Τετάρτη, 31 Οκτωβρίου 2007
Τρίτη, 30 Οκτωβρίου 2007
Obscure folk LP with a transition sound from 60s coffee house into 70s downer/loner moves. Lost in time atmosphere and idiosynchratic singing and playing makes for a trip with a clear identity, yet the connection between the arrangements, vocal mannerisms and underlying tunes seems random and "for the hell of it", rather than conscious explorations. Some tracks work, others don't, and all over it's pretty inconsistent. Covers of Dylan, Cohen and Bo Diddley (!) come off more like insults than bold interpretations, while the Lynda Squires led take on "High Flying Bird" is pretty cool. Of the originals most is average contemporary folk, with a high-point in the only track not by "Dormouse" (Cris Cuddy) or Marcus Wattington, Don Tapscott's sublime "Just To Hear The Bells". The album is semi-acoustic with electric bass and occasional percussion. Oddly, the LP has a similar sound (minus the autoharp) and the precise same problems as the Folklords. The album was recorded in 1967, and precedes the Rejects LP sessions. The Hallucinations CD is titled 'The Toad Recordings' and shows traces of vinyl press noise and high-end distortion in a few spots.
01. Baby Blue (Bob Dylan)02. Young Face (Waddington)03. High Flying Bird (Wheeler)04. Portrait For Marianne (Cuddy)05. Just To Hear The Bells (Tapscott)06. Sometimes You Ain't Got Nothin Boy (Waddington)07. By The Way (Cuddy)08. I Need A Friend (Allen)09. Suzanne (Leonard Cohen)10. Believe Me (Waddington)11. October Morning (Cuddy)12. Small Man (Waddington)13. Who Do You Love (McDaniel)14. Apple Annie (Cuddy)
Κυριακή, 28 Οκτωβρίου 2007
In 1971 the original line up fragmented reducing ptarmigan to the duo of Nordstrom and Dias. In 1972 the duo went to Ontario where they played some local clubs in Ottawa and Toronto making some impressive connections in the music industry , then headed back to Vancouver where they again met up with Paul Horn. Horn was so impressed by the duo’s music, he signed them to a publishing and recording contract.
Ptarmigan went into Canbase (Mushroom) Studios in Vancouver during the fall of 1972 and recorded some basic tracks that would eventually become the ptarmigan album. After the tracks were recorded it took Paul Horn nearly a year to sell the project to a label and in 1974 , Columbia Records of Canada released the self titled ptarmigan album.
The music on the album combined elements of jazz, folk and progressive rock.
Based around a flute, percussion and guitar interplay, the songs experience eastern influences, various moods, time changes and are rather simply structured yet complex in nature. Based around themes of nature and musical landscapes today the music could be classified as new age or environmental.
When the album was originally released in 1974 it did not sell well at all because of its non-commercial sound but over the years it has become a collectors item especially for progressive rock fans.
This is the first legitimate reissue of the Columbia album entirely done by band member Monte Nordstrom on his own GrooveDigger label. This limited edition, remastered version of the album features the original artwork along with four bonus tracks and a detailed booklet that contains band photos, as well as an in depth essay on the band and the recording of the album.
his folk/jazz Westcoast acoustic recording predates New Age and Worldbeat by a decade. Eerie & introspective. Originally on Columbia of Canada. Now a Prog/cult item. In 1970, Monte Nordstrom was invited by singer/recorder player, Glen Dias to join the Vancouver Island ensemble, 'Ptarmigan'. The following year, Dias & Nordstrom toured Canada writing & performing new music on the coffeehouse circuit between Victoria's Queequeg, Winnipeg's Ting Tea Room & Ottawa's le Hibou. The highlight of this tour was in Ottawa when the duo spent two weeks opening for the legendary guitarist, Lenny Breau. Performing two shows per night for two weeks & socializing with Lenny was a highly influential experience for Monte. In 1972-73, international jazz master, Paul Horn produced the music of Ptarmigan at Mushroom Studio in Vancouver. Columbia Records released the Ptarmigan LP in early 1974. The launch of the Ptarmigan release was at The Egress nightclub in Vancouver, where Nordstrom & Dias spent a week opening for the Paul Horn Quintet. The duo last performed together in 1978 at the Midsummer Affair festival. Ptarmigan was a very unusual & noncommercial music that was ahead of its time. The ethereal ambience of Nordstrom & Dias' compositions continue to impress a wide spectrum of people. A bootleg European release on vinyl in the 80s created a cult following in the Progressive rock genre. In response to this continuing interest, the authorized Ptarmigan CD is re-issued through this website.
