Spooky Tooth – Live In Europe (2001)

FrontCover1.jpgA new dawn broke in England in 1966-67 and it was a blues-rock dawn. Bands like Cream, Free, Ten Years After, The Rolling Stones and even Fleetwood Mac were blending their blues roots with the insistent beat of rock and gaining commercial success from it. and during the late 1960s, Spooky Tooth was one of a contingent of new British rock bands inspired by the first British Rock Invasion of acts like The Rolling Stones, The Yardbirds and The Animals.

Spooky Tooth took Europe and America by storm; alongside their Island Records label mates Traffic, Free and Jethtro Tull. From 1967 through 1974, they released seven Billboard-charting albums. After the band’s demise, all of the members went on to careers as solo artists or members of other successful bands.

It’s been 30 years since “It’s All About”, their first Stateside release on Bell Records (later reissued by A&M as “Tobacco Road”). For musicians who have not recorded together for many years, there were a number of obstacles to overcome. Each of the group members had created their own lives and coming together again presented somewhat of a challenge. Although the group wanted to honor some of their past material, they were also very conscious of writing contemporary new material which would reflect who they are now.

Part of the Spooky Tooth legacy is that they were always great at covering songs by then-unknown writers (Elton John, Robbie Robertson) and at recording songs by established writers and making them their own (Lennon/McCartney, Al Kooper, Bob Dylan) in the inimitable Spooky Tooth style.

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One of the more intriguing components of the blues-rock movement was Spooky Tooth. They differed from other bands in that they utilized two very distinctive, talented vocalists (Mike Harrison and Gary Wright) and they featured an ominous yet potent organ sound.

By 1968, they had broken through commercially in England and were on the verge of releasing their most popular material. It was at this time that they performed on several editions of BBC´s radio program Top Gear.

Six of the nine tracks presented on BBC Sessions are taken from those appearances and showcase a band poised at the brink of big-time success. An aural snapshot of a well known band at that juncture of its recording career is very rare.

~Spooky Tooth´s “BBC Sessions” is that rare photograph~

As a special bonus, three additional tracks are included, one an obscure 1966 recording from Deep Feeling (featuring Spooky Tooth guitarist Luther Grosvenor and pre Traffic drummer Jim Capaldi !)) and two alternate mixes from the Spooky Tooth´s 1999 reunion release Cross Purpose.

Music from Deep Yesterday, Classic Yesterday and Reunion Yesterday´s BBC Sessions is everything a title like this should be.

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This is a nice addition for every serious Spooky Tooth collector, but:

For years now bootlegs of Spooky Tooth’s BBC recordings have been circulating, most with less than excellent sound. Finally we get a chance to hear the band at its finest: LIVE “at the Beeb,” and what do we get? A truncated set, short in selections and definitely not what we would like to hear. The half dozen BBC songs come from but one or two of the numerous sessions the band recorded between 1968 and 1969, and many are faded in, suggesting that they are taken from transcription discs with spoken voice-over introductions that were simply edited out. Missing are some of the best BBC sessions, songs like “Tobacco Road,” and “Evil Woman” that were hallmarks of the band in concert. Although the studio outtakes from the 1999 reunion album are nice to have, they really do not fit comfortably into this collection. Equally disappointing are the two “bonus cuts” tacked on to the end of the disc which come from a 1970 Berlin concert, but which are rather shabby sounding, and which appear with no explanation as to their origins. In short we get a taste of what might have been, namely a Spooky Tooth BBC set to rival those recently issued by the Kinks, and the Who, but which instead winds up a missed opportunity. (by Christopher L. Dolmetsch)

More rare Spooky Tooth recordings will come !

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Personnel:

Live at the BBC:
Mike Harrison (vocals, keyboards)
Luther Grosvenor (guitar)
Mike Kellie (drums)
Greg Ridley (bass)
Gary Wright (vocals, organ)

Deep Feeling:
Jim Capaldi (drums, vocals)
Luther Grosvenor (guitar, vocals)
Gordon Jackson (guitar)
David Meredith (bass)
Poli Palmer (vibraphon, flute)

1999 Reunion:
Mike Harrison (vocals)
Luther Grosvenor (guitar, percussion)
Mike Kellie (drums, percussion, background vocals)
Dave Moore (keyboards, synthesizer)
Greg Ridley (bass, background vocals)

Live in Berlin, 1970:
Mike Harrison (vocals, keyboards)
Luther Grosvenor (guitar)
Mike Kellie (drums)
Andy Leigh (bass)
Gary Wright (vocals, keyboards)

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Tracklist:

