches
5 Waiting For An Angel
6 Hold The Dream
7 Another Paper Room
8 The Last Time
9 Somebody's Fool
10 Brand New Love
11 There All The Time
12 Place In My Heart
13 Chance Of A Lifetime
14 I Found Real Love
15 Mona Lisa Smile
16 Perfect Strangers
17 This House
18 Used To Be Your Lover


Part 1 
Part 2

Thursday, July 9, 2009

John Sloman - Disappearances Can Be Deceptive

Singer John Sloman, perhaps best known for one Uriah Heep album, has had a long, varied and often overlooked career

John was born in Cardiff and started singing and playing piano while still at primary school, forming his first band with a couple of classmates at the age of thirteen. After gigging with various bands on the Welsh music scene, at nineteen hejoined Lone Star as vocalist, recording the album Firing on all Six with Queen’s engineer Gary Lyons in the producer’s chair.

He went on to tour and record with various artists such as Uriah Heep and Gary Moore, before going into the studio with producer Todd Rundgren to record tracks for the album later to be released under the title: Disappearances can be deceptive… Other solo recordings include: 2003’s Dark Matter and 2006’s 13 Storeys.

John Sloman was born as John Anthony David Sloman in Cardiff (South Wales), 26 April 1957 as the eldest of six children. He is a former member of Trapper, Pulsar, Lone Star, and Uriah Heep. He was lead vocalist for Uriah Heep between 1979-1981, and during that time was on the album Conquest.

After Uriah Heep, he formed the band "John Sloman's Badlands" and showcased several songs at The Marquee Theatre, 'John Sloman's Badlands' featured former Trapper drummer John Munro and Whitesnake's John Sykes and Neil Murray . Badlands broke up upon Sykes joining the band Thin Lizzy. Sykes and Murray later played together in Whitesnake on the U.S. version of Slide It In and on the Whitesnake album.The band were ultimately passed over and John went on to record the first of his solo albums Disappearances Can Be Deceptive produced in part by Todd Rundgren.

Since Disappearances he has released two more solo albums: Dark Matter in 2003 and more recently 13 Storeys in 2006 on which John is credited with playing everything from cello to harpsichord. He is also credited in Highlander: The Source as the vocalist who sang Queen's hits Princes of the Universe and Who Wants to Live Forever.

He reportedly also recorded a solo album which hasn't ever been released.

Vocal: John Sloman
Guitars: Alan Murphy, Shaun Baxter,John Sloman
Bass: Pino Palladino
Keyboards: Rob Fisher , Adrian Lee ,Richard Cottle
Drums: John Munro
Backing Vocals: Gregg Dechert , Neil Lockwood , John Sloman

01. Foolin' Myself
02. Now You Say Goodbye
03. Parting Line
04. Breathless
05. Save us
06. In Too Deep
07. She Talks About You
08. Perfect Strangers
09. Jealous Eyes
10. Hooked on a Dream

Additionall Voice On "Hooked" John 'Caruso' Munro


Tuesday, July 7, 2009

Peter Goalby - Perfect Stranger

After leaving Uriah Heep in 86 Peter goalby formed his own band and became the first signing on Mickie Mosts newly relaunched RAK records recording this single and at the time an album was promised but never surfaced


FM - Original Soundtrack

It is very seldom that a soundtrack album is better than the film. It is even rarer that the soundtrack is a real classic for music. This is just such a gem.

FM radio stations were the bastions of US soft rock in the late 70's and the film producers managed to assemble a soundtrack that reflected some of the greats in the genre. They even persuaded Steely Dan to write the theme - the classic track "FM". They also got Linda Ronstadt to blast out "live" versions of the Rolling Stones classic "Tumblin' Dice" and "Poor, poor pitiful me" in the film that are (perhaps uniquely) captured here.

There are almost too many outstanding tracks on the album to list - "Night Moves" by Bob Seger, "Cold as Ice" by Foreigner, etc. Whilst these are available elsewhere, the logic of the compliation flows well. Imagine an expert on the era burning a CD for you with the highlights and you are not far off.

