Wow. It's a huge pile of sugar sitting on the street. May I assume it's some kind of drug reference, given the time period.
Here's part two in this series of albums from a legendary, visionary, fusionary keyboardist out of Japan called Masahiko Satoh who rivaled our old favourite Jun Fukamachi in brilliance and variety. With a band given the hilarious moniker Medical Sugar Bank, as if for hypoglycemic diabetics, he made two wonderful fusion albums, again reminding me of the other MS master summiteer Masanori Sasaji. Obviously, having been released in the years 1980 and 1981, we have quite a bit of that smooth fuzak to sort through with the David-Sanborn-ic screechy sax sound. Those who heard fusion in the 80s will be reminded vividly of that thin, scrapy, scratchy squealing sax sound Sanborn so perfected and got rich on, with the screaming high held notes that, god is great, I'm happy have disappeared today. (I hated you back then and I still hate you David Sanborn. And let's throw in Kenny G too, with his ridiculous hairstyle, another rightfully forgotten artist.)
But then after the fuzak you get to a track like Nebulous Suspicion and all the education and creative brilliance shine forth as if a pure mountain stream of refreshing water, or maybe, like a big pile of sweet sugar:
The second album from this brilliant band starts off as they almost always do with a pure throwaway smooth fuzak track with that uptempo slapped-bass jittery bouncy funkadelic uber-simple style that was so maddeningly popular back then, but by the second track we know we are in for something different with a song entitled "Topological Linkage" whose wild synthesizer chords make you think you never ever left those wonderful experimental seventies days:
But leave them we did, and we had to. In order to get to the wonderful silicon valley world we live in now where a few billionaires own half the world. And we should thank those glory days so long ago for having shown us the way, musically, to perfection.
But then after the fuzak you get to a track like Nebulous Suspicion and all the education and creative brilliance shine forth as if a pure mountain stream of refreshing water, or maybe, like a big pile of sweet sugar:
The second album from this brilliant band starts off as they almost always do with a pure throwaway smooth fuzak track with that uptempo slapped-bass jittery bouncy funkadelic uber-simple style that was so maddeningly popular back then, but by the second track we know we are in for something different with a song entitled "Topological Linkage" whose wild synthesizer chords make you think you never ever left those wonderful experimental seventies days:
But leave them we did, and we had to. In order to get to the wonderful silicon valley world we live in now where a few billionaires own half the world. And we should thank those glory days so long ago for having shown us the way, musically, to perfection.
https://www.sendspace.com/file/hwgmcb
ReplyDeletemore to come btw
Do you really believe that this guy's fusion is superior to that of Mahavisnu Orchestra? Because if you do, it seems that - at least - you are not really into John McLaughlin's visions.
ReplyDeleteMany thanks
ReplyDeleteThank you Julian, btw I was familiar with All In All Out but
ReplyDeleteChagall Blue was a nice surprise with Eddie Gomez. His contribution has made a lot of albums better!
Btw, maybe these interest you:
ReplyDeletehttps://www.discogs.com/artist/1643485-I-Cadmo
http://jazzfromitaly.blogspot.com/2019/12/cadmo-with-massimo-urbani-1978.html
http://good-music.kiev.ua/load/prog_rock/i_cadmo_1977_boomerang/2-1-0-13097
Appreciate your review and laughed at this general topic: Those who heard fusion in the 80s will be reminded vividly of that thin, scrapy, scratchy squealing sax sound Sanborn so perfected and got rich on, with the screaming high held notes that, god is great, I'm happy have disappeared today.
ReplyDeleteNo offense to Tom Scott - but whenever he was involved in any 70's fusion or funk I had the same reaction. For some reason it lost all 'coolness' then and now.
I listen to a LOT and the Sanborn / Scott sound just kill the joy for me. Glad to see I'm not the only one on the Sanborn side.