Live at the BBC:
01. Sunshine Help Me (Wright) 2.03
02. Too Much Or Nothing (Dylan)I 3.54
03. Feelin’ Bad (Kellie/Wright) 2.56
04. The Weight (Robertson) 3.17
05. I Can’t Quit Her (Kooper/Levine) 3.02
06. Blues Town (Harrison/King/Wright) 3.35

Deep Feeling (feat. Jim Capaldi and Luther Grosvenor):
07. Pretty Colours (unknown) 2.41

1999 Reunion Recordings Studio Outtakes:
08. Sunshine (Wallinger) 4.55
09. How (Kellie) 4.49

Live in Berlin, 1970:
10. Better You Better Than Me (Wright) 4.17
11. Soulful Lady (unknown) 8.50

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Mike Harrison (03 September 1945 – 25 March 2018)
Mike Kellie (24 March 1947 – 18 January 2017)
Greg Ridley (23 October 1947 – 19 November 2003)

Jacques Loussier Trio – Ravel’s Boléro (1999)

FrontCover1Pianist/composer Jacques Loussier demonstrated musical ability at an early age, starting to play at the age of ten and entering the Conservatoire National de Musique in Paris at 16. Loussier’s main professor there was Yves Nat, who in turn was encouraged by Faure, Saint-Saens, and Debussy as a student himself. Loussier continued this distinguished tradition, graduating at the top of his class.

After traveling the world as an accompanist, in the late ’50s Loussier formed the Play Bach Trio with Pierre Michelot and Christian Garros. The Trio fused Loussier’s classical background with his interest in jazz, using Bach’s compositions as the basis for improvisation. The group was an immediate success, playing many shows and selling over six million albums in 15 years.

By the end of the ’70s, however, the group ran its course and Loussier retired to Provence, spending his days composing and recording at his studio in Miraval, experimenting with electronic and acoustic arrangements. The studio also played host to rock artists like Pink Floyd (including sessions for The Wall), Elton John, and Sting.

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1985 marked the 300-year anniversary of Bach’s birth, which prompted Loussier to re-form the Play Bach Trio with new members and a wider musical range, adding rock and electronic elements to the basic blend of classical and jazz. Loussier also continued composing through the ’80s and ’90s, as well as performing pieces by Bach and Ravel live and on albums like 1999’s Ravel: Bolero and Bach Book 40th Anniversary Album with his signature jazzy flair. A year later, Take Bach and Music of Debussy were released.

Ravel: Bolero continues Jacques Loussier’s series of jazz-inspired interpretations of classical music. His version of “Bolero” emphasizes the hypnotic, rhythmic structure of the work, and highlights his inspired, energetic playing. (by Heather Phares)

In other words: One of these brilliant albums by Jacques Loussier

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Personnel:
Andre Arpino (drums)
Jaques Loussier (piano)
Benoit Dunoyer de Segonzac (bass)

Booklet1Tracklist:
01. Ravel’s Bolero (Ravel) 17.16
2. Nympheas: I. Allegro (Loussier) 6.11
3. Nympheas: II. Andante (Loussier) 5.46
4. Nympheas: III. Vivace (Loussier) 5.29
5. Nympheas: IV. Largo (Loussier) 6.03
6. Nympheas: V. Presto (Loussier) 3.55
7. Nympheas: VI. Cantabile (Loussier) 3.08
8. Nympheas: VII. Prestissimo (Loussier) 4.09

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Land & Synir – Herbergi 313 (1999)

FrontCover1This is the first time I can present a band … and what a band ! from Iceland …

The band Land og Synir was founded in 1997 in Hvolsvollur by few Southeners and two of them are still in the band, Hreimur Ö. Heimisson singer and Jón Guðfinnsson bassist.

The band had a hitter that summer with the song Vöðvastæltur which was extreamly popular. In the beginning of the year 1998 occured some personnel changes in Land & synir, Birgir Nielsen drummer and Gunnar Þ. Eggertsson, gitarist joined the band along with Dísellu Lárusdóttur wichc played trumpet and keyboard. But in April ´98 Dísella quit the band and Njáll Þórðarson took her place. (by dalurinn.is)

This is the second album of Land & Synir and it´s an album full of magic … a powerful, a peaceful album with a very unique sound … strong melodies and great vocals …

Iceland must be a great country !