We get a lot of great stuff here from such acts as Boston ("More Than A Feeling"), Foreigner ("Cold As Ice"), the Eagles ("Life In The Fast Lane"), Steely Dan ("F.M.", "Do It Again"), Jimmy Buffett ("Livingston Saturday Night") any many others. My personal two favorite cuts on the soundtrack, because I happen to be a big fan of hers, are the live versions of "Tumbling Dice" and "Poor, Poor, Pitiful Me" by Linda Ronstadt. She doesn't show any traces of her stage fright in the concert footage in the movie; and her searing rendition of "Poor, Poor, Pitiful Me" will make everyone wonder why in the world Terri Clark ever bothered to remake this song in 1996.

Any self-respecting classic rock fan should have the F.M. soundtrack in their collection. It's a winner!

1. FM - Steely Dan
2. Night Moves - Bob Seger
3. Fly Like an Eagle - Steve Miller, Steve Miller Band
4. Cold as Ice - Foreigner
5. Breakdown - Tom Petty & the Heartbreakers
6. Bad Man - Randy Meisner
7. Life in the Fast Lane - Eagles
8. Do It Again - Steely Dan
9. Lido Shuffle - Boz Scaggs
10. More Than a Feeling - Boston
11. Tumbling Dice - Linda Ronstadt
12. Poor, Poor Pitiful Me - Linda Ronstadt
13. Livingston Saturday Night - Jimmy Buffett
14. There's a Place in the World for a Gambler - Dan Fogelberg
15. Just the Way You Are - Billy Joel
16. It Keeps You Runnin' - The Doobie Brothers
17. Your Smiling Face - James Taylor
18. Life's Been Good - Joe Walsh
19. We Will Rock You - Queen
20. FM (Reprise) - Steely Dan true

New Links in comments section

Saturday, July 4, 2009

Sacrasanct - Welcome to Prejudice Day

This is a demo/self financed tape? from UK band Sacrasanct recorded in 1991. I really don't have any info on them (any help would be appreciated).

I used to run a small hotel back then and one of the group used to come and stay with his grandmother (i think), and knowing my musical taste at that time gave me this tape.

I have to say I really enjoy these songs they are heavily influenced by the bands of the time IE Whitesnake , Blue Thunder etc

Well worth a listen

All songs written, Arranged & Produced by Sacrasanct

The Band

Geordie ; Vocals, Backing Vocals

Martin James ; Guitar

David John Englund ; Drums

Michael Rotherford ; Keyboards


1 - Prejudice Day (Kerry's Song)

2 - Don't Bring Me Down

3 - In Love With Love



Wednesday, June 24, 2009

Aardvark - Aardvark

A prog act without a guitar player? That's exactly what this early 70's British foursome is. Originally, they became known mainly because Paul Kossof and Simon Kirke played in the band before leaving to form legendary band FREE. From then on, AARDVARK were mostly a studio act and by the time they recorded their only album, the line-up consisted of Stan Aldous (bass), Frank Clark (drums), Steve Milliner (keyboards, recorder, vibraphone) and Dave Skillin (vocals). Comparisons are not easy but one could probably say their music has the power of EMERSON, LAKE & POWELL mixed in with a little R&B à la PROCOL HARUM and early MOODY BLUES. Shades of GRYPHON, GREENSLADE and PINK FLOYD are also present.

As is to be expected, AARDVARK's material is highly keyboard oriented, the brunt of the music being carried by the fuzzed-up Hammond organ which more or less simulates the job of a distorted guitar. The soaring vocals by Skillin are pleasant and the music, although not highly original and somewhat lacking in variety, is quite melodic - nice 60's sounding melodies. The album contains some ear-friendly piano/keyboard interplay as well as some good R&B guitar riffs and harmonic choruses. The low points: following the fashion of the early 70's, many tracks drag on far too long. Also, possibly because the dominant Hammond did not stand the test of time, the album unfortunately sounds quite outdated. Finally, the cuts that work best tend to be the less progressive ones. Overall, AARDVARK is an honest musical effort for the times, an interesting early art rock experiment with a slight progressive edge.

Recommended strictly for collectors of early 70's, heavy organ-dominated prog. Fans of SPRING, CRESSIDA or FIELDS should also give them a try.

