Monday, 29 June 2015

Robin Trower - Robin Trower Live! (Great Concert, Stockholm, Sweden 1976)


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An excellent recording of a superb 1975 stadium show in Sweden, Robin Trower's Live album is a perfect snapshot of the guitar hero in his prime. The record also gives ample evidence of why the Robin Trower Band was one of the most successful live guitar rock acts of the '70s, highlighting not only Trower's virtuoso Stratocaster licks, but the soulful vocals of bassist James Dewar and the polyrhythmic drumming of Bill Lordan. 

The song selection here is top-notch, the most obvious treat being the perennial Trower classic "Too Rolling Stoned," to which Lordon (who replaced Reg Isadore, drummer on the studio version of the song) contributes a somewhat funkier flavor. The same treatment is given to a blistering take on "Little Bit of Sympathy," which contains moments that recall the legendarily telepathic interplay between Jimi Hendrix and Mitch Mitchell. 

It's a mystery why James Dewar isn't generally recognized as one of the finest blue-eyed soul singers of the '70s, as he is easily as talented and convincing as Paul Rogers or Joe Cocker. Here, he's in excellent form and his vocals on the slow-burning "I Can't Wait Much Longer" are spine-tingling. Although none of the performances stray too far from the songs' studio versions, that fact is part of what makes this album interesting. Live shows the Robin Trower Band to be a quintessential no-frills blues-rock band, capable of kicking serious ass no matter what the setting.

Robin Trower Live is a live album by Robin Trower. Recorded at the Stockholm Concert Hall in Sweden on 3 February 1975 for the Swedish Broadcasting Corporation, it was released on vinyl in 1976, and re-released on CD in 1990, 2000, and 2004. The album entered the US Album Top 10, and reached #23 on the US Chrysalis Album Top 40. In an interview with Guitar Player in May 2006, Trower explained that the band was not aware the show was being taped, thinking they were playing for a radio broadcast only. Hence, he says, "We were loose and uninhibited, and we played one of our best shows."

Biography:
Throughout his long and winding solo career, guitarist Robin Trower has had to endure countless comparisons to Jimi Hendrix, due to his uncanny ability to channel Hendrix's bluesy/psychedelic, Fender Strat-fueled playing style. Born on March 9, 1945, in Catford, England, Trower spent the early '60s playing guitar in various London based outfits; the most successful one being the R&B group the Paramounts, who specialized mostly in covers, but managed to issue several singles between 1963 and 1965. It wasn't until 1967 that Trower received his big break however, when he joined Procol Harum. The group had just scored a worldwide smash hit with "A Whiter Shade of Pale," but the only problem was that the band's leader, singer/pianist Gary Brooker, didn't have a proper band to back him. Brooker was previously a bandmate of Trower's in the Paramounts, and offered the guitar slot in his new fast-rising project to his old friend. As a result, Trower appeared on such Procol Harum classics as 1967's Procol Harum, 1968's Shine on Brightly, 1969's A Salty Dog, 1970's Home (which spawned the popular Trower tune "Whiskey Train"), and 1971's Broken Barricades.


While Procol Harum helped launch Trower's career, the guitarist realized there was limited space for his guitar work, and eventually left for a solo career. Enlisting singer/bassist James Dewar and drummer Reg Isidore (who was soon replaced by Bill Lordan) as a backing band, Trower issued his solo debut, Twice Removed From Yesterday, in 1973. The album barely left a dent in the U.S. charts, but that would change soon enough with his next release, 1974's Bridge of Sighs. With rock fans still reeling from Hendrix's death a few years earlier, the album sounded eerily similar to the late guitarist's work with the Jimi Hendrix Experience (especially his 1968 release, Electric Ladyland), and as a result, the album sky rocketed into the U.S. Top Ten, peaking at number seven.

Although Bridge of Sighs was to be his most popular solo release, Trower's stock continued to rise throughout the mid-'70s, as he became an arena headliner on the strength of such hit albums as 1975's For Earth Below, 1976's Robin Trower Live!, and Long Misty Days, plus 1977's In City Dreams. Further releases followed, yet by the dawn of the '80s, it became quite obvious that Trower's star was rapidly fading, as each album sold less than its predecessor. A brief union with ex-Cream bassist/vocalist Jack Bruce spawned a pair of releases, 1981's B.L.T. and 1982's Truce, before Trower returned back to his solo career.

The '80s saw Trower try and expand his audience with several releases that attempted to update his blues-rock style (such as 1987's slick produced Passion), but none returned the guitarist back to the top of the charts. During the early '90s, Trower returned back to Procol Harum for a brief reunion (1991's Prodigal Stranger), before backing ex-Roxy Music singer Bryan Ferry on a few releases (1993's Taxi and 1994's Mamouna, the latter of which Trower earned a co-producer credit for). Trower continued to issue solo albums in the 21st century (2000's Go My Way), while a steady stream of live sets and compilations appeared. Trower returned to work with Ferry once more on 2002's Frantic, again earning a production credit. Reassembling most of his late-'80s band, Trower released Living Out of Time in 2004 and returned with Another Days Blues in late 2005. What Lies Beneath appeared in 2009 from V-12 Records.