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Personnel:
Gunnar Þ. Eggertsson (guitar)
Jón Guðfinnsson (bass)
Hreimur Ö. Heimisson (vocals)
Birgir Nielsen (drums)
Njáll Þórðarson (keyboards)

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Tracklist:
01. Undraland (Heimisson/Eggertsson) 4.02
02. Allt Á Hreinu (Heimisson) 3.06
03. Freistingar (Heimisson) 3.50
04. Saga (Heimisson) 4.03
05. Örmagna (Heimisson/Eggertsson) 4.35
06. Lending 407 (Heimisson/Eggertsson/Guðfinnsson) 4.35
07. Eitthvað Nýtt (Heimisson/Guðfinnsson) 3.16
08. Hvað Er Að (Heimisson) 3.11
09. Stríð (Heimisson/Eggertsson) 3.36
10. Fordómar (Heimisson/Eggertsson) 4.49
11. Örmagna II (Heimisson/Eggertsson) 4.38

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Straw – Shoplifting (1999)

FrontCover1Straw was an English post-Britpop band that released one album, Shoplifting, in 1999.
Straw was formed in Bristol by Mattie Bennett (vocals/guitar) and Roger Power (bass/guitar), formerly of The Blue Aeroplanes. Later adding keyboardist Mark “Duck” Blackwell, the group signed to Arista Records under the moniker “Please” with a different lead vocalist. They recorded an album in Boston with American record producers Sean Slade and Paul Q. Kolderie. Unhappy with the results, however, the band was dropped by the label after releasing a single, “If I Was God…” (1995, Sugarscoop Records).
When Arista kept Please’s singer under contract, Bennett stepped into the lead vocalist role, the band adding drummer Andy Nixon and re-christening themselves Straw. This newly revitalised line-up was quickly signed to WEA and issued its debut single “Weird Superman” in the summer of 1998. Two more singles and one EP were released: “The Aeroplane Song,” (charting at no. 37 in the UK Singles Chart on 6 February 1999), “Moving to California” (charting at no. 50 on 24 April 1999), and Soundtrack of the Summer (including “The World Is Not Enough” — a James Bond theme attempt) in 1999 before Straw released their first full-length effort, Shoplifting.

Throughout 1998 and 1999 the band toured extensively with Puressence, Space and Feeder alongside emerging future stars Muse and gigs with Supergrass, Alanis Morissette, Fountains of Wayne and Reef. The extensive touring and television appearances (including the O-Zone and TFI Friday) took their toll, and differences broke out in the band resulting in the dismissal of Power after the band’s final appearance of 1999 at the Glastonbury Festival. They were also subsequently dropped by WEA. They recruited new bassist Dan McKinna, and self-funded (and self-produced) the recording of several new tracks in the basement studio of Pete Thomas’ house. On the strength of this new material they were signed to Columbia in 2000 and released the 4-track EP Home Work and the single “Sailing Off the Edge of the World” to critical acclaim. A second album, Keepsakes, was slated for release later that year but they were dropped by Columbia and went their separate ways shortly afterwards.

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Andy Nixon and Dan McKinna went on to play in The Jeevas with Crispian Mills of Kula Shaker and then onto The Magic Bullet Band. McKinna has been a session player for many bands including James Morrison, Ben’s Brother, Stuart Staples (Tindersticks), A Man Called Adam and Farrah. Blackwell, after producing Straw, The Jeevas and The Magic Bullet Band, continues to work as a record producer and songwriter. Bennett is currently an English and media teacher at Bodmin College in Cornwall. (by wikipedia)
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Straw’s Shoplifting was truly one of the gems of late-1990s Britpop. While the British sound had more or less turned its back on pop music (with mainstream artists like Blur shunning their pop roots for more experimental territory), it’s refreshing to hear a band as unpretentious and shamelessly poppy as Straw. From the opening notes of “Dracula Has Risen From the Grave,” it’s obvious that this album is all about fun sound clips from old movies and video games, which abound on the album from start to finish. “Weird Superman” and “The Aeroplane Song” are catchy, if somewhat conventional, anthems, while the searing “Wake Up (Miss Venezuela)” is good disco-pop. Part of the true magic in Shoplifting, however, is its depth. Straw may be a pop band, but they aren’t superficial. Tender, emotional moments like “Kill Your Boyfriend” and “We Don’t Belong” show that this band has a lot more to offer than just shiny pop tunes; they go deeper, and this disc is one that’s worth diving into. (by Jason Damas)

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Personnel:
Mattie Bennett (vocals, guitar)
Mark “Duck” Blackwell (keyboards)
Andy Nixon (drums)
Roger Power (bass)
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Tracklist:
01. Dracula Has Risen From The Grave 3.42
02. Weird Superman 4.10
03. The Aeroplane Song 4.05
04. Moving To California 6.04
05. Shoplifting 3.54
06. Kill Your Boyfriend 3.56
07. Anthem For The Low In Self-Esteem 3.29
08. United States Of Amnesia 4.02
09. Postcards From Hell 4.28
10. Soundtrack Of The Summer 4.42
11. Wake Up (Miss Venezuela) 4.02
12. We Don’t Belong 5.04
13. Galveston 4.05