Aardvark like many groups, released one album and then disappeared. The group consisted of keyboardist Steve Milliner, vocalist Dave Skillin, drummer Frank Clark, and bassist Stan Aldous. Some people believed Steve Milliner would later join Caravan for the album Waterloo Lily, but he didn't. That guy was Steve Miller (not the American Steve Miller of Fly Like an Eagle Fame, but the brother of Hatfield & the North's Phil Miller). It's easy to see why Steve Milliner and Steve Miller got confused: both were keyboardists and had similar last names, and both existed around the same time. Steve Miller (the guy who temporarily replaced David Sinclair in Caravan) was playing with Carol Grimes and Delivery at the time Aardvark existed.

Anyways, Aardvark released their only album in 1970 on the Deram/Nova label around the same time Egg released their debut (also on the same label). I find this album rather underrated. For some reason many prog rock bands that had keyboards but no guitars are often underrated. There were several groups going for the keyboards and no guitar format including Quatermass, Egg, Rare Bird (at least the original 1969-1970 incarnation as the post-1972 version had guitars and sounded very little like the original band), and most of all, The Nice (post-Emerlist Davjack), who, no doubt inspired many other bands to follow this format. Many people thought Aardvark weren't that remarkable, many felt the organ solos go on too long, but to me I didn't bother me (in fact I wasn't bothered by the organ solos found on Le Orme's Collage either, another underrated album). Being 1970, it's also hard not to notice the late '60s psychedelic elements still intact (in fact lots of prog rock albums released as late as 1972 often still had late '60s psychedelic elements intact, and I'm pretty convinced that by the time Yes released Close to the Edge had prog rock pretty much went beyond its late '60s psychedelic roots). A great example goes to "Once Upon a Hill". This has late '60s written all over it, a pleasant psychedelic number that sounds a lot like Caravan with medieval influences (even David Skillin sounds like Richard Sinclair). Other highlights for me include "Copper Sunset" and "Very Nice of You to Call". "Greencap" is that one piece with the extended organ solo, but I found it really interesting, especially the use of marimba too. I really think many people would have a problem with "Outing". It starts off pretty normal (for this album), with vocals that keep repeating, "We're going away" in typical English fashion, but then they really go off the deep-end with lots of distortion and feedback, many would simple write this off as self-indulgent noise, much like Egg's "Boilk" off The Polite Force. A lot of the album has that English feel, especially "Once Upon a Hill". BTW, that particular song is the mellowest piece on the album, probably there to prepare you for the aggressive instrumental onslaught of "Put That in Your Pipe". To me, I don't think the album is as bad as many would let you believe, there is enough excellent material making a worthwhile


01 - Copper Sunset - 3.17
02 - Very Nice Of You To Call - 3.39
03 - Many Things To Do - 4.22
04 - The Greencap - 6.05
05 - I Can't Stop - 5.29
06 - The Outing-Yes - 9.39
07 - Once Upon A Hill - 2.53
08 - Put That In Your Pipe And Smoke It - 7.35


Saturday, June 20, 2009

Tear Gas - Piggy Go Get Her

Piggy Go Getter was the first album by Tear Gas. The album was released in 1970.

Track listings

1. Lost Awakening
2. Your Woman's Gone And Left You
3. Night Girl
4. Nothing Can Change Your Mind
5. Living For Today
6. Big House
7. Mirrors Of Sorrow
8. Look What Else Is Happenin'
9. I'm Fallin' Far Behind
10. Witches Come Today


* David Batchelor - Lead vocals
* Zal Cleminson - Guitar
* Richard Monro - Drums
* Eddie Campbell - Keyboards
* Chris Glen - Bass


Friday, June 19, 2009

Andrew Gold - What's Wrong With This Picture ? - Vinyl Rip

Andrew Maurice Gold (born on August 2, 1951 in Burbank, California) is an American singer, musician and songwriter, best known in his homeland for his 1977 Top 10 single "Lonely Boy" and the 1978 single "Thank You for Being a Friend." His best known solo single in the UK is "Never Let Her Slip Away", which reached number 5 in the UK Singles Chart in 1978. It also reached number 5 again, 14 years later, in a cover version by UK dance act Undercover.

He has the singular distinction of being the first human voice to be 'heard' on the surface of Mars: his rendition of the theme from the television series Mad About You, entitled "Final Frontier," was used as the wake-up call for the Mars Pathfinder space probe in 1996.

