Πέμπτη, 25 Σεπτεμβρίου 2008

Holy River Family Band - Haida Dieties 1996 Sweden (New Acid Space Rock -- Psych Folk)

Holy River Family Band - "Haida Deities" (Record Label :The Wild Places 1996, Wild 003)

Jens Unosson (Organ,Piano,Electric,Synthesizer)
Arne Jonasson (Bass,Guitar,Saz,Violin,Oud,Hurdygurdy,Surnai)

From Aural Innovations #1 (January 1998)
Sweden's Holy River Family was born as an offshoot of The Spacious Mind. The band consists of Jens Unosson on electric piano, organ, and synths, Mathias on flutes, pipes, tablas, and congos, and Arne on guitars, bass, violin, hurdy gurdy, as well as saz, oud, and surna.
I guess the four songs on this disc (at 15, 12, 4, and 30 minutes) could best be described as Middle Eastern psychedelia. The percussion rhythms, horns, slowly improvising guitars, and chanting all come together to make some pretty trippy music.
The first three songs are separate parts of a single work. The disc opens with "Fragrance Of Flowers And Herbs", which sets the tone for the rest of the journey with its Middle Eastern percussion beat, various sounds, and jamming guitar. The next song, "Eztetl", takes a basic drum beat which provides a background for some interesting synth sounds and a heavier, acidic guitar that becomes increasingly more furious as the song progresses. Where "Eztetl" ends, "Green Corn Dance" abruptly begins. The shortest tune on the disc, it winds down this three parter with an up-front bass line and liquidy pulsating synths.
The 30 minute "Vision Quest Of The Sanpoil" starts with what we can now consider a Holy River trademark of Middle Eastern percussion and various odd horn sounds. As in Fragrance, the guitar jams smoothly over the tablas. The band uses the song's length to introduce chanting, various acoustic instruments, electric piano, and horns, all emanating (rather than assaulting) from every direction. The tune stirred up some rather demented images of belly dancers in tie-dyed saris... quite a sight indeed!
In summary, exploration seems to be the ultimate objective of this music and in this it succeeds. When I first heard this CD I thought the theme became a bit monotonous over the course of an hour, but I kept being drawn back to it and now after several listens I enjoy it for its atmosphere of ethnic psychedelia. I'll be interested to hear what the next release brings.
For more information email The Wild Places.
also posted at marvellous Blog Spot Lost In Tyme
Reviewed by Jerry Kranitz

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Τετάρτη, 24 Σεπτεμβρίου 2008

Lyle & Peake - Lyle & Peake (1978 US folk-psych rock )

Jeremy Lyle and Kenny Peake’s custom lp is an exceptional mix of hard-edged garage rock, jangly hippie folk and dreamy acoustic songs. The electric stuff will blow you away, rugged basement rhythm guitar coupled with stinging electric leads, bringing a rough Jefferson Airplane kind of sound to ‘Armageddon Blues’, ‘Get Your Life In Tune’, ‘Jesus Is Savior’ and ‘Open Your Heart’, all of which have extensive fuzz guitar soloing. Bass and drums are in there, too (no keyboards). The twosome is equally effective in the unplugged format, their 6 and 12-string acoustic guitars creating soft impressionistic folk/psych moods within titles like ‘White Dove’. The delicate acoustic ballads ‘Such A Long, Long Time’ and ‘Jesus Gave Us Life For Free’ have a fragile sincerity that is intensely moving. A touch of harmonica on ‘Daniel 2:20’, soft Byrds-like jingle-jangle on ‘Love Still Remains’. More climactic fuzz can be found building up the closing ballad ‘We Are The Stillness Of Silence’. An outstanding record and a prime candidate for Christian monsterhood. Nice cover painting of a dove. Recorded in Monterey, California.
(Ken Scott - Archivist)
(also posted at marvellous blogspot heavenly-grooves).
Lyle & Peake

01 - White Dove
02 - Such A Long Long Time
03 - Daniel 2-20
04 - Armageddon Blues
05 - Get Your Life In Tune
06 - Love Still Remains
07 - Jesus Is Savior
08 - Jesus Gave Us Life For Free
09 - Open Your Heart
10 - We Are The Stillness Of Silence


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Clem Alford - 1974 Mirror Image [(UK, Indian influenced Psych)Ex- Magic Carpet