All Songs written by Mattie Bennett . Mark “Duck” Blackwell – Andy Nixon – Roger Power
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Los Soneros de Havanna – Cafe Havana (1999)

frontcover1The music of Cuba, including its instruments, performance and dance, comprises a large set of unique traditions influenced mostly by west African and European (especially Spanish) music. Due to the syncretic nature of most of its genres, Cuban music is often considered one of the richest and most influential regional musics of the world. For instance, the son cubano merges an adapted Spanish guitar (tres), melody, harmony, and lyrical traditions with Afro-Cuban percussion and rhythms. Almost nothing remains of the original native traditions, since the native population was exterminated in the 16th century.

Since the 19th century Cuban music has been hugely popular and influential throughout the world. It has been perhaps the most popular form of regional music since the introduction of recording technology. Cuban music has contributed to the development of a wide variety of genre and musical styles around the globe, most notably in Latin America, the Caribbean, West Africa and Europe. Examples include rhumba, Afro-Cuban jazz, salsa, soukous, many West African re-adaptations of Afro-Cuban music (Orchestra Baobab, Africando), Spanish fusion genres (notably with flamenco), and a wide variety of genres in Latin America. (by wikipedia)

Los Soneros de Havanna is a totally unknown group from Cuba and you can hear on this album “14 great Cuband classic songs”. I found no further informations about this group … but … even this is a very cheap production … it´s a great album, with fantastic melodies and rhythms …

Enjoy this trip to Cuba …

havannaPersonnel:
Los Soneros de Havanna

tray1Tracklist:
01. El Carretero (Portables) 3.16
02. Dos Gardenias (Carillo) 3.02
03. Chan Chan (Repilado) 4.17
04, Alto Songo (Martinez) 8.18
05. Amor Verdadero (Marquetti) 7.31
06. Son De La Loma (Matamoros) 4.13
07. No Llores Más (D.K.) 4.49
08. El Guato De Catalina (Rodriguez) 3.17
09. Mentiras Tuyas (Portas) 2.58
10. La Charanga (Farjado) 4.23
11. Rico Vacilón (Ruiz) 4.04
12. Toda Una Vida (DeLange/Farres) 2.32
13. Los Sitio Asere (Gonzalez) 6.17
14. A Toda Cuba Le Gusta (Becquer) 5.48

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Various Artists – An Easy Christmas (2001)

frontcover1This is just a sampler, full with 20 old and classic christmas songs, performed by many stars in the easy listening style.
You can hear singers like Don McLean, David Bowie, Andy Williams, Nat King Cole, Doris Day, Perry Como and Al Green.

“This is my most favourite christmas album ever-I had to order a second copy as the first had a scratch on. I listen to it all the time. Not your average Christmas album!”(by miss r aughton)

“Great to listen to while wrapping presents” (by Zoe Bell)

And I guess, I will play this album (amongst others) on December 24, 2016 … Enjoy this romantic and sentimental sampler.

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Tracklist:
01. Andy Williams: Most Wonderful Time Of Year (2001) (Pola/Wyle) 2.34
02. Nat King Cole: Christmas Song (1963) (Chestnuts Roasting On An Open Fire) (Tormé/Wells) 3.14
03. Eartha Kitt: Santa Baby (1953) (Javits/Springer) 3.26
04. Dean Martin: Let It Snow Let It Snow Let It Snow (1965) (Cahn/Styne) 1.58
05. Judy Garland: Have Yourself A Merry Little Christmas (1944) (Martin/Blane) 2.45
06. Harry Belafonte: Mary’s Boy Child (1957) (Hairston) 2.59
07. Bing Crosby: White Christmas (1954) (Berlin) 3.04
08. Al Green: Silent Night (1963) (Gruber/Mohr) 3.19
09. Crystal Gayle: Rudolph The Red Nose Reindeer (1996) (Marks) 2.57
10. Anne Murray: Snowbird (1978) (MacLellan) 2.11
11. Don McLean: Winter Wonderland (1991) (Bernard/Smith) 2.54
12. Charles Brown: Please Come Home For Christmas (Christmas Finds Me Oh So Sad) (1961) (Brown/Redd) 3.18
13. Doris Day: I’ll Be Home For Christmas (1964) (Gannon/Kent/Ram) 2.27
14. Andy Williams: Sleigh Ride (live) (2001) (Anderson) 2.22
15. Crystal Gayle: Silver Bells (1996) (Livingston/Evans) 4.09
16. Don McLean: Santa Claus Is Comin’ To Town (1991) (Coots/Gillespie) 3.06
17. Perry Como: God Rest Ye Merry Gentlemen (1959)(Traditional) 2.56
18. Al Green: What Christmas Means To Me (1963) (Story/Gaye/ Gordy) 3.44
19. Bing Crosby + David Bowie: Peace On Earth/Little Drummer Boy (1977) (Fraser/Grossman/Alan Kohan/Simeone/Davis/Onorati) 2.38
20. Michael Ball: Happy New Year (1999) (Andersson/Ulvaeus) 4.18