A prolific session musician, Gold joined the family business: his mother is singer Marni Nixon (who provided the singing voice for numerous well-known actresses, notably Natalie Wood, Deborah Kerr, and Audrey Hepburn), his father was the late Academy Award-winning composer Ernest Gold. He has two younger sisters: Martha, born in 1953 and Melani, born in 1962.

Gold began writing songs at the age of 13, and by the early 1970s was working as a musician, songwriter and producer for many well-known stars, including Linda Ronstadt, Art Garfunkel, and James Taylor. He was a member of the Los Angeles band Bryndle alongside Kenny Edwards, Wendy Waldman and Karla Bonoff. He played a major role as multi-instrumentalist and arranger for Ronstadt's breakthrough album, 1974's Heart Like a Wheel. Among other accomplishments, he played the guitar solo and the majority of other instruments on the album's first track, "You're No Good," Ronstadt's only No. 1 single on the Billboard Hot 100.

In 1975 Gold began recording as a solo artist, releasing four studio albums. His single "Lonely Boy" has appeared in several movie soundtracks, including Boogie Nights (1997). Although "Lonely Boy" was the bigger radio hit, "Thank You for Being a Friend" gained new popularity as the theme song for the popular 1985–1992 NBC situation comedy The Golden Girls (although that version was not performed by Gold but by Cindy Fee). In the UK Gold is better known for the song "Never Let Her Slip Away", which is still played on oldies radio stations. For a brief period, "Thank You for being a Friend" was linked to the hoax Yorkshire Ripper tapes, as a 22 second snippet of the song was played at the end of one of the cassettes sent to Yorkshire Police.

In 1977, one of his projects was working with Eric Carmen, Jeff Porcaro and the Beach Boys, playing guitar on Carmen's LP Boats Against the Current, including the hit She Did It, which was a #23 hit that same year.

Later, Gold played on and co-produced three tracks on 10cc's 1981 album Ten Out of 10. In 1983 when 10cc disbanded Andrew formed Wax with former 10cc member Graham Gouldman. Wax enjoyed moderate success and had several top 10 hit singles including ' Right Between the Eyes', 'Bridge to Your Heart' and 'Shadows Of Love'. During the 1990's Andrew once again joined forces with old mates Karla Bonoff, Wendy Waldman and Kenny Edwards to re-form Bryndle and release their first album. He played keyboards on "Johnny Can't Read" for Don Henley's solo debut album I Can't Stand Still. He appeared twice with his family on Family Feud, on the daytime version in 1990 and the syndicated version in 1991, and on the relationship show Bedroom Buddies with his wife in 1992. He has also produced and written songs for numerous movie and television soundtracks. He also sang "The Final Frontier", the theme song for the 1990s Paul Reiser/Helen Hunt sitcom Mad About You. He also produced seven albums for Eikichi Yazawa, a famous Japanese rock/pop singer

Returning to his solo career, in 1991 Gold issued his first effort in over a decade, Home Is Where the Heart Is, before immersing himself in production work for artists ranging from Nicollette Larsen to Stephen Bishop to Eikichi Yazawa. In 1995, he reunited with Bonoff, Edwards and Waldman in a new incarnation of Bryndle, releasing an eponymous LP before Gold's move to Connecticut forced him to leave the group soon after. 1996 saw the release of a new solo effort, ...Since 1951, as well as Halloween Howls, a record for children. Leftovers, a collection of unreleased material, followed in 1998.


Wednesday, May 27, 2009

Duke Ellington - A Toast to the Duke vinyl rip

Haven just been given a dozen or so albums from a friend to rip onto Cd i found myself remembering my first post which stated that this blog would be dedicated to music "REAL MUSIC". So I now find myself posting this.

