Genesis – A Trick Of The Tail (1976)

FrontCover1A Trick of the Tail is the seventh studio album by English progressive rock band Genesis. It was released in February 1976 on Charisma Records and was the first album to feature drummer Phil Collins as lead vocalist following the departure of Peter Gabriel. It was a critical and commercial success in the UK and U.S., reaching No. 3 and No. 31 respectively.

Following Gabriel’s decision to leave the band, the remaining members wanted to carry on and show they could still write and record successful material. The group wrote and rehearsed new songs during mid-1975, and listened to around 400 audition tapes for a replacement frontman. They entered Trident Studios in October with producer David Hentschel to record the album without a definitive idea of who was going to perform lead vocals. After the search for a singer proved unfruitful, Collins was persuaded to sing “Squonk”, and the performance was so strong, he sang lead on the rest of the album.

Upon release, critics were impressed by the improved sound quality and the group’s ability to survive the loss of Gabriel without sacrificing the quality of the music. The group went out on tour with Collins as frontman and Bill Bruford as an additional drummer, and the resulting performances in the US raised Genesis’ profile there. The Genesisalbum has been reissued on CD several times, including a deluxe package with bonus tracks in 2007.

Founding member and lead singer Peter Gabriel decided to leave Genesis in late 1974, midway through the tour for the album The Lamb Lies Down on Broadway.[1] His bandmates hoped he would reconsider, as they were still in debt and felt his departure could destroy the band’s future, but ultimately accepted that he would leave.[2] The remaining members felt they still wanted to collaborate musically, and show journalists and critics they were primarily a song writing team that could still produce good music.[3] Keyboardist Tony Banks had been close to Gabriel personally, and did not want the band to split up on top of seeing less of one of his best friends. He had written a number of songs for a possible solo project before deciding they should be used on the new Genesis album.

Following the end of the tour, guitarist Steve Hackett recorded a solo album, Voyage of the Acolyte with guitarist/bassist Mike Rutherford and drummer Phil Collins, feeling unsure that Genesis would survive. He reconvened with the remaining group members in July 1975. Banks and Rutherford were particularly keen to write and record new material so that critics and fans would accept Gabriel’s departure.[4] The group began rehearsals in a basement studio in Acton, and quickly wrote material they were happy with, but had not yet found a replacement lead singer. They placed an anonymous advertisement in the music paper Melody Maker for “a singer for a Genesis-type group”, which received around 400 replies. Some applicants sent photographs of themselves in costume and wearing masks, as Gabriel had done on stage. A few weeks into rehearsals, Melody Maker managed to find out about Gabriel leaving the band, and their story made the front page of the 16 August issue, where journalist Chris Welch declared Genesis dead. The group spoke to the music papers to deny they were splitting up and explained they had a new album written and waiting to be recorded.

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“I didn’t want to not be the drummer … this is what I did. This is my territory.” (Phil Collins recalling the choice of a new lead singer to replace Peter Gabriel)

Recording began in Trident Studios in October 1975 with producer David Hentschel. Hentschel had served as tape op and then engineer on earlier Genesis albums and Collins had become a fan of his album Startling Music, a re-recording of Ringo Starr’s album Ringo on an ARP 2500 synthesizer. Collins thought the group could carry on as an instrumental act, but the others felt that it would be boring without vocals.[6] The group had still not decided on a replacement singer, so they decided to start recording backing tracks and audition singers as they went. Gabriel visited the band in the studio and listened to the album, and thought they had succeeded in proving to others that they still were “a whole, strong band without me”. He knew that the group could write strong material, but the little effort it took them surprised him the most.

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A Trick of the Tail had a positive reception from music critics, who were impressed that the group could not only survive the loss of Gabriel but still deliver a good album.The sound quality had improved from previous albums as a result of Hentschel’s production skills. The album reached No. 3 in the UK, remaining on the charts for 39 weeks, and No. 31 in the U.S. It was certified Gold in the UK by the British Phonographic Industry in June and in the US by the RIAA in March 1990. The album remained in the UK charts for 39 weeks and recouped a significant amount of $400,000 worth of debt they had accumulated by the time Gabriel left.

