FLAIRCK - DE OPTOCHT 1992

Flairck is a band of Dutch origin.Created in 1978 [1] and Hans Erik Visser has released an experimental form of music that mixes folk, chamber music, progressive rock music and traditional Dutch, among others, obtaining a sound itself. Flairck is widely known (as musicians of worship) in their home country and in Chile.

Flairck is characterized by the virtuosity of its musicians and the many instruments on stage. The name of the band is an original composition from the floor flair (English instinct) and vlerk (Dutch for agile hand or wing).








Tracks :

# De Intocht (1:03)
# Missa Batava (7:14)
# De Blinde Dansen No 1 (0:56)
# De Blinde Dansen No 2 (2:38)
# De Tocht (2:30)
# De Kunst van het Drinken (2:38)
# Pase el Agua (2:38)
# Kermis in de Hel (2:18)
# De Regen (1:47)
# De Aarzeling (3:38)
# Het Tegendeel (2:33)
# De Tuinen van de Hemel (4:06)
# De Tijdgeest (3:01)
# De Blinde Dansen No 3 (2:24)
# De Kraaienmars (2:58)
# De Blauwe Schuit (4:27)
# De Aftocht (1:24)

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THE COLLECTION

The "non-existing" collection...
I wonder if I should keep posting albums, as copcatkid said , you already have most of the albums posted on other great blogs...
And as I said in my previous posts , it's not important where the music comes from , as long as it is given with love and makes other people happy. I don't care if an album comes from a blog , site, person , cd, lp , cassette , what matters is that this kind of music brings up the best of my memories , the best of my life... And that's what We are trying to share here , memories...
Keep sharing ,
____________
The EMB team...

CHRIS THOMAS KING - RED MUD 1998

The son of Louisiana bluesman Tabby Thomas makes an acoustic with real bite to it on this outing. Daddy Tabby joins him for a remake of "Hoodoo Party" and "Bus Station Blues," but for the rest of the album, it's mostly Chris working out on various resonator dobro guitars and harmonica. Besides nine of his originals on this 14-tracker, he boldly takes on a pair of... More Robert Johnson tunes ("Rambling On My Mind" and "Come On In My Kitchen") and Son House's "Death Letter Blues" in the midst of contemporary offerings like the urban "Alive" and the poppish "Wanna Die With a Smile On My Face." There's just as much of a folk vibe to this session as there is a blues one, and the blend works well for Thomas' all-encompassing style. ~ Cub Koda, All Music Guide

Tracks :

Red Mud
If It Ain't One Thang, It's Two
Soon This Morning Blues
Come on in My Kitchen
I'm on Fire
Sinking Feelin'
Alive
Dark Cloud
Hoodoo Party
Rambling on My Mind
Wanna Die With a Smile on My Face
Death Letter Blues
Bus Station Blues
Raining Angels

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Artwork Included

SYNANTHESIA - SYNANTHESIA 1969

Though recorded quickly over two days -- and indeed, literally recorded live in the studio with no overdubs -- Synanthesia's sole album from 1969 is a gentle treat for anyone interested in the obscurer realms of late-'60s U.K. folk and its descendants. It's always a pleasure to hear something that did not deservedly go out of print -- and therefore get an unnecessary reputation. Instead, the combination of bandleader Dennis Homes' gentle vocals and delicate guitar work, Leslie Cook's equally strong talents, and the ace-in-the-hole performing of sax and flute player Jim Fraser is often quite magical. That the band openly has a debt to the Incredible String Band and Bert Jansch practically goes without saying, but there's a difference between mere aping and finding a particular spin on a sound, and Synanthesia firmly comes down on the side of the latter. For such a rushed and in-the-moment album, the sound is often quite rich -- credit not only to Vic Gamm's inspired engineering, but to the band's clear abilities as a solid live act. Hearing Homes' gentle vibes work on "Peek Strangely and Worried Evening" or Cook's flourishes on mandolin for "Fates" shows how well each complements the other songwriter's work. Yet Fraser in many ways is the key throughout -- clearly picking up on jazz influences as much as folk ones, much like his bandmates, and the result is a detailed, fluid series of performances on his chosen instruments, ranging from the restrained then strutting sax parts on "Morpheus" to gentle background flute on "Rolling and Tumbling." The band's weakest element might be the lyrics, but nothing is outright bad, just sometimes awkward. Sunbeam's 2006 re-release, in keeping with the label's similar work, features not only excellent sound but winning, retrospective liner notes from Homes and a slew of rare pictures, plus a bonus track, "Shifting Sands," that originally appeared on an obscure compilation album from 1970. ~ Ned Raggett, All Music Guide