If you like Jazz you will love this. recorded December 1953 and Jan 1954


Looking once more with incredulous admiration at the unique history and achievement of Duke Ellington and his orchestra, it seems that the best comparison would be with a soccer team that has managed to stay at or near the top of the league since 1927, outright champions more often than not and many times winner of the cup. Guided by a genius of a player-captain-manager-coach, loaded with goal-scoring stares,a team with hardly a weakness. They may have slipped a few places in the table occasionally with the critics quick to pounce in and predict the end; they may have played better on some grounds than others; their collective style may have changed a little; but they have always come back to the top and they're still there 35 years later

Within the unpredictable and ever-changing field of popular music and jazz, this achievement is doubly remarkable. Duke Ellington was recording when the Charleston was just becoming popular,while the Goodman orchestra was still only an idea, before Chris Barber was even born.The idea of a team of musicians who not only played but also contributed to the creation of music was one that could only be fulfilled within the jazz idiom--and it is this organic growth and development of the band that has ensured its survival

The range of expression of which the band is capable is also remarkable; from the introverted musings of a small group centred round the composer to the extroverted high spirits of powerful, swing music played with the relaxed ease of faultless professionalism.

The material used on this record was partly classic compositions by Ellington and partly numbers that had become closely associated with other great bands. Ellington's desire to pay tribute to Count Basie, Glenn Miller, Fats Waller,Benny Goodman and Lionel Hampton doubles the interest in a way, because it is fascinating to compare his versions of these tunes with the originals - giving insight into the Ellington transformation process that was to find a peak in later adaptations of Tchaikovsky and Grieg

Rockin' in Rhythm:- with Carney credited as co-composer, was first recorded in 1930 and again in 1931. The character is maintained in this much expanded version. Ellington plays a longer introduction in place of the original few bars, against a sort of rehearsal room atmosphere. The first part uses the whole band, then, after employing the original style of rhythmic break the middle section features Russell Procope playing the old Bigard solo on clarinet. A few bars from Quentin Jackson lead into a Collective finale built around Carney's active baritone

Black and tan fantasy:- was one of the first Ellington classics conceived with Bubber Miley in 1927. Again the old jungle style is retained. Russell Procope has the first solo, This time on alto and then Ray Nance plunges in on a high glissando as Miley used to.A lazy solo from Ellington leads to Quentin Jackson taking Nanton's old part on trombone. Procope solos again on clarinet,an addition to the old routine,before Nance once more pays Tribute to Bubber Miley to round off this well-shaped composition

In Stompin' at the Savoy a number which both Chick Webb And Benny Goodman regularly featured when Edgar Sampson came up with the original idea in 1935, the Ellington band indulges in a little parody. Hamilton nicely hits off certain elements of the Goodman style; but the highpoint of the track is an effortless and impressive solo by Clark Terry. Harry Carney And Paul Gonsalves both have effective solos offering a fine contrast in timbres and Rick Henderson has a few notes before the exiting ending

In the mood was not exactly introduced by Glenn Miller but it was his version that made Joe Garland's riff tune popular. Again the Ellington band manages some of the atmosphere of the other band. Clark Terry has a few superb bars and Russell Procope a few very odd ones. Jimmy Hamilton a smooth solo and Ray Nance a meditative one, before the band riffs out a la Miller. Stompin' at the Savoy, this number' and Flying Home were arranged by Dick Vance

In One o'clock jump Ellington puts things in motion with an affectionate copy of Basie's inimitable piano style in the Basie band's signature tune, and elsewhere they get very close to the right sound with Jimmy Hamilton on tenor emulating Lester Young. Britt Woodman, Paul Gonsalves and Cat Anderson are the other featured soloists. the arrangement was made by an old Basie man, Buck Clayton

Honysuckle Rose came, of course, from the mind of that great jazz personality Fats Waller. He and the Duke were struggling pianists together. Waller's own interpretation of his tune never rose to the splendour of an orchestra like Ellington's. The main featured soloist is Jimmy Hamilton who made the orchestral arrangement

The real masterpiece of this disk, and for which it is worth the money alone, is Ellington's own Happy-go-lucky local which he arranged with Billy Strayhorn. The band previously recorded this trainload of happily inebriated locals in 1946 in a fine but not quite so hi-fi rendering.Many composers, of which Honegger and Villa-Lobos are the most notable, have tried impressions of trains in music but nobody has ever surpassed Ellingtons essay. it is both descriptive and impressionistic with the rollicking and propulsive rhythm that only a good jazz orchestra could supply-and Cat Anderson's unoiled squeaks are put to effective use. Other soloists who lend colour are Procope,Marshall, Gonsalves and Hamilton, but it is definitely the total effect that matters here.