Personnel
* Robin Trower – guitar
* James Dewar – bass, vocals
* Bill Lordan – drums

01. "Too Rolling Stoned"  06:50
02. "Daydream"  08:02
03. "Rock Me Baby"  06:01
04. "Lady Love"  03:15
05. "I Can't Wait Much Longer"  07:07
06. "Alethea"  04:11
07. "Little Bit of Sympathy" 05:55

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Sunday, 21 June 2015

Loggins and Messina - Selftitled (Great 2nd Rock Album US 1972)


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Loggins and Messina is the second album by singer/songwriters Loggins and Messina, released in 1972.

Following on the success of their first album, this album built on the strengths of their debut outing. It also became the true introduction of the team, Loggins and Messina, not as singles playing together, but rather as a team that played as one.

It featured two songs that charted, with "Your Mama Don't Dance" reaching its peak at #4, their highest charting single. The album itself charted at #16. The album version of "Thinking of You" is a different recording than the hit single. Kenny Loggins played harmonica on more than one song: "Whiskey", "Long Tail Cat", "Thinking of You" and the Jim Messina-penned instrumental "Just Before the News", making it the duo's only album to have harmonica on more than one song.

The first full-fledged L&M album found the duo in good form as songwriters, with Messina turning in the sparkling "Thinking Of You," and the two collaborating on the hit single "Your Mama Don't Dance" and "Angry Eyes." Their backup band was anchored by multi-instrumentalist Al Garth, and also featured keyboardist Michael Omartian and Poco steel guitarist Rusty Young.

Kenny Loggins and Jim Messina were the most successful pop/rock duo of the first half of the '70s. Loggins was a staff songwriter who had recently enjoyed success with a group of songs recorded by the Nitty Gritty Dirt Band when he came to the attention of Messina, a record producer and former member of Buffalo Springfield and Poco. 

Messina agreed to produce Loggins' first album, but somewhere along the way it became a duo effort that was released in 1972 under the title Kenny Loggins with Jim Messina Sittin' In. The album was a gold-seller that stayed in the charts more than two years.

Loggins & Messina In the next four years, Loggins & Messina released a series of gold or platinum albums, most of which hit the Top Ten. They were all played in a buoyant country-rock style with an accomplished band. Loggins & Messina (1972) featured the retro-rock hit "Your Mama Don't Dance." Full Sail (1973), On Stage (a double live album, 1974), and Mother Lode (1974) all hit the Top Ten. So Fine was an album of '50s cover songs. The pair's last new studio album, Native Sons, came out at the start of 1976.

The Best of FriendsLoggins & Messina split for two solo careers by the end of that year, their early catalog completed by a greatest-hits album, Best of Friends, and a live record, Finale. The duo reunited in 2005 and hit the road for a summer tour while the compilation The Best: Sittin' in Again was arriving in stores. The tour itself was documented on Live: Sittin' in Again at Santa Barbara Bowl, which appeared late in the year.

Biography:
Loggins and Messina is an American rock-pop duo consisting of Kenny Loggins and Jim Messina who achieved their success in the early to mid-1970s. Among their well-known songs are "Danny's Song", "House at Pooh Corner", and "Your Mama Don't Dance". After selling more than 16 million records and becoming one of the leading musical duos of the 1970s, Loggins and Messina broke up in 1976. Although Messina would find only limited popularity following the breakup, Loggins went on to be a 1980s hitmaker. In both 2005 and 2009, Loggins and Messina have rejoined for United States tours.

Jim Messina, formerly of Poco and Buffalo Springfield, was working as an independent record producer for Columbia Records in 1970 when he met Kenny Loggins, a little-known singer/songwriter and guitarist who was signed to ABC-Dunhill as a staff songwriter.

The two recorded a number of Loggins' compositions in Messina's home living room. When Columbia signed Loggins to a six-album contract (with the assistance of Messina), recording began in earnest for Loggins' debut album, with Messina as producer. Messina originally intended to lend his name to the Loggins project only to help introduce the unknown Loggins to Messina's well-established Buffalo Springfield and Poco audiences. But by the time the album was completed, Messina had contributed so much to the album - in terms of songwriting, arrangement, instrumentation, and vocals - that an "accidental" duo was born.

Their debut album was released November 1971 as Sittin' In. The album's first single release, the Caribbean-flavored "Vahevala" (or "Vahevella"), found top 3 success on WCFL on 18 May 1972. Although the album went unnoticed by radio upon release, it eventually gained traction by autumn 1972, particularly on college campuses, where the pair toured heavily. Loggins' and Messina's harmonies meshed so well that what was begun as a one-off album became an entity unto itself. Audiences regarded the pair as a genuine duo rather than as a solo act with a well-known producer. Instead of just continuing to produce Loggins as a sole performer, they decided to record as a duo – Loggins & Messina.

"When our first album, 'Sittin' In,' came out, we started receiving a lot of excitement about the music and good sales," Messina recalled in 2005. "We had a choice. It was either I now go on and continue to produce him and we do the solo career or we stay together and let this work. For me, I did not desire to go back out on the road. I had had enough of that, and I wanted to produce records. But Clive Davis (then president of the record company) intervened and said, 'You know, I think you'd be making a mistake if you guys didn't take this opportunity. Things like this only happen once in a lifetime. It may merit you sleeping on it overnight and making a decision that will be in your best interest.' He was absolutely correct. Kenny made the decision as well. It delayed his solo career, but it gave him an opportunity, I think, to have one."