Clem Alford was born in Glasgow, Scotland, where he studied the Scottish national instrument, the bagpipes. He was introduced to the sound of the sitar in the mid sixties. He travelled to India and studied under Pandit Sachindranath Saha, principal of the Midnapore Music College in West Bengal. He secured the diploma of Sangeet Sudhakar for expertise in sitar from Surer Maya Sangit Samaj of Calcutta in 1970.
Clem's first major recital was in Bombay in november 1970, an event which the Times of India flashed in its headlines as "American's astounding skill, ease in sitar" (a slight case of mistaken nationality!). It was this sitar recital at the celebrated Kal-ke Kalakar Sammelan of Bombay which won Clem the rich accolade of 'Sur Mani' (a jewel of notes).
Keshav Sathe, Clem Alford, Jim Moyes, 1971

SAGRAM (Sargam misspelt) Keshav Sathe, Clem Alford, Jim Moyes, 1971 ( ClemAlford) @@@@@@@
Since then Clem has performed not only in the West but also in India, Japan and other Asian countries. He has been hailed by many experts and the press as the best western sitar player of today. An example of this recognition was his participation in the concert held in 1975 in the Royal Albert Hall, in which he was presented along with the leading Indian vocalist Laxmi Shankar.
Clem has been associated with the famous John Williams (classical guitar) John Mayer (composer/ Indo Jazz Fusions) Maurice Jarre (film scores) John Dankworth (jazz) Hemmant Kunar (vocalist) and a host of other striking personalities in the world of music. He has recorded for EMI, amongst other labels, and has authored a very helpful book on how to play the sitar published by EMI. In 1970 he formed a group named Sargam with two other musicians - Jim Moyes (guitar) and Keshav Sathe (tabla) - and this innovative trio (see picture above) recorded an album inappropriately released as Pop Explosion Sitar Style! under the band name Sagram, mispelt by the Windmill recording company, who issued the recording without the bandÕs consent or knowledge. This LP that has since become highly collectable. Then, in 1971 Alis
ha Sufit joined the trio and the Magic Carpet band was formed; the album Magic Carpet was recorded in the winter of 1971-1972, later released on Mushroom Records (MR20). MAGIC CARPET 1971 (Alisha Sufit, Clem Alford, Kesh Sathe & Jim Moyes).

Clem has composed music for films, including the government of India's 'Dateline Bangladesh' and 'Staying On', the television film based on the novel by Paul Scott. He also played sitar for the TV series 'Jewel in the Crown', and the film 'Foreign Body' starring Victor Banerjee.
Clem was music principal and sitar teacher at the Bharatiya Vidya Bhavan (London) from 1972 - 1976 and he was visiting lecturer at C.C.A.T. in Cambridge from 1985 - 1988, working with contemporary dancer Darshan Singh Buller. Clem composed the music for the dance 'Under the Same Sun'. In 1990 Clem successfully toured the former Soviet Union and Czechoslovakia, performing music especially composed for the dance 'Interlock', again choreographed by Darshan Singh Buller. Clem has also worked on music for the Race Apart dance company, as well as composing and performing other compositions. In 1974 he recorded the album Mirror Image, an extraordinary mix of experimental Anglo-Indian and classical Indian music. The opening title track features Alan Branscombe on piano and Fender electric piano and harpsichord, with award winning Amancio D'Silva on guitar, Toni Campo on bass guitar and Harold Fisher on drums. This album has since been re-issued with bonus tracks featuring Dave Heath (flute) and Mick Ripsher (tabla) on Magic Carpet Records. In 1996, in collaboration with Magic Carpet's singer/songwriter, Alisha Sufit, Clem recorded the album Once Moor (subtitle Magic Carpet II) also released on the Magic Carpet Records label, catalogue Nos MC1004CD and MC1004LP. The LP version was pressed by EMI on superb heavy-weight vinyl.
Clem continues to work as performer, innovative composer and teacher. Most recently he performed at Sir Paul McCartney's birthday celebration.