The band finish in dashing style with the Hampton- Goodman speciality Flying home, which Hampton must have played hundreds of times. Lacking any substitute for his genius the band employs as soloists Jimmy Hamilton, Clark Terry and Cat Anderson, with plenty of full-band excitement in true Hampton Style

Peter Gammond


Friday, May 22, 2009

Spirit of Rock - The Probe Sampler - Vinyl Rip

Whilst flicking through my somewhat extensive vinyl collection I turned my attention to the compilation section and I came across this album , I was somewhat mystified as to where it came from as I can generally remember where and when I obtained each of my precious pieces of plastic. It wasn't in the best of conditions but nevertheless looking at the track list decided to give it a spin and I was not disappointed.
What we have here is a 1972 sampler from probe records which was released through mfp( Music For Pleasure) here in the UK. It is an excellent collection from some of the top artist on the ABC /Dunhill labels in the USA

I cant find much more info on this album other than what is stated above.
well worth a listen to though

I am particularly proud of the way this album has cleaned up as it really was in a bit of a state. For those of you who have Vinyl collections it really is an easy process, I have included B.B. Kings summer in the city as it was recorded(IE before it was "cleaned Up") as an example of what can be done. See if you can spot the difference!!!

Track List

* Birtha - Free Spirit
* Three Dog Night - The Writing's on the Wall
* Grassroots - Move Along
* Ray Charles - What Have They Done to My Song, Ma
* Steely Dan - Dallas
* Mamas & Papas - Go Where You Wanna Go
* Gladstone - Livin' in the Country
* B. B. King - Summer in the City
* Emitt Rhodes - Tame the Lion
* Steppenwolf - Hippo Stomp
* Joe Walsh - I'll Tell the World About You
* Four Tops - Put a Little Love Away


Thursday, May 21, 2009

Detective - Detective

Review By Michael Thomas Roe

Count me as one who is mystified as to why Detective never made it to the Big Time. All the ingredients were there: all star line up, big push by big record label and gobs of l.p.'s produced at the time (how many vinyl copies of "Detective" have YOU seen in the bargain bin?).
But let's face it, Detective was a little bit "different". Right off the bat on "Detective" they are definitely playing it cool. That is to say that the first track, "Recognition", is hardly the rockin' head blast that the at-the-time Led Zeppelin-heads were expecting, let alone wanted. It's a spooky little number with a bluesy slide guitar and some jazzy riffs. Things heat up a little with "Got Enough Love", but it seems that the boys are taking their cue from the Philly soul bands, not Bad Company, who quite literally stole their thunder.
Things finally click on "Grim Reaper" wherein Detective solidly lays down the heavy metal thunder, sheets upon sheets of black and dark blue. But I suspect that at the time of release not many listeners had made it that far. Certainly not to "Nightingale", the fourth track, a brutally beautiful "dreamy love ballad" (Michael Des Barres' description), which could be the band's finest hour.
The remainder of the CD does manage to chart some Bad Company territory, the galloping drums of Jon Hyde (who would figure so prominantly on "It Takes One To Know One") finally stepping out. But all is tempered with a flavourful jazz instrumental "Deep Down" that finally highlights the keyboard talents of Tony Kaye.
Come to think of it, this music is down right unselfish. Not one musician outshines the other. Detective is a perfect cohesive unit. Remarkable.
Things get hot and sticky with "Wild Hot Summer Nights" and bass man Bobby Picket finally gets a go at it. Deliciously funky.
Detective was a cut above in the quality department (please refer to the list of band-mates again) and certainly uncompromising. And not to go in to too much detail about Mr. Michael Des Barres, but given his pretty boy glam roots and "Decadent with a D" lifestyle, he was probably a little too far out for the day. But god, could he sing and turn phrases and coo and caw.
"Detective" is tasty, bluesy and thoughtful. Something completely unexpected at the time. So why wasn't Detective "the next big thing"? I think we're looking at the time honoured tradition of how the really practiced and talented bands don't get near the success the gimmick laden and untalented bands get. Unfair? Hell yes.

1. Recognition
2. Got Enough Love
3. Grim Reaper
4. Nightingale
5. Detective Man
6. Ain't None of Your Business
7. Deep Down
8. Wild Hot Summer Nights
9. One More Heartache


Grand Prix - There For None To See

Grand Prix surfaced in the wake of the emerging New Wave Of British Heavy Metal scene in the late 70's. Not for them, however, the meat and two veg. approach of the likes of Saxon, Dedringer or Jaguar to their sound, from the outset, Grand Prix offered something distinctly more melodic and polished.

