THE AULD TRIANGLE - THE AULD TRIANGLE 1978

A pearl in the folk, long forgotten but extremely beautiful and rare. Never been issued on cd , this copy is a vinyl rip. It has the same sound as PeterPaul and Mary at their best years... A beautiful female vocal...
Dedicated to our friend copycatkid , I didn't found it on any other blog so, DUDE, please get a copy and keep sharing this one. Enjoy !

Tracks :

The Old Miner
Do You Love an Apple
The Wee Room
No Mans Land
Saturday Cowboys
Ryebuck Shearer
May and Might Never
Now I'm Easy
Coal Black Faces
Leaving Nancy
B.U.D.G.I.E

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[BY REQUEST] SAGA - HOMO SAPIENS 1975

Just a few know this album and this Portuguese band (no it's not a 'various artists' records), commanded by the keyboard player José Luis Tinoco.

01. 6º Dia Synthesizers, the small travel is begun. In a few seconds we have the frantic and intricate rhythm of the base that takes the song that opens the disc. They follow the vocal ones, of abridgement importance to the disc, be able to be strange the Portuguese accent of beginning, but accustom quickly and soon it becomes a delight to the ears. Distinction to a bear Zé Da Ponte (yes, also I found the name strange). The fact of being sung in all is eaten by me in a coral, with many voices, it makes the strong and very melodic track. The vocal feminine ones help in this factor. The letter is an adaptation of José Luis Tinoco for one poem of Peter Tamen. Melodically the track opens divinely the album and shuts José Luis Tinoco in in energetic way with the trio (when) they (were) (keyed), Zé D the Bridge (bass) and Fernando Fallé (battery), the trio base of the whole disc.

02. Filius Domini, Filius Hominis In the face of the frantic final rhythm of the 1st trak ‘ Filius Domini, Filius Hominis comes slow and long-suffering, the vocal serious and strong masculine (unfortunately I am not absolutely sure of the one who is the voice open to question, but suppose to belong of Carlos Rodrigues) gives a morbid and sad tone to track, this complete feeling for the saxophone of Rão Kyao. Again the best the line of bass of Zé Of the Bridge. Excellent song!

03. Hiroxima The third track, according to the name announce, it comes prophetic, with crashes and the distressing and stifling narrative of Sinde Filipe, counting ‘ powders-bombs ‘. The end is an invitation to the thoughts: “ To your side someone asks: My God, whom we did? … ” That's right! …

04. Canção Do Imigo The syncopated rhythm of the 1st track seems the beginning of this one and next it continues with subtlety, bringing vocal feminine similar to that of “ The Great Gig In The Sky ” of the PINK FLOYD, however in different style and in quite short passage. Little after 2:20 the vocal principal sings accompanied only by guitars, and again loaded of sadness and solitude since the whole concept is somewhat sad. The letter was built by parts of poems of Sá De Miranda and Bernardim Brook.

05. Invasão Quick sentence of keyboard, followed the synthesizer and the best bass. While the vocalizations give the melody, narrations intersperse the verses giving the prophetic tone what the disc needs. Again the vocal ones do with what you ready total attention, stopping everything around. Finish so the side A of the disc (be remembered, it the question be a digipack).

06. Guerra The horses of war begin to run and the synthesizer is loaded by them in the introduction when the 2nd part of the album is giving beginning so. The letter is an assembly with the poem War of Nicolau Tolentino, sung on an urgent base ‘ jazz of night club ’.

07. Carta Emotion on the surface of the skin I would say. There is felt the power of the words and of the interpretation here. There is not how not to be terrorized (and even to hear again) the final passage.

08. No 20º Aniversário Da Morte Do Poeta Beautiful symphonic beginning and while beginning the vocal principal to the track becomes a calm, however, for a short period, next the refrain, like if the people were speaking. Again José Luis Tinoco composed a beautiful melody, and of this time for the letter it was based on a poem of B. Brecht.