Tracks :

1. Minerva
2. Peek Strangely And Worried Evening
3. Morpheus
4. Trafalgar Squeare
5. Fates
6. The Tale Of The Spider And The Fly
7. Vesta
8. Rolling And Tumbling
9. Mnemosyne
10. Aurora
11. Just As The Courtain Finally Falls
12. Shifting Sands (Bonus Track)

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THAT'S THE WAY I FEEL NOW - A TRIBUTE TO THELONIOUS MONK 1984

Producer's Note - by Hal Willner.
"Monk's Mood" according to Steve Lacy, was originally titled "That's the Way I feel Now". So, instead of trying to come up with something as clever at the time, we made it the working title for this album. Somehow it stuck; and somehow it seems appropriate.

The idea for the album came soon after Monk passed away in 1982. At all the tribute concerts I attended, only musicians from the jazz world were represented. It didn't seem quite right. Though Monk's music is categorized as jazz, it transcends the limitations of categories. I kept thinking about how far Monk's influence has ranged. For example, when NRBQ performs, rarely does a set go by without the band playing at least one Monk composition. Donald Fagen salutes Monk in almost every interview he gives. So why were these artists and others who loved Monk's music not invited to pay their respects? Surely an oversight rather than a slight. With this in mind I decided to produce an album of Monk's compositions with performers from various musical genres.

First I contacted Terry Adams, of NRBQ, and Donald Fagen. Both immediately sparked to the idea. Then I discussed the project with Carla Bley and Steve Lacy. They were very supportive and enthusiastically agreed to take part. A week later, Joe Jackson expressed interest. Thanks to Mediasound Studio's belief in the project (as well as some trusting musicians), a few sessions were recorded even before there was a deal. Then A&M Records picked up the project, and a few months later it was finished.

In retrospect, some incredible things happened during the sessions. At Joe Jackson's "'Round Midnight" session (which was recorded with all seventeen musicians playing live), Ken McIntyre's and Bob Cranshaw's enthusiasm was really something to witness. They were truly touched by Joe's love for Monk. When I played the Chris Spedding/Peter Frampton version of "Work" for Steve Lacy, he asked to hear it again. As we listened, a smile appeared on Lacy's face; he was very impressed that they actually played the song right - something he claimed he didn't do on his earlier recording of it.

The last session to be recorded was Barry Harris' version of "Pannonica," and Barry brought along the Baroness Nica de Koenigswater, for whom it was written. The feeling in that studio from both of them was an unbelievable way to end the recording of the album. I thank them both.

Throughout the making of this album I sensed a great feeling of mutual respect between the jazz and rock musicians. All of the artists were encouraged to record their pieces as they would for their own albums. Everyone was supportive of one another and the different styles worked together because the love for Monk's music was ever present.

I want to thank everyone who participated in the making of the album; I hope they're pleased with the result. Thanks to John Telfer for helping to make it happen. And to Jeff Gold and Gil Freisen at A&M for their enthusiasm. Special thanks to Karen White for helping in such an enormous way at the beginning - without her this album would not exist at this time.

Thanks to the owners and staff of Mediasound. And to Doug Epstein - I hope this is the first of many projects we do together.

Thanks to the Masked Announcer for the thunder. And special thanks to Steve Lacy for his enormous contribution to the record - he kind of ended up being the narrator. And finally to Thelonious Monk, for all he did to change the way many of us feel now. I hope he approves.