This album is pivotal in Grand Prix's short but enjoyable career; the link between their early attempts at melodic metal and the polished sound of "Samurai" (the band's follow-up).

Track list

1 Heaven to Hell 4:11

2 Troubadour 3:47

3 Take a Chance 3:38

4 Paradise 4:10

5 Keep on Believing 4:32

6 Taking Your Life Away 3:28

7 Runaway 3:19

8 Tough of the Track 6:27

9 Atlantis 3:47

10 Relay 3:20


Robin Mcauley Vocals
Andy Beirne Drums
Phil Lanzon Keyboards
Michael O'Donoghue Guitar
Ralph Hood Bass


Billy Cobham - The Best Of - Vinyl Rip

Born in Panama, Cobham's family moved to New York City during his early childhood. A drummer from his youth, Cobham attended New York's High School of Music and Art, graduating in 1962.
He played in a U.S. Army Band from 1965 to 1968. Following his discharge, Cobham joined the group of pianist Horace Silver for about a year, also playing or recording with saxophonist Stanley Turrentine, organist Shirley Scott, and guitarist George Benson.

Cobham branched out to jazz fusion, which blended elements of jazz, rock and roll and funk, playing and recording with the Brecker Brothers (notably on their 1970-founded group Dreams, and guitarist John Abercrombie, before recording and touring extensively with trumpeter Miles Davis. Cobham's work with Davis appears on Live-Evil and A Tribute to Jack Johnson, among other recordings. Cobham is also one of the first drummers to play open handed lead: a drummer that can lead (or ride) with either hand and begin or end a beat or fill with either hand (most drummers lead with 1 hand). He was also one of the first drummers to play with 3 or more snare and/or bass drums and multiple hi-hats.

The preface to his work with the Mahavishnu Orchestra was his work on guitarist John McLaughlin's album My Goal's Beyond.

In 1971, with fellow Davis alumnus McLaughlin , Cobham co-founded Mahavishnu Orchestra, a definitive jazz fusion ensemble. Cobham toured extensively from 1971 to 1973 with the Mahavishnu Orchestra, who released two studio albums and one live album. The original studio versions of tunes on the live album were later released as The Lost Trident Sessions in 1999.

In May 1973, while still with the Mahavishnu Orchestra, Cobham recorded his first solo album Spectrum, one of the finest fusion albums of all time, with musicians including keyboardist Jan Hammer, from the Mahavishnu Orchestra, and guitarist Tommy Bolin, who later played with heavy rock band Deep Purple. Just before the Mahavishnu Orchestra's last touring leg, in late 1973, Cobham recorded and toured with guitarists Carlos Santana and John McLaughlin, in concerts which featured material from their album Love Devotion Surrender, and Cobham's own material.

Generally acclaimed as fusion's greatest drummer, Billy Cobham's explosive technique powered some of the genre's most important early recordings -- including groundbreaking efforts by Miles Davis and the Mahavishnu Orchestra -- before he became an accomplished bandleader in his own right. At his best, Cobham harnessed his amazing dexterity into thundering, high-octane hybrids of jazz complexity and rock & roll aggression. He was capable of subtler, funkier grooves on the one hand, and awe-inspiring solo improvisations on the other; in fact, his technical virtuosity was such that his flash could sometimes overwhelm his music. After debuting as a leader with the classic Spectrum in 1973, Cobham spent most of fusion's glory days recording for Atlantic; briefer stints on CBS, Elektra, and GRP followed, and by the mid-'80s, Cobham was de-emphasizing his own bands in favor of session and sideman work. Even so, he continued to record for various small labels with some regularity.