For the first time in their career, Genesis filmed promotional videos for their songs. The first to be filmed was the title track, which features the band playing to the song together around a piano, including composite shots of a miniature Collins hopping around on a piano and a guitar. The group also produced promotional films of “Ripples…” and “Robbery, Assault and Battery” (by wikipedia)

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After Peter Gabriel departed for a solo career, Genesis embarked on a long journey to find a replacement, only to wind back around to their drummer, Phil Collins, as a replacement. With Collins as their new frontman, the band decided not to pursue the stylish, jagged postmodernism of The Lamb Lies Down on Broadway — a move that Gabriel would do in his solo career — and instead returned to the English eccentricity of Selling England by the Pound for its next effort, A Trick of the Tail. In almost every respect, this feels like a truer sequel to Selling England by the Pound than Lamb; after all, that double album was obsessed with modernity and nightmare, whereas this album returns the group to the fanciful fairy tale nature of its earlier records. Also, Genesis were moving away from the barbed pop of the first LP and returning to elastic numbers that showcased their instrumental prowess, and they sounded more forceful and unified as a band than they had since Foxtrot. Not that this album is quite as memorable as Foxtrot or Selling England, largely because its songs aren’t as immediate or memorable: apart from “Dance on a Volcano,” this is about the sound of the band playing, not individual songs, and it succeeds on that level quite wildly — to the extent that it proved to longtime fans that Genesis could possibly thrive without its former leader in tow. (by Stephen Thomas Erlewine)

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Personnel:
Tony Banks (keyboards, mellotron, guitar, background vocals)
Phil Collins (drums, percussion, vocals)
Steve Hackett (guitar)
Mike Rutherford (bass, guitar)

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Tracklist:
01. Dance On A Volcano (Rutherford/Banks/Hackett/Collins) 5.55
02. Entangled (Hackett/Banks) 6.28
03. Squonk (Rutherford/Banks) 6.24
04. Mad Man Moon (Banks) 7.32
05. Robbery, Assault And Battery (Banks/Collins) 6.11
06. Ripples… (Rutherford/Banks) 8.02
07. A Trick Of The Tail (Banks) 4.34
08. Los Endos (Collins/Hackett/Rutherford/Banks) 5.44

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Group 1850 – Live On Tour (1976)

FrontCover1This Dutch group was one of the earliest Continental European progressive rock bands.

The history of GROUP 1850 (aka GROEP 1850) starts from year 1964 from the band called THE KLITS. There were several changes in the line-up’s during the the decade their career lasted, only Peter Sjardin remained as the permanent member of the band. Their first public performance with the name GROUP 1850 was in the Scheveiningen Casion in March 1966. Their gigs gave them attention in the underground scene, and some single releases and radio airplay in Holland followed. In September 1967 they warmed up MOTHERS OF INVENTION at the Amsterdam Concertgebouw, and their first longplayer “Agemo’s Trip to Mother Earth” (1968) has been stated as the first Dutch concept LP.

Acid rock elements are clearly present in their first albums from the end of 1960’s, and PINK FLOYD’s “Saucerful of Secrets” album has surely been an innovator for them, like to so many other spaced out groups. Their music isn’t an exact copy of their innovator’s sound though, as there is a wide spectrum of different styles merged to the band’s music in custom of psychedelia’s artistic freedom. The overall feeling of the band’s early music is nonrelaxed but not very aggressive, probably pleasing the fans of music describings a cosmic journey within one’s mind.

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The career of the band continued with both inactive and active periods and with continuous changes in the personnel. Musically maybe the most important event was release of the album “Polyandri” in year 1974. Their mostly instrumental music grew to a larger scope containing strong musical elements.

In the same year the keymembers of the GROUP 1850 performed with the name ORANGE UPSTAIRS (Oranje Boven). The released one album with this name and then changed back to GROUP 1850. The band broke up in 1975, and the members went to join other bands. The original vinyls of the group’s releases have reached high prices in the collector’s markets. (by progarchives.com)

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Groep 1850 was a Dutch psychedelic rock band that was founded in 1964 in The Hague. The band, despite never achieving success outside the Netherlands, are now considered one of the most innovative acid rock bands from the era .

