Sunday, 28 September 2014
Dominique Guiot - La Dame a la Licorne from 1983 [by request]
"Musical illustrations on themes inspired by the Middle Ages..."
As requested, here is the other Guiot album, which as I mentioned earlier, I felt wasn't quite as progressive, it's definitely in the traditional folk category.
It would be daring to have a listen to the next album he wrote called Casino Retro, and I definitely don't feel up for the challenge. Then again, one might be pleasantly surprised. Anyone heard it?
Friday, 26 September 2014
Shivananda's Cross Now epic fusion album from 1977 in a new lossless rip...
This wonderfully tight and energetic fusion band did two albums only in total. For me the second record is remarkably inferior to the first, and is entirely forgettable in fact, though others' opinions might differ. Thanks to my friend a gorgeous new lossless is available for us to enjoy and check out that awesome cover, which just screams seventies-- doesn't it make you want to jetset straight to the swiss alps for a bout of glacier skiing followed by group sex with euromodels sans inhibition or worry at all?
Wednesday, 24 September 2014
Gold's Night Ride from 1979
The pnf readers among us will recall that a mono mp3 rip of Gold's Night Ride was posted there way back in 2012, by none other than isabelbc, of course (a million thanks again to her!):
Killer little known private press with all original songs written by lead singer/guitarist Bob Wamnes. Great driving hard rock/blues rock/classic rock with some good fuzz guitar and rough vocals throughout. Sort of a garage/bar band feel. Recorded in Florida. Sounds more early to mid 70's. Label - Sun Song 7783 - Florida private press rock LP. Interesting stuff, ranges from straight-up hardrock to a couple laid-back numbers to the prog / jazzrock style "New York, New York". Somewhat lo-fi recording (done on a Teac 3340S, according to the back cover) - http://www.popsike.com/
Subsequently I made their masterpiece available to everyone, "No Class What so ever" and even Tom Hayes was impressed by it (priority 2).
A chromatic downgoing arpeggiated riff tears the still air into shreds on "Light Speed" leading into the stellar clusters of the "milkyway" on the second track of side a ... absolutely a one-two punch worth the price of admission to this incredible ultra-unknown secret and long-lost set of music from Miami, Fla.
There are considerable similarities to the "Mr. Euphoria" record I posted some time ago, and if you follow this blog you'll recall Isabelbc posted their first record here ("Night Ride") about a year ago. So I'll dedicate this newly-ripped version of the second record to Isabel, wherever she may be. Oddly enough the guys reverted to an all-instrumental album here but they brought all the power in the book to play here. On the back, the following note: "This album was a first take live recording with no over-dubbing." Pretty cool!
The album was written by the lead guitarist whose name is Bob Wamnes ("the Wam" as he is called on the back cover) perfect in his mustachio and tuxedo. His band is rounded out with Ed Mallett on drums and wind chimes, Tom McCance on bass and Jeff Powers on lead guitar as well. I'm guessing these guys were high school pals who started a band, I wonder where they are now? I sure would love to hear from the brilliant Bob Wamnes, truly a lost artistic genius in the US prog sphere as I think Tom would agree. Just listen again to those big fat huge guitar chords on Light Speed and the way drummer Ed machetes his way through the jungle of power cables to the end to clear the way for the next track.
Truly a lost treasure of the late American guitar-based progressive style. That late, great, style.
[prognotfrog]
Now, why not get losslesses on both albums? I think it's a good idea...
Notice that Bob Wamnes reused some of the tracks from the first album on the second. In fact in my opinion he recycled the best compositions for his subsequent masterpiece. The first side of this first LP suffers a little from being desultory and aimlessly loiters from boogie to hard rock to an attempt at buskering outside some traffic sounds ("Love City")... (you'll see what I mean...) and even a poppy song that sounds like an attempt at a commercial radio hit ("Everlasting End") also notice the sound was very poorly recorded, almost mono in some areas (as mentioned by popsike), as you can easily tell if you compare the two versions of the track "Night Ride" on either album through a pair of beautiful headphones which have the added advantage of blocking out your wife and children yelling at you from another room.
I wanted to post this little comment from Jeff, the lead guitarist for the band here and on No Class, which he sent to me (he's bottom right in the No Class picture):
" Hello and thank you for listening and enjoying our music :)
I just wanted to correct one thing-- I was the Lead Guitarist for Gold. Bob (the Wam) played rhythm and only added some leads with his Fender Strat on Light Speed and Milky Way. All of my work was done on a 1952 Les Paul and I used a slide on Milky Way. Thank you again for sharing this. we felt it was something special when we recorded it, live. ;) [referring to the second album of course]
...I do see Bob on occasion. In fact I am stopping by tomorrow ;)
Again, I want to thank you for getting our music out to where people might enjoy it! Keep up the good work my friend. Blessings to YOU!!