Produced by Paul Horn for VIP Ltd. (Vancouver Island Productions)Recording Engineer: Keith Stein. Mixed by Paul Horn & Keith Stein Cover Art & Photo: Glen Dias. Ptarmigan Logo: James NorquayAll songs composed by: Glen Dias & Monte NordstromPublished by Samadhi Music, BMI; Northstream Music/SOCAN & Bear Bones Music/SOCANRecorded at Canbase (Mushroom) Studios, Vancouver, Canada Musicians: Glen Dias: Vocals, Recorders & Percussion Monte Nordstrom: Vocals & Twelve String Guitar Kat Hendrikse: Drums Dave Field: Acoustic Bass Richard Mayer: Electric Bass (The Island)Peter Wheeler: Hand Drums Paul Horn: Percussion
This Re-Issue is dedicated to David Aston
"Midsummer Affair" (1978; from GDR44 "Silhouette of Our Insanity")
13: Chimborazo (Nordstrom) (7:00) Monte Nordstrom: Vocal, Guitar; Glen Dias: Shaker
14: Chimborazo - studio tag (1:38) Michael Bieling: Congas; Raymond Bruvold: Bass; Dave Rowse: Sax; Barry Dayman: Flute/Mandolin; Jim Shain: Guitar/PhoTron
13: Engineered by Greg Pauker
14: Engineered by Ed deBree;
Produced by Monte Nordstrom
Re-mastered at Media Magic, Victoria, BC by Mark Franklin & Monte Nordstrom.
Thanks to Paul Horn!Graphics, Layout & Digital Photo
Edits by Barry Newman: www.cvnet.net/cosmic
Booklet Art Direction, Text, Titles & Design by Monte Nordstrom 1999 Groovedigger Records, Box 196 Crofton, BC, CANADA, V0R 1R0Website: http://www.montenordstrom.com/
Ptarmigan - Go Dancing - 1969
Σάββατο, 27 Οκτωβρίου 2007
Joan Baez said "Odetta was a goddess. Her passion moved me. I learned everything she sang''
Petersburg Crater Union Trench
Η υπόθεση της ταινίας είναι λίγο πολύ γνωστή. Η Ada Monroe (Kidman), μια γυναίκα με καλή ανατροφή φτάνει μαζί με τον πατέρα της (Sutherland) στην μικρή πόλη Cold Mountain. Εκεί γνωρίζει τον Inman (Law), έναν απλό εργάτη αλλά η γνωριμία τους διακόπτεται από τον εμφύλιο πόλεμο, μιας που ο Inman αναγκάζεται να καταταχθεί. Μετά από 3 χρόνια στο μέτωπο ο Inman, αηδιασμένος αποφασίζει να λιποτακτήσει και να επιστρέψει στην Ada, η οποία στο μεταξύ έχει χάσει τον πατέρα της και έχει βρει στήριγμα στην εργατική χωριατοπούλα Ruby (Zellweger).
Petersburg VA 1865
The rock era saw a few white female singers, like Janis Joplin, show they could sing the blues. But one who could outshine them all -- Jo Ann Kelly -- seemed to slip through the cracks, mostly because she favored the acoustic, Delta style rather than rocking out with a heavy band behind her. But with a huge voice, and a strong guitar style influenced by Memphis Minnie and Charley Patton, she was the queen.
What Color Is Blues?