Listen to this album and you´ll know why !

In other words: Excellent stuff !

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Personnel:
Arthur Ebeling (guitar)
Neppy Noya(percussion)
Peter Sjardin (organ)
Hessel de Vries (piano, synthesizer)
Paul Van Wageningen (drums)

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Tracklist:
01. Aperitive 7.22
02. Hors D’Œvre 7.18
03. Main Dish 8.12
04. Side Dish 24.20
05. Dessert 6.02

Music composed by Peter Sjardin

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Peter Sjardin, 2019:
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I am 75 now and all kinds of things are happening around us, for instance, after 50 years, Group 1850 is included in a newly published book “Psychedelia” about 101 iconic underground rock albums from all over the world and we are in it on page 180/181. Our LP Agemo’s Trip To Mother Earth, got reissued in a limited edition of 500 pieces, last year and was sold out in one week, so Universal reissued 500 numbered pieces more, also sold out in one week. English magazine, Flashback published an article and Ugly Things, from USA also published an article about us. It is amazing that so many young people still like our music. They are making a documentary about 1850 and they wanted me behind a drum kit, but after 1987 I did not play the drums, but I tried, while there was filming, my son, Remco recorded that with his telephone…
And furthermore I have 4 kids and 10 grandchildren and they keep me busy, I also like to make long rides on my mountain bike in nature, like from The Hague through the dunes to Zandvoort, about 110 km. (Peter Sjardin)

Teaze – Same (1976)

FrontCover1Teaze is a Canadian hard rock band formed in Windsor, Ontario in 1975. The band released four studio albums and a live album recorded in Japan. The band reformed in 2019.

They were discovered by Mel Shaw, who produced several demos with the band to help them launch their career. The band and Shaw loved the songs so much that they decided to turn it in a full album. This LP was released with Force One Records, a division of London Records.

Bob Rags, Terry Flood, Donald Tarlton (aka Donald K. Donald), and Aquarius Records discovered and signed Teaze with Aquarius Records They first saw the group at the famed RPM convention in Toronto Canada. The group was then purchased from Force One Records, Mel Shaw and then personal manager Stan Witcher. Their only hit single had been released with this label on their second album, On The Loose. It was a slow ballad called “Sweet Misery”.

In 1977, they moved to Montreal and starting touring all over US and Canada without getting much visibility. Their big break happened in September 1978, when they toured in Japan for ten days. The reception was so favourable that they recorded a live album there: Tour Of Japan.

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When they returned to their new adopted hometown, they met Myles Goodwyn, leader of the band April Wine who was signed with Aquarius Records since the label’s beginning. Goodwyn produced One Night Stands. The result of that album was a lot more serious than their first two releases. It was consequently their only U.S./worldwide release on Capitol/Aquarius Records. They also toured all around the world to spread their popularity, but without a lot of success.

Body Shots, the last record recorded by Teaze was produced by Nick Blagona, who some people hold responsible for the demise of the band.[citation needed] Body Shots did not produce any hits. Brian Danter left the group to pursue a religious calling, eventually becoming a pastor, and Aquarius Records and the band failed to find a suitable replacement. Aquarius Records lost interest in the band and decided to break the contract. The band split up at that time.

Myles Goodwyn produced two best-of compilations after Teaze’s break-up. Those albums also been released by Aquarius.[6] One of these album, A Taste Of Teaze became their best seller.

The song “Heartless World” from the album One Nights Stands was featured in the 1997 Canadian horror anthology film Twists of Terror. In 2014, it also appeared in Icelandic movie Málmhaus (aka Metalhead).

The band reformed in 2019 and were scheduled to perform live in Europe during 2020. (by wikipedia)

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Their self-titled debut album was in the stores in ’77, but failed to make a dent in the top 40 charts. Still, driven by straight-forward production, the record was as raw a sound as one could capture in a studio, as evidenced by the tracks “Rockin With The Music”, co-written by George Young – older brother and producer of Ac/Dc’s Angus & Malcolm, “Hot To Trot,” and “Boys’ Night Out”. They caught the attention of Bob Rags at Terry Flood Management, and the group was signed to Aquarius records in 1977, who re-released the album. (canadianbands.com)

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If you like these melodic hard-rock sound from the Seventies (like Angel or Starz) than is this wndervul debut ablum from Teaze a must … including their one and only “Boys Night Out” …

This album was made to be played loud !