William C. Cobham was born May 16, 1944, in Panama, where as a very young child he became fascinated with the percussion instruments his cousins played. When Cobham was three, his family moved to New York City, and at age eight he made his performance debut with his father. He honed his percussion skills in a drum-and-bugle corps outfit called the St. Catherine's Queensmen, and attended New York's prestigious High School of Music and Art, graduating in 1962. From 1965 to 1968, he served as a percussionist in the U.S. Army Band, and after his release, he was hired as the new drummer in hard bop pianist Horace Silver's band. Cobham toured the U.S. and Europe with Silver in 1968, and also moonlighted with Stanley Turrentine, Shirley Scott, and George Benson. After eight months with Silver, Cobham departed to join the early jazz-rock combo Dreams in 1969, which also featured the Brecker brothers and guitarist John Abercrombie. From there, he landed a job in Miles Davis' new fusion ensemble, and played a small part in the seminal Bitches Brew sessions; he also appeared more prominently on several other Davis albums of the time, including more aggressive classics like Live-Evil and A Tribute to Jack Johnson.

Cobham and guitarist John McLaughlin split off from Davis' group to pursue a harder rocking brand of fusion in the Mahavishnu Orchestra, which debuted in 1971 with the seminal The Inner Mounting Flame. With Mahavishnu, Cobham's fiery intensity was given its fullest airing yet, and his extraordinary technique influenced not only countless fusioneers in his wake, but also quite a few prog rock drummers who were aiming for similarly challenging musical territory. The 1972 follow-up Birds of Fire cemented his reputation, and by this time he had also become something of an unofficial in-house drummer for Creed Taylor's CTI label, known for a smoother, more polished style of fusion; here Cobham backed musicians like George Benson, Stanley Turrentine, Freddie Hubbard, Hubert Laws, and Grover Washington, Jr. Unfortunately, the volatile group chemistry that made Mahavishnu's recordings so exciting also carried over into real life and the original lineup disbanded in 1973.

Deciding to make a go of it on his own, Cobham formed his own band, Spectrum (which initially featured ex-Mahavishnu cohort Jan Hammer on keyboards), and signed with Atlantic. His debut as a leader, also called Spectrum, was released in 1973, showcasing an exciting blend of jazz, funk, and rock that benefited from the presence of guitarists John Scofield and Tommy Bolin (the latter better known for his rock recordings); it also found Cobham experimenting a bit with electronic percussion. Spectrum is still generally acknowledged as the high point of Cobham's solo career, and holds up quite well today. Cobham followed Spectrum with a series of LPs on Atlantic that, like fusion itself, grew increasingly smoother and more commercial as the '70s wore on. For his second album, 1974's Crosswinds, ex-Dreams mate John Abercrombie joined the band, as did keyboardist George Duke, who would become a frequent Cobham collaborator over the years; that same year's performance at Montreux produced the live Shabazz. After Total Eclipse, Cobham moved more explicitly into commercial jazz-funk with 1975's A Funky Thide of Sings, which featured an expanded horn section. He pared the group back down for the improved Life and Times in 1976, and also played Montreux again, in tandem with Duke.

In 1977, Cobham switched to the CBS label, which set him firmly on the path of commercial accessibility. In addition to his records as a leader, he'd remained highly active as a session drummer, and began to focus on that side of his career even more in the late '70s. By 1980, he was done with CBS and began pursuing side opportunities, playing live with the Grateful Dead and Jack Bruce, as well as the Saturday Night Live band. He drummed for the Grateful Dead side project Bobby & the Midnites in 1982, and recorded three albums for Elektra in the early '80s with his new quartet the Glass Menagerie. During the mid-'80s, he cut three commercially oriented LPs for GRP, and spent the next few years stepping up his international touring and absorbing a healthy dose of world music. He played Peter Gabriel's 1992 WOMAD Festival, and the following year recorded The Traveler, inspired by a sojourn in Brazil. In 1996, he formed a more acoustic-oriented quartet called Nordic with three Norwegian musicians; the following year, he also started a German-based fusion outfit called Paradox. In 1998, Cobham began playing with a group called Jazz Is Dead, which devoted itself to jazz reinterpretations of Grateful Dead material; their album Blue Light Rain proved fairly popular among Deadheads. As Cobham maintained his touring, session, and bandleading activities, Rhino released the excellent two-CD retrospective Rudiments: The Billy Cobham Anthology in 2001.

Biography by Steve Huey

Track List

1 Quadrant 4
2 Snoopy's Search/Red Baron
3 Spanish Moss "A Sound Portrait"
4 Moon Germs
5 Stratus
6 Pleasant Pheasant
7 Solo/Panhandler
8 Do Whatcha Wanna