Born January 5, 1944, Kelly and her older brother Dave were both taken by the blues, and born at the right time to take advantage of a young British blues scene in the early '60s. By 1964 she was playing in clubs, including the Star in Croydon, and had made her first limited-edition record with future Groundhogs guitarist Tony McPhee. She expanded to play folk and blues clubs all over Britain, generally solo, but occasionally with other artists, bringing together artists like Bessie Smith and Sister Rosetta Tharpe into her own music. After the first National Blues Federation Convention in 1968 her career seemed ready to take flight. She began playing the more lucrative college circuit, followed by her well-received debut album in 1969. At the second National Blues Convention, she jammed with Canned Heat, who invited her to join them on a permanent basis. She declined, not wanting to be a part of a band -- and made the same decision when Johnny Winter offered to help her. Throughout the '70s, Kelly continued to work and record solo, while also gigging for fun in bands run by friends, outfits like Tramp and Chilli Willi -- essentially pub rock, as the scene was called, and in 1979 she helped found the Blues Band, along with brother Dave, and original Fleetwood Mac bassist Bob Brunning. The band backed her on an ambitious show she staged during the early '80s, Ladies and the Blues, in which she paid tribute to her female heros. In 1988, Kelly began to suffer pain. A brain tumor was diagnosed and removed, and she seemed to have recovered, even touring again in 1990 with her brother before collapsing and dying on October 21. Posthumously, she's become a revered blues figure, one who helped clear the path for artists like Bonnie Raitt and Rory Block. But more than a figurehead, her recorded material -- and unreleased sides have appeared often since her death -- show that Kelly truly was a remarkable blueswoman. ~ Chris Nickson, All Music Guide
Jo Ann Kelly & Son House
Born Earl Zebedee Hooker in Clarksdale, Mississippi, his impoverished family moved to Chicago, Illinois when he was still an infant. Influenced by parents and relatives who played music, he was a cousin of John Lee Hooker and began playing guitar as a teenager.
Earl Hooker died at the age of 41 after a lifelong struggle against tuberculosis, which is alluded to in the title of a 1972 compilation album of his work, "There's a Fungus Among us." He was interred in the Restvale Cemetery in Alsip, Illinois. His story was told in a 2001 book by author Sebastian Danchin titled Earl Hooker, Blues Master.
Although, Earl Hooker died in 1970, his music still continues on in the rock band Daphne Blue, which includes Freddie Roulette , the original Lap Steel guitar player from Hooker's band, and his songwriting partner, Ray Bronner.
From somewhere on the other side.
Now he's part of the Heavenly Choir,
Copyright: Evil Eye Music/Melody Trails Music -BMI
Peter Yarrow: After Josh White's funeral, one of his dearest proteges, Peter Yarrow of Peter, Paul & Mary, eulogized him in the song "Goodbye Josh," which he included on his first solo album Peter. The song's lyrics are:
“ Goodbye Josh, goodbye old friend,
Your strings are quiet, the music ends.
Goodbye to Woody and to Cisco too,
You filled a morning with sunshine and light,
After the thunder comes the rain,
Goodbye Josh, goodbye old friend.
Copyright: Marybeth Music/WB Music Corp./ASCAP
"Drinkin' Wine" perfomed by Nick 'The Greek' Gravenites & The Electric Flag at Monterey 1967. Awesome solo by Mike Bloomfield.
Paul Butterfield Blues Band - Driftin' Blues (Monterey 1967)
Monterey pop festival, incredible film of "All I ever wanted to do"extract from "Monterey Pop"
with the first line - up with Jim Murray
Released on Takoma records in 1970 (C1026) and produced by John Fahey. This self titled release is the only output of this rural community based in Indiana.
Led by Peter Aceves, it's an excellent example of folk-blues with good vocals and strong instrumental parts. The songs are all original and some are really outstanding, notably Bumblebee, Bulldozer Blues and Maine. The liner notes mention that two other (unknown) groups used to play with Homegas: Greazy Green and Stoney Lonesome before their house was destroyed by fire. Fuzz, Acid & Flowers
HOMEGAS has never been reissued on cd and this rip has quite a bit of surface noise that doesn't detract from the music at all. (at least for us here at GSU)
The playing is strong throughout and is rooted in pre-war acoustic blues and rural string bands while the vocals remind me of a U.S. Incredible String Band.
Τετάρτη, 24 Οκτωβρίου 2007
Τρίτη, 23 Οκτωβρίου 2007
Michael Bloomfield, guitar - Harvey Brooks, bass - Buddy Miles, drums, screams 2, vocals 3,6 - Barry Goldberg, organ, vocals 4? - Peter Strazza, tenor sax - Marcus Doubleday, trumpet - Nick Gravenites, vocals 5,7,8 percussion - Herbie Rich, baritone sax
1. “Opening Instrumental (1.34)2. “Instrumental” (3.56)3. “Texas” (5.43)4. “Hey Joe” (5.05)5. “It Takes Time” (6.47)6. “I've Been Loving You Too Long” (8.07)7. “Another Country” (2.04) cut short8. “Ain’t No Doctor” (3.21) fade in9. “Don't You Lie To Me” (7.07)10. “Soul Searching” (8.50)
This is the ultimate Electric Flag live-recording. True soundboard, but unfortunately there are some faint periods for the vocal, the guitar and so on, but nevertheless the best circulating live recording.