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Personnel:
Mark Bradac (guitar)
Brian Danter (bass, vocals)
Mike Kozak (drums)
Chuck Price (guitar)

Alternate front+ backcover:
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Tracklist:
01. Rockin With The Music (Bradac) 3.49
02. Flames Keep Growing (Danter) 4.52
03. Come On Hold On (Danter) 4.14
04. Believe In Rock N Roll (Danter) 3.04
05. Boys Night Out (Bradac/Kozak) 4.24
06. Hot To Trot (Danter/Price/Bradac/Kozak) 3.20
07. Dirty Sweet Loving (Danter/Price/Bradac/Kozak) 3.29
08. Open My Eyes (Danter) 5.55

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Stomu Yamashta´s Go – Live From Paris (1978)

LPFrontCover1Stomu Yamashta (or Yamash’ta), born Tsutomu Yamashita (山下勉, Yamashita Tsutomu, 15 March 1947), is a Japanese percussionist, keyboardist and composer. He is best known for pioneering and popularising a fusion of traditional Japanese percussive music with Western progressive rock music in the 1960s and 1970s.

In the latter part of the 1970s, he led the supergroup “Go” with Steve Winwood, Al Di Meola, Klaus Schulze, and Michael Shrieve.

Yamash’ta was born in Kyoto, Japan on March 15, 1947. He entered to study at the Kyoto Academy of Music in 1960.[2] His father was the director of the Kyoto Philharmonic, and he became a percussionist in the orchestra when he was 13. He studied music at Kyoto University, Juilliard School of Music, and Berklee College of Music, and has also lectured in music. His innovation and acrobatic drumming style earned him many accolades. In the 1960s he performed with Thor Johnson, Toru Takemitsu, and Hans Werner Henze amongst others. He changed his name from Tsutomu Yamashita to the phonetic Stomu Yamash’ta and in 1969 gained worldwide recognition during a concert with Seiji Ozawa and the Chicago Symphony Orchestra. Time reviewed the concert declaring ‘the star of the evening was Stomu Yamash’ta who stole the show with his virtuoso performance’, and when it was over the audience gave him a five-minute standing ovation.

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At the turn of the 1970s he worked with Peter Maxwell Davies and brought the Red Buddha Theatre company from Japan to Europe, acting as their director, producer and composer, writing and performing in the multi-media event The Man From The East, with Morris Pert’s Come To The Edge providing the musical backing.

He has composed for the British Royal Ballet; contributed pieces from his albums to the Nicolas Roeg film The Man Who Fell to Earth (starring David Bowie); performed in Peter Maxwell Davies’s score for Ken Russell’s The Devils and in John Williams’ score for Robert Altman’s Images (1972). He has also composed film scores. His Space Theme was used by the BBC on The Hitchhiker’s Guide to the Galaxy.

Stomu Yamash’ta also appears in the last episode of Tony Palmer’s All You Need is Love: The Story of Popular Music.

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Originally known as Tsutomu Yamashita, most of his albums for Western audiences use the name “Stomu Yamash’ta”, though some (such as Go and Raindog) use the name “Yamashta” (without the apostrophe).

Go was a rock supergroup formed in 1976 by Stomu Yamashta (percussion and keyboards), which included Steve Winwood (vocals and keyboards), Al Di Meola (lead guitar), Klaus Schulze (synthesizers) and Michael Shrieve (drums). Go is the Japanese word for “five”.

Go recorded two studio albums, Go (1976) and Go Too (1977). The band also recorded June 12, 1976 concert they performed in France, which was released as the album Go Live From Paris (1976).