Messina assembled The Kenny Loggins Band by summoning old friends bassist Larry Sims and drummer Merel Bregante, formerly of The Sunshine Company, multireedist Jon Clarke, violinist/multireedist Al Garth and famed Grammy-winning keyboardist, songwriter and record producer Michael Omartian, who played on the debut album, but did not join them on tour, although he played keyboards on the second and third albums. Los Angeles-based session percussionist Milt Holland played on each of the duo's studio albums, but like Omartian, he did not tour with them either.

Over the next four years they produced five more original albums, plus one album of covers of other artists' material, and two live albums. They sold 16 million records and were the most successful duo of the early 1970s, surpassed later in the decade only by Hall & Oates. Their work was covered by other artists such as Lynn Anderson who recorded "Listen to a Country Song" released in 1972 and reached #3 on the charts, and perhaps most notably Anne Murray, who reached the U.S. top ten with "Danny's Song" in early 1973 and the U.S. top twenty with "A Love Song" in early 1974. A greatest-hits album, The Best of Friends, would be released a year after the duo had separated. The later studio albums often found both Loggins and Messina more as two solo artists sharing the same record rather than as a genuine partnership. As both Loggins and Messina noted in 2005, their collaboration eventually became more a competition - a frequent, almost-inevitable dynamic of show business duos.

Never really a team of true equals due to the "teacher/apprentice" nature of their music experience levels, the pair had by early 1976 quietly, amicably parted to pursue solo careers, following the release of Native Sons. Prior to the duo's final tour, Loggins accidentally cut his hand with a craft knife while practicing his wood-carving hobby at home, which required surgery and prevented him from playing guitar for most of their final tour. After a final concert in Hawaii, the duo split and went on to solo careers. Messina found solo success elusive, but Loggins went on to become one of the biggest hitmakers of the 1980s.

The two reunited in 2005 to choose tracks for an expanded compilation album of singles and album cuts The Best: Sittin' In Again, which proved successful enough for them to embark on tour together. Their successful "Sittin' In Again" tour was launched in mid-2005 and played out the remainder of the year. They also released an album that year of the tour. "Every couple of years we'd talk about it, but I was having too much fun as a solo artist," Loggins said that summer. "It was very rewarding for me, and I wasn't ready to share the reins. I still had a lot of stuff to do on my own, to prove myself and to express myself, in a way that wouldn't have fit in with Loggins & Messina."

The two were pleased enough to consider future Loggins and Messina projects and the two also toured in 2009. "Like most relationships, we were a moment in time," Loggins said. "It's just really fun to be able to go back and celebrate that and just sort of really honor each other as grown men, in a way we never really did back then. We were young and competitive and didn't realize that it wasn't necessarily all about getting your way, but you learn that if you grow up."

Their backing band changed from album to album, with the core members listed below. Many albums featured backing members who were well known in their own right, John Townsend and Ed Sanford, later of the Sanford & Townsend Band ("Smoke from a Distant Fire"), contributed vocals and songwriting to the Native Sons, their final studio album.

Personnel:
Kenny Loggins - vocals, rhythm guitar, harmonica, acoustic guitar
 Jim Messina - vocals, lead guitar, electric mandolin, acoustic guitar
 Stephen Stills - vocals
 Merel Bregante - backing vocals, drums
 Lester "Al" Garth - violin, recorder, alto and tenor saxophone
 Michael Omartian - Hammond organ, piano, harmonium, clavinet, tack piano, Wurlitzer electric piano
 Rusty Young - dobro on "Long Tail Cat"
 Jon Clarke - flute, oboe, recorder, baritone saxophone, soprano saxophone, tenor saxophone
 Milt Holland - percussion
 Larry Sims - backing vocals, bass

01. "Good Friend" (Jim Messina) – 04:04 
02. "Whiskey" (Kenny Loggins) – 01:58 
03. "Your Mama Don't Dance" (Loggins, Messina) – 02:48 
04. "Long Tail Cat" (Loggins) – 03:47 
05. "Golden Ribbons" (Messina) – 06:08 
06. "Thinking of You" (Messina) – 02:19 
07. "Just Before the News" (Messina) – 01:09 (instrumental)
08. "Till the Ends Meet" (Loggins) – 03:10 
09. "Holiday Hotel" (Messina, Al Garth) – 02:02 
10. "Lady of My Heart" (Loggins) – 01:44 (lead singer: Kenny Loggins)
11. "Angry Eyes" (Loggins, Messina) – 07:40 

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Friday, 19 June 2015

Some More To Read...

Alexis Korner Part 1
Alexis Korner Part 2
Led Zeppelin Part 1
Led Zeppelin Part 2
Led Zeppelin's new Label
Help Yourself (Band)
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Thursday, 18 June 2015

The Rolling Stones - It's Only Goat's Head Soup..But We Like It (1974) (Bootleg)


Size: 179 MB
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Ok, collection of song's."it's only rock n roll",sounds like the album version,and,does not sound great on this cd. Lot's of alternate mixes,and,some unreleased song's,for which,you can find on some other bootlegg's. Overall though,this would look good in anyone's collecton! My favorite track on this cd is,"drift away", a dobie gray song, which surprised me when i first heard it! Sound quality for the whole cd, is alright. That's why i give this a 9/10. However, it's great for your collection! Get it!