Tracks :

* Thelonious, Bruce Fowler & Phil Teele - tmbs, Tom Fowler - bass, Chester Thompson - drums.
* Little Rootie Tootie, NRBQ and the Whole Wheat Horns
* Reflections, Steve Kahn - guitars & Donald Fagen - synthesizers.
* Blue Monk, Dr John - piano
* Misterioso, The Carla Bley Band with special guest Johnny Griffin.
* Pannonica, Barry Harris - tack piano.
* Ba-lue-Bolivar-Ba-lues-are, Was (Not Was)
* Brilliant Corners, Mark Bingham, Brenden Harkein & John Scofield - guitars, Steve Swallow - bass, Joey Barron - drums.
* Ask Me Now, Steve Lacy - soprano, Charlie Rouse - tenor.
* Monk's Mood, Sharon Freeman - french horn.
* Four In One, Todd Rundgren - synthesizers, keyboards, guitar & drum machines; Gary Windo - alto.
* Functional, Randy Weston.
* Evidence, Steve Lacy - soprano, and Elvin Jones - drums.
* Shuffle Boil, John Zorn - game calls, alto and clarinets, Arti Lindsay - guitar & vocal, Wayne Horvitz - piano, organ, celeste & electronics, M E Miller - drums.
* In Walked Bud, Terry Adams & Friends. Terry Adams - piano, Roswell Rudd - trombone, Pat Patrick - alto, John Ore - bass, Frankie Dunlop - drums.
* Criss Cross, Shockabilly: Eugene Chadbourne - guitar, Mark Kramer - keyboards etc., David Licht - drums. (not on cassette)
* Jackie-ing, same personnel as Brilliant Corners plus David Buck - trumpet, Don Davis - clarinet, Mars Williams - clarinet & tenor, Ralph Carney - bass sax & whistle.
* 'Round Midnight, Joe Jackson - piano, and strings.
* Friday the Thirteenth, Bobby McFerrin & Bob Dorough - vocals, Dave Samuels - vibes, marimba & percussion.
* Work, Chris Spedding & Peter Frampton.
* Gallop's Gallop, Steve Lacy - soprano.
* Bye-Ya, Steve Slagle - alto, Dr John - piano, Steve Swallow - bass, Ed Blackwell - drums.
* Bemsha Swing, Steve Lacy - soprano, Gil Evans - electric and acoustic pianos.

Link : @

No artwork

THE GROUP IMAGE - A MOUTH IN THE CLOUDS 1968

As much as collectors and critics can try to approach obscure albums on their own merits without unfairly comparing them to the giants of their era, sometimes a band's inspiration is just too blatant to ignore. So let's lay it on the line here: the Group Image's sole LP would not have existed were it not for the prior existence of the early Jefferson Airplane albums and concerts. It's not just the male-female vocal blend, with Sheila Darla approaching her singing very much like Grace Slick did, or the very specific echoes of Jorma Kaukonen's wiggly guitar tone. There are also echoes of specific Airplane songs, sometimes in passing references to the Airplane's arrangements of "The Fat Angel" or "Coming Back to Me," and sometimes in more obvious cops of "3/5 of a Mile in Ten Seconds," "It's No Secret," and (particularly in "Hiya") the Airplane's arrangement of "The Other Side of This Life." It's not all a trip in Jefferson Airplane economy class, but alas, there are also heavy imprints of the Mamas & the Papas, albeit in a more acid-folk-rock style, and a bit of the harmonies of the Association and the good-time cheer of the Lovin' Spoonful. If you're just an absolute sucker for those sounds, the record has its pleasant qualities as a psychedelicized folk-rock album of sorts, with heavily West Coast-influenced bittersweet melodies that are broken up by some freakier passages with jazzy tempo changes and searing distorted guitar. It's not just a lack of originality that disqualifies the record as a notable obscurity, however, but the fairly unexceptional quality of the songs, though it's better than many such largely forgotten psychedelic releases.