Go Live from Paris is the second album by Go, recorded live in Paris at the Palais des Sports on 12 June 1976. (by wikipedia)

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The primary difference when comparing this live performance and the rendering simply titled Go (1976) is that Go Live From Paris (1978) presents the proceedings (as they exist) in a properly linear fashion, as correlated to the Eastern mythology that informed the extended two-part suite. This is in direct contrast to Go, which assembled the contents out of sequence. The stage show was recorded at the Palais Des Sports in Paris, France on June 12, 1976 and the recital setting allows for considerably longer and more exploratory interaction amongst Stomu Yamashta (percussion/piano), Steve Winwood (vocals/keyboards) and Michael Shrieve (drums).

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They are joined by legendary jazz axeman Al DiMeola (guitar) as well as Tangerine Dream and Ash Ra Tempel veteran Klaus Schulze (synthesizer) — all of whom had contributed to Go. Filling out the band are Jerome Rimson (bass), Pat Thrall (guitar), Brother James (congas) and Karen Friedman (vocals). In terms of sheer intensity, it is hard to beat DiMeola’s searing leads and Winwood’s blue-eyed soul on the driving “Ghost Machine,” easily topping its former incarnation. “Surfspin” lands into the funky mid-tempo “Time Is Here” highlighted by Karen Friedman’s expressive exchanges with Winwood, while Rimson punctuates the rhythm with some penetrating bass interjections.

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This is followed by the sole Winwood composition “Winner/Loser,” which further exemplifies how the spontaneity of the concert yields results that best their predecessors. In fact, on the whole the material on Go sounds like a blueprint for the exceptional and inspired outing found here. The second movement commences with fairly even renditions of the trifecta “Solitude,” “Nature” and “Air Voice” — which had previously been given the name “Air Over.” “Crossing the Line” is an additional zenith, spotlighted by Winwood’s emotive vocals and the untamed and otherwise incendiary frenzy of fretwork courtesy of DiMeola. Clocking in just shy of a quarter-hour, “Man of Leo” provides another opportunity for the players to loosen up and fuse their collective improvisations behind DiMeola’s intense soloing and the similarly seminal instrumental offerings from Shrieve, Rimson — who is at his most melodic — and Freidman’s haunting warbles. (by Lindsay Planer)

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Personnel:
Brother James (congas)
Al Di Meola (guitar)
Jerome Rimson (bass)
Klaus Schulze (synthesizer)
Michael Shrieve (drums)
Steve Winwood (piano, vocals)
Stomu Yamashta (keyboards, percussion)
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Karen Friedmann (vocals)
Pat Thrall – guitar (solo on “Crossing The Line”)

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Tracklist:
01. Space Song (Yamash’ta/Quartermain) 2.26
02. Carnival (Yamash’ta/Quartermain) 1.20
03. Wind Spin (Yamash’ta/Quartermain) 8.19
04. Ghost Machine (Yamash’ta/Quartermain) 3.47
05. Surf Spin (Yamash’ta/Quartermain) 1.32
06. Time is Here (Yamash’ta/Quartermain) 7.39
07. Winner Loser (Yamash’ta/Winwood) 5.09
08. Solitude (Yamash’ta/Quartermain) 1.56
09. Nature (Yamash’ta/Quartermain) 3.27
10. Air Voice (Yamash’ta/Quartermain) 0.58
11. Crossing The Line (Yamash’ta/Quartermain) 7.49
12. Man Of Leo (Yamash’ta/Quartermain) 14.19
13. Stellar (Yamash’ta/Quartermain) 1.25
14. Space Requiem (Yamash’ta/Quartermain) 3.12

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Stomu Yamashta in 2019:
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Little Feat – Live At Winterland (1976)

FrontCover1Few bands that formed in the early 1970s have managed to survive and continue touring to the present day. Little Feat is one of the few that have, in no small part due to their outstanding musicianship and the idiosyncratic songwriting of founding member, Lowell George, which has stood the test of time.

This 1976 Winterland performance is one of the finest examples of Little Feat during the prime years of Lowell George, when the group had established a reputation as one of the most exciting and original bands on the planet. Lowell George’s innate ability to craft songs with sophisticated melodies and intriguing lyrics, as well as the high production standards on the groups studio recordings, were key to the group’s popularity and longevity. However, it was concert performances, such as this one, that truly established such a dedicated fan base that remains to the present day.