"It's Only Rock 'n Roll (But I Like It)" is the lead single from English rock band The Rolling Stones' 1974 album It's Only Rock 'n Roll. Writing is credited to Mick Jagger and Keith Richards and the single reached the top ten in the British charts and top 20 in America.

Recorded in late 1973 and completed in the spring of 1974, "It's Only Rock 'n Roll (But I Like It)" is credited to the Rolling Stones songwriting team Mick Jagger and Keith Richards, although future Rolling Stones guitarist Ronnie Wood collaborated with Jagger on it. The song was originally recorded one night in a studio at Wood's house, "The Wick" in Richmond, London. David Bowie was backing singer to Jagger's lead, and Willie Weeks played bass with Kenney Jones on drums. The song on the album is similar to that original recording, with the Stones keeping the original rhythm track.

The meaning of the lyrics was summed up by Jagger in the liner notes to the 1993 compilation Jump Back; "The idea of the song has to do with our public persona at the time. I was getting a bit tired of people having a go, all that, 'oh, it's not as good as their last one' business. The single sleeve had a picture of me with a pen digging into me as if it were a sword. It was a lighthearted, anti-journalistic sort of thing."


The Rollng Stones - German Single 194
“If I could stick my pen in my heart, And spill it all over the stage;
Would it satisfy ya, would it slide on by ya, Would you think the boy is strange? Ain't he strange?”

“If I could win ya, if I could sing ya, a love song so divine,
Would it be enough for your cheating heart, If I broke down and cried? If I cried?
I said I know it's only rock 'n roll but I like it”

“Suicide right on the stage...”

Mick also has said that as soon as he wrote it, he knew it was going to be a single. He said it was his answer to everyone who took seriously what he or the band did. According to Keith there was opposition to it being a single but they persisted, saying it had to be the next single. He said that to him "that song is a classic. The title alone is a classic and that's the whole thing about it."


The Rolling Stones - Japan Single 1974
Released in July 1974, "It's Only Rock 'n Roll (But I Like It)" reached number sixteen in the United States and number ten on the UK Singles Chart. The B-side was the ballad "Through the Lonely Nights", which was not featured on any album until the 2005 compilation Rarities 1971-2003.

The Rolling Stones regularly perform the song in concert, although in a different key from the studio recording: on their concert albums Love You Live (1977) and Live Licks (2004), the number is in B, whereas the studio track is in E. According to Richards, the song was recorded in the wrong key, but they did not realise this until they played it live.


Rolling Stones - "It's Only Goat's Head Soup...but we like it" - Outtakes & Alternates from "It's Only Rock'n'Roll" and "Goat's Head Soup" album, 1972-1974. Source: Audio Quality: Excellent studio recording

01. It's Only Rock 'N' Roll [5:12] (rough mix)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios. 

02. Ain't Too Proud To Beg [3:51] (alternate mix)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios.

03. Winter [5:34] (alternate mix)
1972, 25th - 30th November & 6th - 21st December: Kingston, Jamaica, Dynamic Sound Studios. 

04. Silver Train [4:34] (alternate mix)
1973, 28th May onwards: London, Island Recording Studios. Mixing and overdubbing for the album ‘Goat’s Head Soup’ (partially without KR).

05. Drift Away [4:12] (unreleased song)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios. 

06. Time Waits For No One [6:46] (long version)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios. 

07. Criss Cross Man [4:06] (unreleased song)
1972, 25th - 30th November & 6th - 21st December: Kingston, Jamaica, Dynamic Sound Studios. 

08. Through The Lonely Nights [4:16] (1974 b-side only)
1972, 25th - 30th November & 6th - 21st December: Kingston, Jamaica, Dynamic Sound Studios. 

09. Living In The Heart Of Love [4:13] (unreleased song)
1974, 14th - 28th January: Munich, Germany, Musicland Studios.

10. Too Many Cooks [3:48] (unreleased Mick Jagger solo-single) (The Very Best Of Mick Jagger version)
1973, late December: ALL STAR BAND. Los Angeles, California, The Record Plant. Producer: John Lennon
Line-up: John Lennon (guitar)/Jesse Ed Davis (gtr)/Danny Kortchmar (gtr)/Al Kooper (keyb)/Jim Keltner (dr)/Bobby Keys (sax)/Trevor Lawrence (sax)/Jack Bruce (bass)/Bruce Gary (dr)/Mike Finnegan (keyb)/Wolfgang Metz (bass)/Rocky Djubano (perc)/Harry Nilsson & some unidentified girls (bvoc)

11. Angie [4:39] (rough mix without reverb & 2nd keyboard overdub)
1972, 25th - 30th November & 6th - 21st December: Kingston, Jamaica, Dynamic Sound Studios. 