Tracks :

1. Hiya
2. Way to Love You All the Time, A
3. Moonlit Dip
4. Voices Calling Me
5. New Romancing
6. Aunt Ida
7. Banana Split
8. My Man
9. Grew up All Wrong
10. Treat, The

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MARSUPILAMI - ARENA 1971

Marsupilami followed up their excellent debut with this ambitious concept album about the extremely brutal and sadistic culture of ancient Rome. They had now also got an additional member on flute and saxophone, while keyboardist Leary Hasson (probably vocalist Fred Hasson's brother) had expanded his set of equipment to include Mellotron and el-piano beside the organ and piano, something that made their sound even better. Producer Peter Bardens also contributed with some percussion. The opener "Prelude to the Arena" opens with some vibrating organ sounds that leads right into a surprisingly heavy part with screaming and partly narrative vocals from Hasson, followed by wild drumming and guitar. But it quickly slows down to a melodic and harmonic part before a beautiful theme played on flute appears, and here we also hear the first tones of the holy Mellotron. The song then goes into a fast and catchy vocal part followed by a solo on el-piano and finally ends with the opening riff again. This is classic 70's progressive rock at its best, and the high standard lasts for the rest of the album. "Peace of Rome" is stuffed with themes that varies from mellow and beautiful to faster and more disharmonic stuff. The most complex track is undoubtedly the 13-minute "The Arena". The lyrics on the record are naturally full of gladiators, violence, fights in the arena, martyrs and evil emperors, and the band manages to capture all this drama very well in the music. The 11-minute "Time Shadows" starts with some echoing narration that sounds EXACTLY like what Michael Moorcock would do on Hawkwind's superb "Warrior on the Edge of Time" four years later. After that, the track goes into a jam where new member Mandy Reidelbanch is allowed to stretch out on saxophone. This is very efficiently followed by some themes from "Peace of Rome" and "The Arena". The album closes with "Spring" that is based around a nice melody on flute, but also features lots of chanting vocals and long duels between the two female flutists in the band. Marsupilami would unfortunately broke up after "Arena", but they left behind two obscure classics of 70's progressive rock.

Tracks :

1. Prelude To the Arena (5:23)
2. Peace Of Rome (7:01)
3. The Arena (12:55)
4. Time Shadows (11:16)
5. Spring (9:16)

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LUTHER GROSVENOR - UNDER OPEN SKIES 1971

Luther James Grosvenor (born 23 December 1946 in Evesham, Worcestershire) is an English rock musician, who played guitar in Spooky Tooth, briefly in Stealers Wheel and, under the pseudonym "Ariel Bender", in Mott the Hoople. Luther first began playing in local bands in his hometown of Evesham. He met Jim Capaldi, later known from Traffic, with whom he formed a group called Deep Feeling. Later he joined a group called The V.I.P.'s, in which Keith Emerson played for some time. The V.I.P.'s were renamed into Art, and by 1967 into Spooky Tooth. The years with Spooky Tooth (1967 to 1970), Stealers Wheel (1973) and Mott the Hoople (1973 to 1974) were the most successful years in his musical career. After leaving Mott the Hoople, Luther published a few solo albums, and formed a group called Widowmaker, that existed until 1977. In the 1990s Luther Grosvenor returned in a Spooky Tooth reunion. In 2005, he revived his pseudonym, forming the Ariel Bender Band. In 2007 and 2008 he is performing under the name Ariel Benders Mott The Hoople performing Spooky Tooth and Mott The Hoople classics as well as cover stuff. Retrieved from "http://en.wikipedia.org/wiki/Luther_Grosvenor"

Tracks :

01. Ride On
02. Here Comes the Queen
03. When I Met You
04. Love the Way
05. Waiting
06. Rocket
07. Under Open Skies

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DIXIE DREGS - FREE FALL 1977

Georgia's Dixie Dregs were one of the most popular fusion bands of the mid-'70s. By the time of this 1977 debut, fusion had become a distinct genre apart from the ... Full Descriptionjazz-rock that preceded it. On the surface, it may seem like hairsplitting, but fusion differs from jazz-rock in that it is really neither jazz nor rock, but its own unique paradigm with its own rules and trademarks. The Dregs were one of the first American bands to make that distinction, and certainly one of the few to do it with such prowess and individuality. The most unique aspect of the Dregs' sound, however, is the down-home country flavor that's added to the complex rhythmic and harmonic melee.