This concert, when Little Feat was opening for Electric Light Orchestra, remains one of their most legendary performances. Broadcast live on KSAN radio, parts of this performance were immediately bootlegged to vinyl and rapidly began circulating under various titles, the most common being “Rampant Syncopatio” and “Chinese Bejeezus,” titles rumored to have been supplied by Lowell George himself.

It’s no wonder that this performance became so popular, as it captures the band at the peak of the “Lowell George era,” promoting the release of The Last Record Album. This album signaled the emergence of jazzier elements being incorporated into the bands sound, as well as stronger contributions from guitarist Paul Barrere and keyboardist Bill Payne, which added greater diversity to the group’s material.

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The recording kicks off with a smokin’ version of “Apolitical Blues,” followed by a double dose of funky New Orleans flavored rock, with sizzling takes of “Skin It Back” transitioning into “Fat Man In The Bathtub.” This establishes a deep groove that continues to intensify as the set progresses.

The middle of the set features several outstanding new songs by Barrere and Payne, “One Love Stand” and “All That You Dream,” proving them a songwriting force to be reckoned with. Sandwiched between is an outstanding performance of Allen Toussaint’s classic “On Your Way Down.”

As great as this aforementioned material is, the set rises to another level entirely, when the band launches into “Cold, Cold, Cold.” This is Lowell George at his most astounding; not only singing like his life depended on it, but playing devastatingly great slide guitar. His slide guitar technique, which utilized a Sears & Roebuck 11/16ths spark-plug socket wrench rather than the traditional glass or steel finger tube, is absolutely incredible here and utterly unique.

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“Cold, Cold Cold” gives way to the ever popular “Dixie Chicken,” one of the bands most popular songs, here featuring an extended jam that lets the band stretch out a bit. This eventually builds in intensity and transforms into a searing version of “Tripe Face Boogie.” A solo section, first showcasing the percussion stylings of Sam Clayton and Richie Hayward, followed by an impressive keyboard improvisation by Bill Payne, is featured before they finish pummeling the audience into submission with the conclusion of “Tripe Face Boogie.”

Seemingly in no hurry to hear the headliners, Electric Light Orchestra, the Winterland audience clamors for more. The band returns to the stage and Lowell leads them through the composition that helped facilitate him leaving The Mothers of Invention and forming Little Feat in the first place, “Willin’.” (He elaborates on this prior to beginning the song.)

They close this incredible set with a ferocious take of “Teenage Nervous Breakdown.” (wolfgangs.com)

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We are being treated so-well-of-late with the influx of live LITTLE FEAT from the 1970’s being re-issued for us, & often now as legal tender, officially released bootlegs…I didn’t use the word re-release, as often these gems are being retitled, so be prepared for these realities to make identification very complicated even now, yet alone in the future…It would be very much worthwhile to check the recording dates etc & compare with other similar titles already in print, or freely available from the LITTLE FEAT Archive, to save your hard-earned money from being poached, as it’s really all up to you !

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So, what do we have here ?…This is I believe is the first known CD release of a bootleg that was circulated back in the mid-70’s with amongst other titles, called “Rampant Synchopatio”… Only here, I dare say, you receive the whole show, with over approx 70-minutes of great music, as evidenced by the mixing-in of instrumentation during the opening track of Apolitical Blues. This was needed for the Radio Broadcasters to balance-out the bands sound, & once finished & settled in, you would agree that KSAN – Radio did a fine job ! (by Gregster)

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Personnel:
Paul Barrére (guitar, vocals)
Sam Clayton (percussion, vocals)
Lowell George (guitar, vocals)
Kenny Gradney (bass, vocals)
Richie Hayward (drums, vocals)
Bill Payne (keyboards, vocals)

Alternate front + backcover (9 tracks only):

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Tracklist:
01. Introduction 1.08
02. A Apolitical Blues (Barrére) 3.29
03. Skin It Back (George) 5.26
04. Fat Man In The Bathtub (Payne/Gradney/Barrére) 5.33
05. One Love Stand (Payne/Gradney/Barrére) 4.16
06. Rock And Roll Doctor (George/Martin) 5.15
07. On Your Way Down (Toussaint) 7.23
08. All That You Dream (Barrére/Payne) 5.05
09. Cold Cold Cold /George) 6.03
10. Dixie Chicken (George/Martin) 8.22
11. Tripe Face Boogie (Payne/Hayward) 7.39
12. Willin’ (George) / Band introduction 5.08
13. Teenage Nervous Breakdown (George) 4.18