After a few distorted screams as microphone test, and a very short but fitting introduction “Here’s the incredible Electric Flag” the band starts with a beautiful sounding short opening instrumental, that’s even in stereo! You almost can’t believe it’s them, so good does they sound. And when you have listened to the audience recordings of Electric Flag live, this is almost too much.
MB is smoking – no, burning! - on (track 2) but this is unfortunately one of the two tracks where the guitar is too distant to really enjoy. “Texas” comes on fine with good vocals from Buddy Miles and good playing through out. The guitar is still a little too faint, but it’s fine to hear the hornsection play in tune and time! Midway through the track MB’s guitar is turned up and we can really enjoy a fine experience.
“Hey Joe” is apparently difficult to get started. The band doodles for a couple of minutes. Could it be Barry Goldberg singing? It does not sound like any of the other vocalists. MB plays at his best, low, soft and bluesy and high and hard. Buddy Miles is hammering away with all his might. A great track.
With (track 5) “It Takes Time” we’re back to the classic Flag repertoire. MB starts wailing on the guitar and Gravenites follows with a top vocal performance (a little faint in the recording. Midway the organ suddenly appears. Somebody must have had a busy time twistin’ the knobs). The guitar solo is great and it appears to be a “real” solo performance as you can’t hear any other instrument but Buddy’s whiskers and bass drum. Ah, that’s what we like to hear, MB grabbing the audience and the players, so they forget to play.
Again the band doodles, strums and discuss before they start (track 6). It has some fine interplay between the vocal and the guitar at the end. “Another Country” has as always a fine vocal from Gravenites and unfortunately the track is cut after only two minutes. The first part of (track 7) is also missing, but still it’s a gem (the title is a guess).
More doodling and then a beautiful version of “Don’t You Lie To Me” with MB singing and playing at his very best. Before the next track the band is discussing what to play! MB is yelling for “Brad, where’s Brad? A few more minutes?” and he wants to play “You Don’t Realize” (“we all know the parts to that”) but Gravenites is firm: Soul Searching! Maybe they should have played like MB wanted because it sounds like the band is falling apart here and there. MB delivers a fine solo anyway and he is yelling: “Funky boogaloo time!” all the way and he certainly is in charge of the playing.
“That’s it, The Electric Flag!” End of proceedings. Great show.
CD “SAN FRANCISCO NIGHTS VOL. 2 – DISC 5” Bootleg
Electric Flag - 1968 - Live At Carousel Ballroom San Fransisco
I. STAGE PERFORMANCES VENUE's Larisa City (Ex- B-Live Club)
17 November 2007- SIGMATROPIC (ATH) 22:00
18 November 2007- XEIMERINOI KOLYMBHTES 21:00
24 November 2007- LINK QUARTET (CESENA IT. ) + dj Henry (Milano Mods) 22:00
8 December 2007 - Down & Out (ATH) - A NO BUDGET EVENT- 22:00
11 January 2008 - The Vietnam Veterans ( FR ) 22:00
II. Blues Trackers Tour Dates
Sunday November 11, Mylos 1927 Larissa
SUPPORT TO GLEN HUDGES
Ο Κωνσταντίνος Βήτα γεννήθηκε στη Μελβούρνη της Αυστραλίας και μεγάλωσε στην Αθήνα. Παρακολούθησε μαθήματα κλασσικής κιθάρας και αρμονία, ενώ σπούδασε ζωγραφική και ιστορία τέχνης στην Μελβούρνη. Στην Αθήνα τελείωσε γραφικές τέχνες. Δούλεψε σαν γραφίστας και δημοσιογράφος σε περιοδικά.
Το 1992, ο Κωνσταντίνος Βήτα μαζί με τον Μιχάλη Δέλτα και τον Αντώνη Π. ίδρυσαν το συγκρότημα Στέρεο Νόβα. Μετά από πέντε χρόνια το συγκρότημα διαλύθηκε, αλλά τα μέλη του συνεχίζουν να δραστηριοποιούνται μέχρι και σήμερα ως μουσικοί, συνθέτες και παραγωγοί.
Ο Κωνσταντίνος Βήτα, παράλληλα με μια σειρά προσωπικών δίσκων και συναυλιών, έχει γράψει μουσική για το θέατρο, το χορό και τον κινηματογράφο. Έχει επίσης παρουσία και στα εικαστικά, με προσωπικές εκθέσεις και συμμετοχές.