12. Dance Little Sister [5:03] (alternate mix)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios. 

13. Till The Next Goodbye [4:40] (alternate mix)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios. 

14. If You Can't Rock Me [3:45] (alternate mix)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios. 

15. Fingerprint File [7:06] (alternate longer mix)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios. 

01. Tracks 1, 2, 5, 6, 12, 13, 14, 15 were recorded at Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio (1974, April 10th - 15th) and London, Island Recording Studios (1974, May 20th - 25th)

02. On April 1974, the Stones were in England (Newbury & London), not in Munich.

03. The Stones were in Munich on January (14th - 28th) recording early versions and primitive takes of Dance Little Sister, Drift Away, If You Really Want To Be My Friend, Living In The Heart Of Love, Luxury, Till The Next Goodbye, Time Waits For No One, Labour Swing, but I don't think any of the CD tracks are early versions or primitive takes.

04. The Stones were again in Munich on December (7th - 15th) (without Mick Taylor!), but they did not play any of the tracks from this CD. In fact, they played Act Together, Cherry Oh Baby, Fool To Cry, I Got A Letter.

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The Rolling Stones - US Promotion Single 1974





The Rolling Stones - It's Only Rock N' Roll 
Original Full Album UK 1974

Sunday, 14 June 2015

Some articles for a boring sunday..



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Syd Barrett - Barrett (2nd Album UK 1970)

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Barrett is the second and final studio album of new material released by former Pink Floyd frontman Syd Barrett. Recording began at Abbey Road Studios on 26 February 1970, and lasted for 15 sessions until 21 July. The album was produced by Pink Floyd's guitarist David Gilmour, who also contributed on bass guitar, and features contributions from fellow Pink Floyd member Richard Wright on keyboard and previous Madcap contributor Jerry Shirley on drums.

Barrett was released in November 1970 on Harvest in the United Kingdom and Capitol in the United States, but failed to chart in both markets; it was re-released in 1974 as part of Syd Barrett. No singles were issued from the album.

From mid to late 1967, Syd Barrett's erratic behaviour became more apparent, and at one performance of the band's first US tour, Barrett slowly detuned his guitar. The audience seemed to enjoy such antics, unaware of the rest of the band's consternation. Interviewed on Pat Boone's show during this tour, Barrett's reply to Boone's questions was a "blank and totally mute stare". Initial sales and reaction of Barrett's first solo album, The Madcap Laughs, were deemed sufficient by EMI to sanction a second solo album. 

On 24 February 1970, a month after releasing Madcap, Barrett appeared on John Peel's Top Gear radio show, where he performed only one song from the newly released album ("Terrapin"), three that would later be recorded for Barrett ("Gigolo Aunt", "Baby Lemonade" and "Effervescing Elephant") and a one-off ("Two of a Kind", possibly written by Richard Wright). The session producers had no verbal contact with Barrett, having only communication to him via Gilmour. For the radio session, Gilmour and Humble Pie drummer Jerry Shirley accompanied Barrett on bass and bongos, respectively. The version of "Gigolo Aunt" recorded for the radio session (and later released on 1988's The Peel Session) was unfinished, as Barrett had sung the opening verse three times. Barrett played slide guitar on the radio version of "Baby Lemonade", with Gilmour on organ.


Two days later, he began working on his second album in Abbey Road Studios, with Gilmour as producer, and a trio of musicians: Richard Wright, Shirley and Gilmour himself. The main aim for the Barrett sessions was to give Barrett the structure and focus many felt was missing during the long and unwieldy sessions for The Madcap Laughs. Thus, the sessions were more efficiently run and the album was finished in considerably less time than The Madcap Laughs (six months, compared to Madcap's one year). 

On 6 June 1970, Barrett gave his one and only official solo performance, at the Olympia in Kensington, backed once more by Gilmour and Shirley. At the end of "Octopus", the fourth number of the set, Barrett baffled the audience and his backing musicians by abruptly taking off his guitar and walking off stage.

The first session was on 26 February, three of the first songs—fully recorded—attempted during the session were "Baby Lemonade", "Maisie" and "Gigolo Aunt". However, Gilmour thought they were losing the "Barrett-ness". After "Baby Lemonade" was attempted, 2 takes of "Maisie" were recorded before Barrett went into 15 takes of "Gigolo Aunt". The next day, two-track demos of "Wolfpack", "Waving My Arms in the Air", "Living Alone" and "Bob Dylan Blues", were recorded. The former two made it to the album; the latter two didn't. On the recording sheet, it lists Gilmour as having taken home a copy of the latter two, Gilmour later returned and took the master tapes too. Gilmour has since said "Those sessions were done so quickly. 

We were rushing to gigs every day and had to fit recording sessions in between. I probably took it away to have a listen and simply forgot to take it back. It wasn't intended to be a final mix. Syd knocked it off, I took a tape home." Despite some minor work made to "Gigolo Aunt", Barrett wouldn't return to Abbey Road Studios until 1 April, due to Pink Floyd working on their 1970 album, Atom Heart Mother. On various occasions, Barrett would "spy" on the band as they recorded the album. Again, Barrett recorded some work to a song, "Wolfpack," on the 3rd, before the sessions were postponed until 5 June, this time due to Gilmour and Wright going on tour in the US with Pink Floyd.