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Galapagos Duck – St James (1976)

OriginalFrontCover1Galapagos Duck began in the late 60’s while the members were engaged in a winter season at the New South Wales skiing resort ‘The Kosciusko Chalet’ Charlottes Pass. After returning to Sydney band continued to work and became well known in the Australian Jazz and music scene during the 70’s when it was the house band at the emerging Jazz night club ‘The Basement’ near Circular Quay.

Since these humble beginnings the ‘Duck’ it has been suggested, has become the best known jazz band in Australia and a household name throughout the Country.

The band has worked and continues to work in Concert Halls, Night Clubs, at Jazz Festivals, in the Recording Studio, and on Radio and Television.

Although the membership has changed, of necessity, the direction of the band has always remained the same and that is to create a performance experience that while jazz oriented is able to be appreciated and enjoyed by everybody.

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Based in Sydney Australia the Galapagos Duck was an integral part of the foundation and success of the Jazz Club The Basement.

The band performed in the club continuously for 16 years during which the Basement became known as one of the greatest Jazz Clubs in Australia and the World. The ‘Duck’ also toured extensively all throughout Australia visiting the Capital cities on many occasions and performing frequently in country areas including the remote areas of Western Australia and the Northern Territory.

Aside from festivals there have been extremely successful performances in England, Germany, France, Switzerland, Belgium, China, Indonesia, Vietnam, Thailand and Laos. Having always drawn members from the very best of Australian musicians the Band has shown its versatility through work with Dance.

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There have been many appearances on Television including the Bi-Centennial TV spectacular and appearances on ‘Hey Hey Its Saturday’. The Band has also been involved in Film – writing and performing the soundtrack for ‘The Removalist’ and appearing in the Australian Films ‘Rebel’ and ‘Emerald City’. (taken from their website)

And here´s their third album:

The album was produced by Horst Liepolt for his 44 Records label – Liepolt seems to have been behind most of the city’s jazz releases, festivals and venues in the 60s and 70s.

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It features the ubiquitous rhodes and wah-wah woodwinds of the period and has a good loose, live feel on most tracks, with little overdubbing. Strange mix of tracks as an overall album, though – sometimes it’s riffing on contemporary forms, then suddenly lurches back to trad New Orleans, particularly when Burrows is on clarinet. Reading between the lines, this was a band that had to please many audiences to maintain a working lifestyle in a city that was just starting to develop a jazz scene that went beyond the apeing of classic forms – so there’s still a bit of crowd-pleasing going on here. Nevertheless, enough good stuff here to make it worthwhile, and I like McNamara’s work on keyboards in particular. Hope you enjoy it! (neverenoughrhodes.blogspot.com)

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Personnel:
Don Burrows (clarinet, saxophone, flute)
Tom Hare (trumpet, drums, saxaphones, flugelhorn)
Marty Mooney (saxophone, flute, clarinet)
Paul McNamara (piano)
Chris Qua (bass, violin, flugelhorn)
Willie Qua (drums, flute)

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Tracklist:
01. House Of The Rising Sun/St James Infirmary (Tradional) 10.11
02. Flutin’ (Burrows/Hare/Mooney/McNamara/C.Qua/W.Qua) 1.59
03. Ivory Moss (Hare/C.Qua/Mooney) 4.47
04. For Elizabeth (Burrows/Hare/Mooney/McNamara/C.Qua/W.Qua) 0.44
05. Hey Timbales (Mooney/Hare/C.Qua) 2.58
06. That Particular Model (McNamara) 3.34
07. What Am I Doing Here (McNamara) 3.47
08. Teo (McNamara) 3.57
09. Mr Bojangles (Walker) 2.14
10. Squeelers And Grunters (Burrows/Hare/Mooney/McNamara/C.Qua/W.Qua) 1.59

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Miroslav Vitous – Miroslav (1977)

FrontCover1Miroslav Ladislav Vitous (6 December 1947), is a Czech jazz bassist who was born in Prague. He begun play violin at age of six, started playing the piano at age ten, and bass at fourteen. He studied music at the Prague Conservatory subsequently winning an international music contest in Vienna, earning him a scholarship to the Berklee College of Music in Boston. One of his early music groups was the Junior Trio with his brother Alan on drums and young another future-great Czech fusion musician Jan Hammer on keyboards.