Clem plays with tabla maestro Ghulam Sarwa Sabri from 80s Brit TV.
Clem Alford is a Scottish musician who after musical studies became rapidly enthusiastic by the rich possibilities offered by fusion music, especially by the cross relationships between West and East. In order to perfect his knowledges Clem travelled to India and studied with raga masters. Pupil of Pandit Sachindranath Saha he obtained successfully a diploma in India music (1970, Calcutta), specialised himself in “sitar” playing.
1. Mirror image
2. Raga Kirwani
3. Raga Charukeshi
4. Apocalypse
5. Morning storm
6. Raga Khamaj
7. Colours
Clem Alford / sitar & effects - Amancio D'Silva / guitar - Dave Heath / flute

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Τρίτη, 23 Σεπτεμβρίου 2008

Carolyn Hester - 1965 - At Town Hall (Dot Records Vol.I & II) (US Folk)

Carolyn Hester in concert at New York Citys Town Hall. Hesters clear, keening voice, accompanied by George Tomscos guitar, poured forth with the combination of wistfulness and idealism that characterized the eras folk movement. Equally at home with traditional songs and the work of the eras singer-songwriters (among them Tom Paxton and Phil Ochs), and unafraid of something as ambitious as her own musical setting of Whitmans Captain, My Captain, Hester conveys an intimate involvement with everything she sings. This 24-song CD is a wonderful document of special concert by an overlooked treasure of the folk era.

In February 1965, Norman Petty (Buddy Holly's mentor),recorded

Bruce Langhorne, Carolyn, Bob Dylan and Bill Lee (filmmaker Spike Lee's father), in 1961 in New York City, about to record "I'll Fly Away."

This recording is probably the best existing representation of Hester's work, capturing her voice in all of its natural vibrancy, in a setting where spontaneity matters more than control. The repertory may also explain -- along with Hester's Southern/Texas twang -- why she never quite caught on with folk audiences nationwide. By 1965, Hester was already falling behind the times -- she does some topical songs like Phil Ochs' "What's That I Hear" and Gil Turner's "Carry It On," and her own haunting and ominous "Three Young Men," a tribute to murdered civil rights workers Goodman, Schwerner, and Chaney; her choice of a Dylan song, "Playboys and Playgirls," however, and her Kennedy tribute "Captain, My Captain" (an old poem set to her own music, which works beautifully) were both just archaic enough by 1965 standards to show more thoughtfulness than the burgeoning, ever-angrier, and more political folk/protest audience of the mid- to late '60s was looking for. And the presence of a lot of traditional songs such as "Water Is Wide" (beautifully sung) would've been ideal a year or two earlier, but by 1965 represented a period of the folk song revival that was already losing its edge with audiences and passing into history. Joan Baez and Judy Collins were more engaged politically, though one surprise for rock fans is Billy Ed Wheeler's "High Flying Bird," a song associated with the Jefferson Airplane of this approximate era. This disc not only contains the unedited tape of the Town Hall concert, in which Hester is backed up by fellow guitarist George Tomsco, but four additional songs from another concert. Her voice here not only evokes images of Nanci Griffith, but also a young Emmylou Harris. ~ Bruce Eder, All Music Guide

There are few vintage concert recordings that capture the spirit of an artist and the audience as aptly as Carolyn Hester at the Town Hall. Although the infusion of rock & roll would take Hester's chosen brand of traditional folk to the proverbial next level. Unlike many around her, she remains faithful to the core-governing principles of the genre. She never complicated the already involved tales with unnecessary instrumentation or oblique lyrical references, à la the direction that Bob Dylan moved the genre.

Carolyn Hester & Bob Dylan, Sep 29, 1961 (Don Hunstein).
Along with George Tomsco (acoustic guitar), Hester also accompanies herself with her own intimately lyrical acoustic six-string fretwork. The repertoire is packed with traditional renderings of folk standards such as "Water Is Wide," "Buckeye Jim," and the Scottish "Jute Mill Song." There are also a fair number of modernized classics, including "Come on In," "High Flying Bird," and a languidly picked reading of the Gershwin pop standard "Summertime." Perhaps the most noteworthy cover is an adaptation of Walt Whitman's "Captain, My Captain," which conjures the memories of Jawaharlal Nehru, John F. Kennedy, and Winston Churchill. Her slight Texan drawl contrasts her clear, chiming vocals. Undoubtedly the simple recording procedures and productions of Norman Petty likewise have a great deal to do with the enveloping atmosphere that not only accurately reproduces the stage performers, but also captures the enthusiastic audience. The audience is particularly vocal and participatory on "Sing Hallelujah" as the hosannas ring with overwhelming, if not slightly intimidating solidarity. When this title was issued on CD in 1990 by the German Bear Family label, the contents of her two volumes of Town Hall material were augmented with an additional four sides from a different performance from the mid-'60s with Stanley Lark on acoustic upright bass. Review AMG by Lindsay Planer @@@

A traditional song about the Irish famine recorded in 1963 as part of "Bob Dylan and Co."that another member put up. It was also on Carolyn's second Columbia LP
Carolyn Hester Vocals & acoustic guitar.
George Tomsco guitar.