09. Aprendiz De Feiticeiro Again the vocal multiple ones are very quite arrived, opening way for the quick and urgent verses that insert them. To complete the urgent saxophone of Rão one annexes to the intricate base to close the music in great style.

10. Dunas To close in great style one of the pearls forgotten the Progressive world-wide Rock we have Sinde Filipe reciting a pretty text of Carlos De Oliveira soon followed a pretty subject of piano, bass, saxophone and the already known vocal ones, closing so this masterpiece.

Unfortunately a band of an alone disc (like so many other excellent directions), but I am glad what has been given by the friend Nuno with this reprint, which the distinction not to be obtained that the disc deserves what at least gives a chance for which new listeners discover it.


Review by Diego

http://progshine.com/artistas/letra-s/saga/resenhas-homo-sapiens/

Tracks :

01. 6º Dia [5:51]
02. Filius Domini, Filius Hominis [2:19]
03. Hiroxima [2:37]
04. Cantiga de Imigo [3:52]
05. Invasão [3:55]
06. Guerra [5:43]
07. Carta [1:11]
08. No 20º Aniversário da Morte do Poeta [3:26]
09. Aprendiz de Feiticeiro [4:39]
10. Dunas [4:15]

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Artwork Included

ALAN HULL - SQUIRE 1975

Best known as the co-founder, leader, and principal songwriter of the Newcastle folk-based rock band Lindisfarne, Alan Hull also pursued a successful career as a solo performer, specializing in original songs. At one time, amid Lindisfarne's early successes, Hull was being hailed as the most innovative songwriter since Bob Dylan, and although Lindisfarne's subsequent albums didn't remotely achieve this level of promise, his solo material was consistently strong. Hailing from Newcastle, where he was born in 1945, Hull took up the guitar as a boy, and became a member of the band the Chosen Few alongside keyboard player (and future Ian Dury alumnus) Mickey Gallagher, in 1962. That band, which specialized in Tamla-Motown covers, was signed to Pye Records for a time and Hull first emerged as a songwriter of considerable promise within their ranks, generating some very strong original numbers including the single "Today Tonight and Tomorrow." Hull exited the group in 1966 and gravitated toward a more folk-oriented sound in his playing, singing, and songwriting, which brought him into a band called Downtown Faction, who eventually evolved into Lindisfarne; he supported himself one year by working as a nurse at a mental hospital, before Lindisfarne came together. As author of many of their most popular songs as well as one of their principal singers, Hull came to be regarded as the de facto leader of the group, which may have contributed to its splintering in 1973. He recorded solo albums periodically beginning with 1973's Pipedream on the Charisma label, which included the services of second-generation Lindisfarne guitarist/keyboardman Ken Craddock as well as original members Ray Jackson and Ray Laidlaw. His second album, Squire, was released in 1975 by Warner Bros., while his third, Phantoms (1979), was done for Elton John's Rocket Records label.

At its best, Hull's songwriting featured fluid, deceptively catchy, and pleasing melodies, and rich, deeply evocative phrasing and imagery. His "Fog on the Tyne" remains a classic, a Dylanesque account of life in Newcastle in the late '60s, and he has also written in a more popular vein, with songs such as "Run for Home" (which, with its achingly beautiful chorus, ought to have been an international hit), which sounds almost more like Bruce Springsteen than Bruce Springsteen did. In 1994, he recorded Back to Basics, a live all-acoustic survey of the best of his songwriting from 1970 onward. On November 17, 1995, while working on a new album, Hull died suddenly of what was determined to be a heart thrombosis. Lindisfarne has continued to perform in the years since, and recordings of Hull's have continued to surface from various sources, including radio performances going back to the early '70s. ~ Bruce Eder

Tracks :

1. Squire
2. Dan The Plan
3. Picture
4. Nuthin' Shakin'
5. One More Bottle Of Wine
6. Golden Oldies
7. I'm Sorry Squire
8. Waiting
9. Bad Side Of Town
10. Mr. Inbetween
11. The End
12. Crazy Woman (Album Version, UK Single Version)
13. Carousel

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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.

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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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