A year later after he came to Boston, in 1966, Miroslav moved to New York & collaborated with musicians such as Bob Brookmeyer, Chick Corea, Miles Davis, Art Farmer, Stan Getz, Charlie Mariano, and Herbie Mann. In 1970, the group WEATHER REPORT was formed along with Wayne Shorter and Joe Zawinul. After three years left the group due to musical differences. After brief break he formed Miroslav Vitous Group with John Surman, Kenny Kirkland and Jon Christensen, and recorded 3 albums for ECM. After 3 years group was disbanded.

Vitous has become a director of Jazz Department in New England Conservatory in Boston, and leads the department for 3 years. He reunited with Chick Corea and Roy Haynes (Trio Music): it was a very successful period for the trio for the following 2 and half years. Tours all over the world and 2 albums recorded for ECM is the outcome of this reunion.

Miroslav Vitous01After this time he made a very successful duet world wide tour with Stanley Clark.

Makes several performances as a soloist with Pittsburg Symphony Orchestra and Music of Viva of Boston.

He recorded also a solo album for ECM (“Emergence”).

In 1988 he moved back to Europe. Stopped teaching completely and became full time composer/performer, once again.

He made a lot of different projects with his band or solo, appeared at many festivals and concerts and participated in other projects with different top European musicians. After 22 years he returned to Prague and recorded an album with his brother Alan Vitous.

In March 1989 he started playing solo concerts. He wrote and performed concerts for Orchestra and solo bass in Frieburg (Germany) and Italy. Prior to the release of ‘Universal Syncopations’, he took a seven year break from performing to concentrate his efforts at making orchestral sample libraries. He was in search of electronic sounds to assist him in composing, but discovered what was available in the marketplace to be Miroslav Vitous03lacking in quality. As a result, Miroslav became consumed in producing the symphonic samples that he had been searching for, by sampling each solo player amongst an orchestra. “Sampling is an extremely expensive process, but allows me to compose more easily when ideas are fresh in my mind.”

The result of being able to compose with the electronic samples, brought about the release of the album ‘Universal Syncopations’. Miroslav knew beyond a doubt that Jack DeJohnette would be his drummer, since Jack was his favorite drummer for several decades and had participate in many collaborations. John McLaughlin was chosen for the work that he had done with Miles Davis in the seventies, and Miroslav wanted to tap into that evolutionary style and to take it up a notch. Chick Corea has asked for Miroslav’s help on many of his previous albums, so this time it was Corea who was asked to collaborate. Jan Garbarek is Miroslav’s favorite sax player, and they have an intuitive musical connection. This particular work captures the creative force in the sounds and motifs, and justaposes jazz and classical styles in a very open and free way. (by progarchives.com)

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Master bass player Vitous doubles up on piano and moog and, together with percussionist Don Alias, creates music from fusion to samba to ambient! Includes the jazz dance classic “Bassamba”! (by soundsoftheuniverse.com)

1976-1977 sessions with Don Alias and Armen Halburian on percussion. Vitous overdubs bass and keyboards. A stunning musical trip through Afro-jazz texture music. “Tiger in the Rain” is absolutely captivating. (byMichael G. Nastos)

In other words: excellent and exciting stuff!

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Personnel:
Don Alias (drums, percussion)
Miroslav Vitous (bass, piano, synthesizer, ARP string ensemble)
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Armen Halburian (percussion (on 06.)

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Tracklist:
01. Watching The Sunset Run 8.07
02. Bassamba 3.02
03 Tiger In The Rain 9.01
04 Concerto In E Minor 5.35
05. Pictures From Moravia 4.54
06. Sonata For A Dream 5.39

Music composed by Miroslav Vitous

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