On the session of 5 June, Barrett managed to record an unknown number of two-track demos for three songs: "Rats", "Winded and Dined", and "Birdie Hop". The "Rats" demo recorded here, became the basis for the album master, and would later be overdubbed by musicians, despite the changing tempos.

Two days later, on the 7th, Barrett recorded "Milky Way", "Millionaire", before being rounded off with overdubs for "Rats". "Millionaire" was originally titled "She Was a Millionaire", was originally recorded by Pink Floyd. Barrett recorded two attempts at a backing track before abandoning it, and adding vocals. Yet another break in recording occurred, until 14 July, where Barrett recorded several takes of "Effervescing Elephant", while numerous overdubs were added to Barrett's "Wined and Dined" demo by Gilmour. 

Three takes of "Dominoes" ensued, with an unknown number of takes of "Love Song", "Dolly Rocker" and "Let's Spilt" were recorded."Love Song" and "Dolly Rocker" were both overdubbed, the former being overdubbed from 17 to 21 July, but overdubs for the latter were wiped. On 21 July, Barrett worked on another Untitled track (later to be titled as "Word Song"), recording only one take, before recording 5 takes of the last new song to be recorded for Barrett: "It Is Obvious". Barrett worked on remakes of two tracks: "Maisie", and "Waving My Arms in the Air" (the latter now seguing into a new track, "I Never Lied to You").

We really had basically three alternatives at that point, working with Syd. One, we could actually work with him in the studio, playing along as he put down his tracks – which was almost impossible, though we succeeded on 'Gigolo Aunt'. The second was laying down some kind of track before and then having him play over it. The third was him putting his basic ideas down with just guitar and vocals and then we'd try and make something out of it.

— David Gilmour, 
Shirley said of Barrett's playing: "He would never play the same tune twice. Sometimes Syd couldn't play anything that made sense; other times what he'd play was absolute magic." Barrett's direction to the other musicians were limited to pronouncements like "Perhaps we could make the middle darker and maybe the end a bit middle afternoonish. At the moment it's too windy and icy".

01. "Baby Lemonade" Take 1, recorded 26 February 1970  4:10
02. "Love Song" Take 1, recorded 17 July 1970, overdubs added 17 July  3:03
03. "Dominoes" Take 3, recorded 14 July 1970  4:08
04. "It Is Obvious" Take 1, recorded 17 July 1970, overdubs added 20 July  2:59
05. "Rats" Demo, recorded 7 May 1970, overdubs added 5 June  3:00
06. "Maisie" Take 2, recorded 26 February 1970  2:51
07. "Gigolo Aunt" Take 15, recorded 27 February 1970, overdubs added 2 April  5:46
08. "Waving My Arms in the Air" Take 1, recorded 27 February 1970, overdubs and new vocal track 2 April  2:09
09. "I Never Lied to You" Take 1, recorded 27 February 1970, overdubs and new vocal track 2 April  1:50
10. "Wined and Dined" Take 10, recorded 14 July 1970  2:58
11. "Wolfpack" Take 2, recorded 3 April 1970  3:41
12. "Effervescing Elephant" Take 9, recorded 14 July 1970  1:52

Bonus Tracks:
13. "Baby Lemonade" Take 1, recorded 26 February 1970. Guitar and double-track vocals only. 03:46
14. "Waving My Arms in the Air" Take 1, recorded 26 February 1970. Guitar and vocals only  02:13
15. "I Never Lied to You" Take 1, recorded 27 February 1970. Guitar and vocals only  01:48
16. "Love Song" Take 1, recorded 14 July 1970  02:32
17. "Dominoes" Take 1, recorded 14 July 1970  00:40
18. "Dominoes" Take 2, recorded 14 July 1970  02:36
19. "It Is Obvious" Take 2, recorded 17 July 1970.Electric guitar and vocal  03:51
20. "Bob Dylan Blues" (1965) Previously unreleased  03:14
21. "Dominoes" (2010 Mix)

1. Link
or
2. Link



Saturday, 30 May 2015

Renaissance - Selftitled (Progressive Rock UK 1969) + Bonus Album



101 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Following the break-up of The Yardbirds in early 1968 drummer Jim McCarty and guitarist/vocalist Keith Relf formed TOGETHER, an acoustic based group. This short lived then became RENAISSANCE in early 1969 with the addition of John Hawken (keyboard), Louis Cennamo (bass) and Jane Relf (vocal). So, this is the PRE ANNIE HASLAM period of the band. Musically, I would say this debut album has significant contribution in laying strong foundation of progressive rock music altogether with King Crimson, ELP, Yes, Genesis and Pink Floyd. RENAISSANCE has its own identity than the others. This debut album sets an important milestone for RENAISSANCE music direction in the future.



The opening track "Kings and Queens" proves to be the landmark for future releases of the band. The structural composition of this song is of relevance with later releases compositions. This track is heavily influenced by classical music through its piano sound at intro part. It's a wonderful and dynamic piano play at intro. The drumming section enters nicely altogether with acoustic guitar fills. When the drumming style change to a jazzy kind of beat it reminds me to JON LORD's solo album "Sarabande". (Hey, this album should be in Progarchives page. It's definitely prog!). You may observe and compare it on the musical segment just before the male vocal enters the scene. I like the drumming style and piano when they accompany vocals. So dynamic. One other thing is that this track is melodious. This track is really prog to the corner! Yeah, it's a beautifully crafted song, I think!