On such classic tunes as "Refried Funky Chicken," the band's Georgia roots are apparent, adding an earthy whimsy to a style that's often seen as too high-minded. The interactions among electric violinist Allen Sloan, guitarist and main (at this early juncture, sole) composer Steve Morse, and keyboardist Steve Davidowski (the famed T Lavitz had not yet arrived) are full of fire and ingenuity. While the Dregs' later albums may be more sophisticated, FREE FALL has an energetic freshness that can't be denied.

Originally released on Capricorn (189).

The Dixie Dregs: Steve Morse (guitar, banjo, guitar synthesizer); Allen Sloan (electric violin, viola, strings); Steve Davidowski (keyboards, synthesizer); Andy West (bass); Rod Morgenstein (drums, percussion).

Tracks :

01. Free Fall (4:41)
02. Holiday (4:26)
03. Hand Jig (3:18)
04. Moe Down (3:49)
05. Refried Funky Chicken (3:17)
06. Sleep (1:54)
07. Cruise Control (6:15)
08. Cosmopolitan Traveler (3:02)
09. Dig The Ditch (3:52)
10. Wages Of Weirdness (3:46)
11. Northern Lights (3:14)

Artwork Included

[WISHLIST] THE POINT - MAGIC CIRCLE 1983

My band was called The Point. The name came from the Harry Nilsson LP (remember "Me And My Arrow?"). All the members of The Point were from Livermore and attended LHS. Moving to L.A. was a calculated move because we couldn't relate to the Bay Area music scene at that time. To tell you the truth even though I'm a Bay Area boy I always felt more comfortable in L.A. and still do. Something to do with the vibe. I know, I know, you probably think I'm sick. I have a definite connection to both worlds and maybe that's why I ended up right in the middle on the Central Coast.
The Point's career spanned 1978 - 1985. During that time we played the club circuit all over So. Cal. We were a part of what was known as "The Paisley Underground" which was a group of 60's influenced bands that populated L.A. at that time. That scene was vibrant but completely overshadowed by post punk, disco, and dinosaur rock according to today's rock history. The only band out of the "Paisley Underground" to really hit the big time were the Bangles. When I knew them they were still the Bangs and playing the same clubs we were. We recorded a self titled four song EP released in 1980 that was acclaimed in print by the L.A. Times (who compared us to Love and The Beau Brummels)but sold very few copies. In 1983 our lone LP Magic Circle was released on the Warfrat label and did quite well. It garnered a good amount of radio play in certain FM markets, and rode high on the Independent/College charts for a short time. In late 1983 L.A.'s Music Connection magazine published their annual "Players Poll" Top Ten in which L.A.'s musicians vote for their fave bands. To our amazement we placed number 9. By the way in the same poll Red Hot Chili Peppers were number 7, and Los Lobos only made Honorable Mention! At that time they were just struggling club bands like my own.
Magic Circle ended up getting a European distribution deal and was released in France and Italy. At the absolute height of my modest music career I heard that Dennis had died. I was so wrapped up in my own sex, drugs, and rock and roll scene that I was too numb to really feel what he had meant to me. By that time I hadn't seen him in years. But I do remember feeling his potential was unrealized and frustrated that no one would ever know what a genius he really was. I hoped that someday someone would tell the world about his importance and waited year after year for the story to come out.
Back to The Point. As high as we were riding in 1983, it turned into a glass ceiling in 1984. We continued plugging away in L.A. and also played a few shows in the Bay Area that year, Mabuhay Gardens in S.F. and a HUGE outdoor show in Livermore that drew over a thousand people. But the momentum from the previous year seemed to disappear quickly. By '85 I'd had enough and surprised my partners by bowing out. The band never played a show without me and all went their seperate ways. We still are close and actually re-united in late '85 for a three song set at a friends wedding reception and then again in 1996 and '99 for ragged but fun acoustic sets at Livermore friends parties. There you have a brief but relatively accurate history of The Point. Jon Stebbins © 2002

Tracks :

Magic Circle

Strychnine

You're the Fix I Need

She's Gone Too Far

Pothead

All My Life

She's Only For Me

I Like Girls

Someday

Streets of Warsaw

Itch

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