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Windchase – Symphinity (1977)

frontcover1Windchase was basically an offshoot of Sebastian Hardie, one of the rare examples of Australian prog rock. Sebastian Hardie fell apart after their second and final album, leaving two members to continue on with a new band. Windchase consisted of two ex-Sebastian Hardie members, guitarist/vocalist Mario Millo and keyboardist Toivo Pilt. Naturally the band was named after Sebastian Hardie’s second, and final album, called Windchase (1976). Apparently Mario Millo and Toivo Pilt couldn’t use the SH name because neither were original members, only bassist Peter Plavsic was there from their 1960s formation right down to the two albums they recorded in 1975-76, and he had nothing to do with this 1977 version (Mario Millo came around 1973 when he was 18). The Plavsic brothers were replaced by drummer Doug Blight, and bassist Duncan McGuire.

1977’s Symphinity, was released on the Infinity label (division of Festival) (nothing to do with the American MCA division called Infinity) and wasn’t really a continuation of the Sebastian Hardie sound, so if you’re expecting another Four Moments, you won’t find it here. But what happened if Santana was a full-on prog rock band? This is that album! Toivo Pilt whips out the Hammond organ, Santana style, and Mario Millo’s guitar playing is much closer to Carlos Santana’s, but thanks to their experience with Sebastian Hardie, the music is naturally going to be much more progressive. This album really emphasizes Mario’s guitar playing even more. The occasional Mellotron does surface, but as demonstrated on Sebastian Hardie’s Windchase, Toivo preferred to use the string synths more here as well, meaning Four Moments is the best place to hear the Mellotron used the most. “Forward” is a brief piano intro that leads to “Horsemen to Symphinity”. This shows that Santana influence, but comparisons to Camel can be valid, as Mario Millo’s guitar playing has been compared to that of Andy Latimer. “Glad to Be Alive” and “Flight Call” are ballads, and many are turned off by those cuts, because it might come across as too soft rock for some. “Glad to Be Alive” can remind one of ELO, especially because Mario windchaseMillo’s vocals do remind one of Jeff Lynne here and the presence of strings (not to mention it’s probably no coincidence, as ELO was at the beginning of their commercial peak). Thanks to Mario Millo’s Italian heritage, it’s little surprise the album would feature a short piece called “Non Siamo Perfetti”. It’s an acoustic piece with an Italian feel to it that incorporates a couple of Sebastian Hardie themes from Four Moments and Windchase. “No Scruples” is a favorite of mine, I especially dig the Moog solo that Toivo Pilt gave us. Symphinity was the only album Windchase had done, it’s not too surprising, given this was 1977, smack in the middle of punk and disco. Mario Millo then went solo, released an album in 1979 called Epic III, before entering the world of film and television to score music. I found Symphinity a bit underrated in comparisons to Four Moments, but it’s a great album, and one of the greats of Aussie prog, as far as I’m concerned. (By Benjamin Miller)

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Personnel:

Doug Bligh (drums, percussion, background vocals)
Duncan McGuire (bass)
Mario Millo (guitar, mandolin, vocals)
Toivo Pilt (keyboards, synhesizer, clavinet, vocals)
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Jeff Camilleri (bass on 09.)
Mario Millo (guitar, vocals on 09.)
Doug Nethercote (bass on 03. + 05.)
Cos Russo (keyboards on 09.)
Robbie Siracusa (drums on 09.)

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Tracklist:
01. Forward We Ride (Pilt) 1.39
02. Horsemen To Symphinity (Pilt) 8.33
03. Glad To Be Alive (Millo) 8.06
04. Gypsy (Millo) 4.47
05. No Scruples (Pilt) 6.29
06. Lamb’s Fry (Pilt) 9.39
07. Non Siamo Perfetti (Millo) 1.57
08. Flight Call (Millo) 4.36#
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09. Horsemen To Symphinity (live ) (Pilt) 11.55
(recorded live at Harbourside Brasserie, Sydney, Australia, October 1999. by Mario Millo and Men From Mars)

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