"Innocence" has simpler composition than the first track. Piano still dominates the music. It has some jazz and blues component in its composition. Are you aware of Dutch's blues band CUBY + THE BLIZZARDS? If so, this track is composition-wise similar to the works of CUBY. I like the piano solo in the middle of this track. Excellent! (This piece has influenced the music of my home country band BADAI). The end part of this track reminds me to the musical nuances of King Crimson's "Lizards".

"Island" is again an acoustic guitar and piano based song with female vocal of JANE RELF as lead with male vocal as backing. The bass guitar play is dynamic throughout the track. Stunning. The inclusion of piano solo in classical style has made this track more attractive. "Wanderer" is a more uplifting track with great piano and harpsichord sounds. I like the melody of harpsichord just before and during the singing of JANE RELF. It reminds me to the kind of RICK van DER LINDEN of TRACE music. It's not the same, but the musical nuances are similar. This track has great melody!

The album is concluded fabulously with an epic track "Bullet" with 11:24 minutes duration. Again, the band gives a wonderfully crafted composition. This time the opening sound of piano is set to welcome the latin-like voices. KEITH RELF takes the lead vocal function backed with jazzy piano and drumming style. The overall composition of this song is more of in an avant-garde music, I think. It has high and low points with some musical exploration of sounds at the end of the track. I think this album is a masterpiece. 

There were two groups under the banner of RENAISSANCE. The first group included Keith and Jane RELF (vocals) and came from the YARDBIRDS ashes. The second and better known incarnation produced some of the best music that I have ever heard. Annie HASLAM's five octave range fit perfectly with the classical/orchestral rock (lot of piano playing & full symphony orchestra backup) created by the other members. The quick description I usually give is they are sort of like the old MOODY BLUES with a an incredible female vocalist. The soprano voice of Annie and the piano virtuosity of John TOUT allied to the beauty and refreshing melodies, the refinement of the arrangements gave their music its magnificent splendour.


Renaissance was the self-titled debut album by progressive rock band Renaissance.

Renaissance are an English progressive rock band, most notable for their 1978 UK top 10 hit "Northern Lights" and progressive rock classics like "Carpet of the Sun", "Mother Russia", and "Ashes Are Burning".

In January 1969, former Yardbirds members Keith Relf and Jim McCarty organised a new group devoted to experimentation between rock, folk, and classical forms. This quintet—Relf on guitar and vocals, McCarty on drums, plus bassist Cennamo, pianist Hawken, and Relf's sister Jane as an additional vocalist—released a pair of albums on Elektra (US) and Island (UK-ILPS 9112), the first one, titled simply Renaissance, being produced by fellow ex-Yardbird Paul Samwell-Smith.

The band had begun performing in May 1969, before recording had begun for the debut LP, mostly in the UK, but with occasional forays abroad, including festivals in Belgium (Amougies, October 1969) and France (Operation 666 at the Olympia in January 1970, and Le Bourget in March 1970, both in Paris). In February 1970, they embarked on a North American tour, but that month-long trek proved marginally successful, as, because of their Yardbirds credentials, they found themselves paired with bands such as The Kinks, and their new classically oriented direction did not always go down well with audiences.


Beginning in the late spring of 1970, as touring began to grind on them, the original band gradually dissolved. Relf and McCarty decided to quit performing, and Cennamo joined Colosseum. Hawken organised a new line-up to fulfil contractual obligations and complete the band's second album, Illusion, which was left unfinished.

Apart from Jane Relf, the new band consisted mostly of former members of Hawken's previous band, The Nashville Teens – guitarist Michael Dunford, bassist Neil Korner and singer Terry Crowe, plus drummer Terry Slade. This line-up recorded one track, "Mr Pine", a Dunford composition, and played a few gigs during the summer of 1970. Meanwhile a final recording session brought together the original line-up minus Hawken, with Don Shin sitting in on keyboards, and produced the album's closing track "Past Orbits of Dust". The now completed Illusion was released in Germany in 1971, although not released in the UK until 1976 (Island HELP 27). The album marked the beginning of Renaissance's long-standing collaboration with poet Betty Thatcher-Newsinger as lyricist when she co-wrote two songs with Relf and McCarty.

The two remaining original members left in the autumn of 1970; Jane Relf was replaced by American folk singer Anne-Marie "Binky" Cullum, then John Hawken left to join Spooky Tooth and pianist John Tout replaced him. 

There is an extant video (released on the DVD "Kings & Queens" in 2010) of that line-up performing five songs on a German TV program (Muzik-Kanal). 

The plan at the time was that Keith Relf and Jim McCarty would remain involved as non-performing members – Relf as a producer and McCarty as a songwriter. 

Both were present when singer Annie Haslam successfully auditioned in January 1971 to replace the departing Cullum (who would later marry drummer Terry Slade and is currently a massage therapist in the UK). While McCarty would go on to write songs for the new band, Relf's involvement would be short-lived. Dunford soon emerged as a prolific composer, and continued the writing partnership with Thatcher, who would go on to write most of the lyrics for the band's 1970s albums.