Jeff Powers "
And take a moment to have a look at those beautiful young faces of the musicians on the back of this record and their love of pure, beautiful, no-compromise, creative rock. (Note the handwritten dedication to "Ruth, the nicest lady I know -- Keep on Playing," from Bob.)
You Know My Secrets:
And that song of course goes out to isabelbc-- the princess of prognotfrog... wherever you are...
And let this gorgeous unknown music live forever!
Tuesday, 23 September 2014
Tiziano Popoli, Marco Dalpane – Scorie (Italia, 1985)
Unlike their later collaboration called "Lezioni di Anatomia" which has been officially released to CD, this earlier LP is squarely in the minimalist style, like it or lack it. I notice from the back that it's music written for a show called Scorie which was played in Modena in 1985.
As usual in these embarassing situations I will post the shortest track, a Dalpane composition from A2 called "Arabian Dream" (though it's far from being the best here):
It's quite amusing to me how a scratch in the record causing repeated passages is not even noticeable in these minimalist opuses!
Please consider purchasing their official CD release, Lezioni, which is fantastic, and in my opinion, a bit better. Also notice that as an ensemble they have released music to itunes which I personally will avoid since I have my hands full with pre 1985 music...
Wednesday, 17 September 2014
Kim Kuusi feat. Maarit, Arja Tiesmaa & Kari Rydman: 1978 - Kim Kuusen Lauluja (Songwriter/Ballad) (FIN)
Note that there is an alternate record cover, as seen by the discogs entry:
Which cover is the more beautiful? It's difficult to say. Given the melancholy atmosphere that pervades, as so often in Scandinavian music I've mentioned before, the bottom is perhaps more fitting. But I love the out of focus photo of the top cover, with its highly evocative impression of childhood memories.
From my friend, and thanks to his immense generosity for sharing this with us:
"Kim Kuusi is a Finnish composer best known for his advertising jingles.
Kuusi studied at the Helsinki School of Economics, also teaching there in 1975. Studying alongside Kuusi had been involved in the creation of Ryhmäteatteri a composer and musician, he worked as 1969-73. At the same time, he also performed in Pihasoittajat, for whom he wrote, among other things, the Finnish Eurovision entry in 1975, Old man fiddle. Pihasoittajat (1969 to 1975) were a folk music band with modern popular music influences. In 1975 they represented Finland in the Eurovision song contest placing 7th in a field of 19. Members of the band for the contest were Arja Karlsson, Hannu Karlsson, Seppo Sillanpää, Harry Lindahl, Kim Kuusi and Hendrik Bergendahl.
Pihasoittajat reformed after a 20 years break in 1995. After several concerts the second revival for the band ended with Hannu Karlsson's death in December 2000.
Pihasoittajat's hit was this (in English) or here (in Finnish, much better arranged). "
For my part, I love this kind of music, recalling sometimes Carita Holmstrom and sometimes the great Petri Petterssen as posted earlier in this blog:
http://progressreview.blogspot.ca/2014/01/carita-holmstrom-we-are-what-we-do.html
http://progressreview.blogspot.ca/2014/02/carita-holmstroms-second-album-which.html
http://progressreview.blogspot.ca/2014/05/carita-holmstrom-teppo-hauta-aho-two.html
http://progressreview.blogspot.ca/2013/11/petri-petterssons-first-album-nuoruus.html
http://progressreview.blogspot.ca/2013/11/in-1979-petri-pettersson-and-posthumous.html
Incidentally, I reuploaded all the albums on the above links that were deleted due to inactivity, those netkups ended very quickly.
One of the best tracks is the following very heartbreaking item, A5's Unilaulu:
Notice that it starts relatively simplistically in A minor, with added 7th and minor 6th notes in the verse, but for the chorus we get this mind-blowing elegant complexity or sound of fullness by going into Bflat major7, then Eflat, Aflat, F7, which introduces us back to G minor 7 down to D minor and the E sus 7 takes you back to the A minor. Really brilliant progression, which particularly reminds me of Carita's songs. And what adds a lot of fullness or umami is that each of those major chords has a major 7th added. This track would otherwise have been relatively ordinary and easy on the ears. Note also how the depth of the trombone soloing in the middle of the song adds that note of melancholy pathos, much like the depth of a cello does so often. It recalls in particular that gorgeous song on the second Carita album with the beautiful poem, which is worth replaying here:
(From her second album here, not this post.)
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