Track Listing
1 Come on Back 2 Come on In 3 2:10 Train 4 Captain, My Captain
5 Water Is Wide 6 Carry It On 7 High Flying Bird 8 Three Young Men
9 Outward Bound 10 The Weaving Song 11 Sing Hallelujah
12 That's My Song 13 Summertime 14 It Takes So Long 15 Ain't That Rain
16 Buckeyed Jim 17 Will You Send Your Love? 18 Jute Mill Song
19 What's That I Hear? 20 Where Did My Little Boy Go? 21 Sidewalk City
22 I Saw Her 23 The Bad Girl 24 Playboys and Playgirls

Producer Norman Petty

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Τρίτη, 16 Σεπτεμβρίου 2008

Richard William Wright

Richard William Wright (28 July 1943 - 15 September 2008) R.I.P
Rest in Peace Rick, you will never be forgotten.

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Τετάρτη, 10 Σεπτεμβρίου 2008

Ancient Future - 1981 Natural rhythms (US India world fusion music)

One Band ­ Many Flavors
“Rolling Stones of fusion.” ­ THE BEAT

Ancient Future's classic second album was reissued on CD to rave reviews by Philo/Rounder in 1994 to commemorate 15 years of Ancient Future history. The reissue made THE BEAT magazine's World Music Top 10 of 1994 List (#4). Upon its initial release on LP Natural Rhythms received two 1984 N.A.I.R.D. "Indie" awards in the fields of World Music and Album Cover Design.

Personel :

Matthew Montfort (scalloped fretboard guitar, classical guitar, gangsa, kukul, tinklik, beer can, sitar and zither),

Mindia Klein (flute, bansuri, gangsa and tinklik),

Benjy Wertheimer (tabla, beer can, esraj, and hand claps),

Phil Fong (sarod and classical guitar),

Kazuyo Muramoto (koto),

Teja Bell (12-string guitar),

ayan Ludra (kukul),

Nyomen Kawiana (kajar),

Christina Harmonia (vocal),

Jim Loveless (marimba),

Jeroen van Tyn (violin),

Mark Fuller (cymbal),

Balinese rice paddy frogs and Pacific tree frogs.-

Ancient Future is a musical ensemble popular in the world music genre. Founded in 1978, it is known for starting world fusion music, blending centuries-old music traditions, along with mixing them with modern music, such as jazz, rock or reggae.

Formed in the late 1978 by Matthew Montfort, Ancient Future coined the term "world fusion music" to describe its use of Indian, African, Balinese, Middle Eastern, and South American rhythm, the rich harmonies of Europe, the peaceful melodies of Asia, and other musical traditions within a contemporary framework. The group's founder, guitarist Mathew Montfort, became fascinated by North Indian classical music during his college years, prompting him to travel to Java, Bali, China, and elsewhere in Asia to study the intricates of musical traditions passed down from generations to generations. Over the years, Ancient Future has expanded its musical vision through collaborations with noted masters of various world music traditions who are now an integral part of what is today more than just a band. Ancient Future has grown to become a large chamber ensemble of 28 performers from around the world with over a dozen similar ensembles within it, enabling Ancient Future to realize its core mission of creating world fusion music.

The original U.S. members of Ancient Future looked beyond their roots for inspiration by studying with master musicians of many world music traditions, from Balinese gamelan director Madé Gerindem, to North Indian sarod master Ali Akbar Khan. They use their knowledge of world music to create something new and uniquely their own that is respected by pundits from other cultures whose traditions are a part of the mix. Ancient Future is also known for mixing together ancient music traditions together with the present and future's music, such as jazz, rock, reggae, and other forms of music.