01. "Kings and Queens" Relf-McCarty-Hawken-Cennamo 10:56 
02. "Innocence" Relf-McCarty-Hawken-Cennamo 7:07 
03. "Island" Relf-McCarty-Hawken-Cennamo 5:58 
04. "Wanderer" Hawken-McCarty 4:02 
05. "Bullet" Relf-McCarty-Hawken-Cennamo 11:21 

Bonus CD Single Tracks:
01. "Island" 03:39
02. "The Sea" 03:05

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Renaissance - Illusion (Progressive Rock UK 1971) 




Size: 127 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

After their debut album's success (especially in France, Germany and Belgium), the group went in the studio for the follow-up in a state of disunion. Indeed, McCarty had become tired of touring, but chose to remain as a songwriter and studio member (and was trying to build as touring version of the band), and before Illusion was finished, the group had disbanded. Indeed Keith's failing health was also forcing him to stop touring and wanted to concentrate on writing, Cennamo left for Steamhammer via Colosseum (both the latter would meet up again in Armageddon, Keith's fateful end), Hawken coming and going from the group, then finally splitting for Spooky Tooth and later Strawbs, but was persuaded to finish the album. But by the time things had imploded, the album was still too short for release, and it is the reserve/touring group that produced the final track. So Renaissance's Mk II line-up lasted one studio song, but would tour a few months and be filmed for a Belgian TV special. 



Again recorded in the Island studios, but this time produced by Keith instead of Samwell-Smith, Illusion was released in early 71 with no promotion and only in Germany, but comes with a superb cosmic artwork gracing the gatefold sleeve, with a mystic inner gatefold artwork enhancing it. (I base myself on the Repertoire mini-Lp for this, because I've never seen the vinyl with my own eyes.) Most of Illusion is very worthy successor of the debut (might even be a tad folkier too) and remains well in its continuity (despite the acrimony about musical direction), even if not quite as inspired. And well beyond the track recorded by the Mk II line-up, you can (barely) see the future Mk III line-up peeking through, as Dunford and future external lyric-writer poetess Betty Thatcher each share a credit, but not the same track. 


Opening on the rather-poor Relf-only written song of Love Goes On, while not catastrophic, is certainly not a good omen for things to come, but this is thankfully quickly over. The much better Golden Thread renews with the previous album's style (even if it wouldn't manage to find a space on it) and reassures the fans, and features a humming finale heard on Trespass. Next is a first collab between McCarty and Thatcher (nope, not talking politics here ;-))), the good but also ill-fitting (in the album's context) Love Is All, a song that obviously was lifted (and rearranged) by Roger Glover's Butterfly Ball project. As if not enough confusion, the Mk II track Mr Pine is next (I'd have included it last), but sort of announces sonically the future Prologue album with Hawken playing a rare (for Renaissance's Mk I) Hammond organ. In the Belgian TV broadcast, it would be John Tout that would play this track and the other Illusion tracks they played. Face Of Yesterday returns to the first album's soundscapes (and should've been grouped with Golden Thread, IMHO). The album closes on the lengthy (and over-extended) Past Orbits Of Dust, where the original group is joined by an extra organ player. This track is a bit jammy, comes with incantations, but also augurs Prologue's more psychedelic soundscape.

Definitely not as good as the debut, Illusion is a confused and patchy album (for the reasons stated), but surprisingly still good and a definitely a Renaissance-worthy album, that should not be overlooked, but investigated in a second or third wave. And if you manage to find in its Repertoire mini-Lp form, you might want to go for it a little dsooner than expected, because it is a beauty. 


*** Biography ***
There were two groups under the banner of RENAISSANCE. The first group included Keith and Jane RELF (vocals) and came from the YARDBIRDS ashes. The second and better known incarnation produced some of the best music that I have ever heard. Annie HASLAM's five octave range fit perfectly with the classical/orchestral rock (lot of piano playing & full symphony orchestra backup) created by the other members. The quick description I usually give is they are sort of like the old MOODY BLUES with a an incredible female vocalist. The soprano voice of Annie and the piano virtuosity of John TOUT allied to the beauty and refreshing melodies, the refinement of the arrangements gave their music its magnificent splendour.

My favorite RENAISSANCE albums are "Ashes Are Burning" and "Turn of the Cards". I also recommend "Novella", "Scheherezade and Other Stories" and "A Song for All Seasons" are must haves. I would add "Live At Carneige Hall" and "King Biscuit Hour Parts 1 and 2" as their 'prime' material. Plenty to fill a day with class, power and ethereal delights. The best introduction to the band would be the "Tales of 1001 Nights" compilation, which together contain of the band's best material from 72 through 80. Also the very first album from '69 is essential. After 1979, the band moved towards a more pop direction, like many other bands did in the late 70's.

01. Love Goes On (2:51)
02. Golden Thread (8:15)
03. Love Is All (3:40)
04. Mr. Pine (7:00)
05. Face Of Yesterday (6:06) 
06. Past Orbits Of Dust (14:39)

Part 1: Link
Part 2: Link
or
Part 1: Link
Part 2: Link
.