Τον Οκτώβριο του 2005 παρουσιάστηκε στο κοινό η έκθεση Soundscapes του Κωνσταντίνου Βήτα, με περιεχόμενο βίντεο, φωτογραφίες και ζωγραφική, στο Κέντρο Σύγχρονης Τέχνης στη Θεσσαλονίκη.
Anthony Phillips was one of the founding members of Genesis, having attended the Charterhouse School in Surrey with Peter Gabriel, Tony Banks, and Michael Rutherford. Phillips and Rutherford (who had played together in another band before linking up with Gabriel and Banks), were the principal composing members of Genesis during their formative years, right into their first recording venture on English Decca ("Silent Sun" etc.) under the aegis of Jonathan King. Much of Phillips' and Rutherford's music was too subtle and introspective to work for the fledgling band on stage, and eventually composition became more of a shared effort. By the time the group cut its second album, Trespass, however, Phillips had receded into the background, propelled by a crippling onset of stage-fright that forced him out of the line-up following the album's release. His influence, ironically, was felt very strongly on their subsequent breakthrough third album, Nursery Cryme, the title track of which (the band's first number to attract a wide audience in progressive rock circles), for its introduction and opening minute, used material that Phillips had written and recorded (as a demo) as early as 1969.
CD - 1
01 - Wind - Tales 00:01
02 - Which Way The Wind Blows 01:04
03 - Henry; Portraits From Tudor Times 06:56
... ... I - Fanfare
II - Lutes' Chorus
III - Misty Battlements
IV - Henry Goes to War
V - Death of a Knight
VI - Triumphant Return
04 - God if I Saw Her Now 20:59
05 - Chinese Mushroom Cloud 25:14
06 - The Geese and the Ghost26:00
07 - Collections41:51
08 - Sleepfall: The Geese Hy West 44:59
CD - 2
01 - Master of Time ( Demo ) 52:36
02 - Title Inspiration
03 - The Geese and the Ghost - Part one ( basic track )
04 - Collection Link
05 - Which Way the Wind Blows
06 - Silver Song ( basic track )
07 - Henry: Portraits From Tudor Times ( basic track )
I - Fanfare , II - Lute's Chorus , III - Lute's Chorus Reprise , IV - Misty Battlements
08 - Collections ( demo )
09 - The Geese & The Ghost - Part Two ( basic track )
10 - God If I Saw Her Now ( basic track )
11 - Sleepfall ( basic track )
12 - Silver Song ( Unreleased single version, 1973 )
Anthony Phillips: acoustic 12-string, 6-string, classical guitar, electric6 and 12-string guitars, basses, dulcimer guitar, bazouki,synthesizers, mellotron, harmonium, piano, organ, celeste, pin piano,drums, glockenspeil, timbales, bells and chimes, gong, vocal on"Collections"
Phil Collins: vocals on "Which Way The Wind Blows" and "God If I Saw HerNow"
John Hackett: flutes on "God If I Saw Her Now", "Collections" and"Sleepfall: The Geese Fly West"
Nick Hayley (+ friend)[?]: violins on "The Geese And The Ghost"
Jack Lancaster: flutes and lyricon on "Sleepfall: The Geese Fly West"
Charlie Martin: cello on "Chinese Mushroom Cloud" and "The Geese And TheGhost"
Viv McCauliffe: vocals on "God If I Saw Her Now"
Lazo Mumolovich: oboes and cor anglais on "Henry - Portraits From TudorTimes" and "The Geese And The Ghost"
Tom Newman: hecklephone and bulk eraser on track 9
Rob Phillips: oboes on "The Geese And The Ghost" and "Sleepfall: The GeeseFly West"
Michael Rutherford: acoustic 12-string, 6-string, classical guitars,electric 6 and 12-string guitars, basses, organ, drums, timbales,glockenspeil, cymbals, bells
Wil Sleath: flute, baroque flute, recorders and piccolo on "Henry -Portraits From Tudor Times"
Kirk Trevor: cello on "Chinese Mushroom Cloud" and "The Geese And TheGhost"
Martin Westlake: timpani on "Henry - Portraits From Tudor Times", "ChineseMushroom Cloud" and "The Geese And The Ghost"
Send Barns Orchestra and Barge Rabble conducted by Jeremy Gilbert. Ralph