Legacy and influence
Through cross cultural exchange and collaboration, Ancient Future has created a rich musical world of tradition and innovation. In addition to their original music based on world traditions, the many ensemble variations also perform traditional music from the cultures of the individual master musicians who perform with the band. This provides an educational experience for the audience that excites people about world traditions and then shows how those traditions can can make contemporary culture richer(From Wikipedia, the free encyclopedia)
Review AMG
by Murrday Fisher
They may be based out of Kentfield, CA, but their music truly spans the globe. Eastern tempos and nature themes combine evocatively this time on Ancient Future's album Natural Rhythms. It's a very frog-enhanced CD, with the little amphibians chirping melodically on a multitude of selections — "Frogorian Dance," "Frogorian Trance," "Frog Orient Chance," and "Magic Rain." "Frogorian Dance definitely joins the top list of contenders for all-time most unusual fusion, with its vocals provided by Balinese rice paddy frogs, and additional percussion from tablas, tinklik, and even Budweiser beer can tabs. (Their album notes at MP3.com point out that this was recorded in 1979, long before the Bud frog ads came out. They've re-released it on MP3.com in 2001, for the benefit of new fans.) It's quaintly charming, fluidly graceful, and world fusion fans will welcome its return. While "Hummingbird" is a lovely composition, tempo wise, it is mostly more languid and mellow than rhythms that would reflect the rapidfire wing beats of the actual bird. Its name derives from hummingbirds being nearby during its composition, rather than an attempt to create a hummingbird-paced song. "Waves" is another gently mellow number as well. Then "Eleventh Heaven" is so titled because it is composed in Chartal Ki Sawari, an 11-beat cycle from North India. This selection also incorporates elements of jazz and rock, both to good effect. In all, it's another skillful and harmonious album — definitely recommended!


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Ananda Shankar - Ananda Shankar 1970 (LP, Reprise 6398)

Ananda Shankar (11 December 1942 - 26 March 1999) was an Indian Bengali musician best known for fusing Western and Eastern musical styles. He was married to Tanushree Shankar.

Born in Almora in Uttar Pradesh, India, Shankar was the son of Amala and Uday Shankar, popular dancers, and also the nephew of renowned sitarist Pandit Ravi Shankar. Ananda did not learn sitar from his uncle but studied instead with Dr. Lalmani Misra in Varanasi.

Professional career
In the late 1960s Shankar travelled to Los Angeles, where he played with many contemporary musicians including Jimi Hendrix. There he was signed to Reprise Records and released his first self-titled album in 1970, featuring original Indian classical material alongside sitar-based cover versions of popular hits such as The Rolling Stones' Jumpin' Jack Flash and The Doors' Light My Fire. This album has become an enduring cult classic .

Returning to India in the early 1970s Shankar continued to experiment musically and in 1975 released his most critically acclaimed album, Ananda Shankar And His Music, a jazz-funk mix of Eastern sitar, Western rock guitar, tabla and mridangam, drums and Moog synthesizers. Out of print for many years, Ananda Shankar And His Music was re-released on CD in 2005.

After working in India during the late 1970s and 1980s, Shankar's profile in the West began to rise again in the mid-1990s as his music found its way into club DJ sets, particularly in London. His music was brought to a wider audience with the release of Blue Note Records' popular 1996 rare groove compilation album, Blue Juice Vol. 1., featuring the two standout tracks from Ananda Shankar And His Music, "Dancing Drums" and "Streets Of Calcutta".
In the late 1990s Shankar worked and toured in the United Kingdom with London DJ State of Bengal and others, a collaboration that would result in the Walking On album, featuring Shankar's trademark sitar soundscapes mixed with breakbeat and hip hop. Walking On was released in 2000 after Shankar's sudden death from heart failure the year before.
In 2005, his song Raghupati was used on the Grand Theft Auto: Liberty City Stories soundtrack.(From Wikipedia, the free encyclopedia)

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Σάββατο, 6 Σεπτεμβρίου 2008

AZTECA - AZTECA Columbia Rec. 1972 (US West Coast Latin Rock JazzSoul)

Azteca was a local Bay Area San Fransisco group formed by the brothers Coke and Pete Escovedo at the height of Latin Rock craze with artists like El Chicano and Malo. Most of the songs are Rock-Salsa Fusion numbers with plenty of percussion
Percussionists Coke and Pete Escovedo (Born 13 July 1935, Pittsburg, California, USA) formed this expansive unit in San Francisco, USA, upon their departure from Santana in 1972. Taking a cue from the latter group's Abraxas, Azteca formed a distinctly Latin American sound that helped them become a popular live attraction. A four-piece horn section emphasized the group's rhythmic style, but their strength in concert did not transfer to the recording studio. Azteca broke up in 1974, following which Pete Escovedo formed a duo with his daughter Sheila E. Three albums followed before he rejoined Santana. Sheila E. later found fame with Prince.

LINE-UP- Pete Escovedo / vocals- Coke Escovedo / timbales- Victor Pantoja / conga drums, vocals- George Moribus / electric piano- Flip Nunez / organ- George De Quattro / piano, clavinet- Paul Jackson / bass, vocals- Lenny White / drums, vocals- Jim Vincent / guitar- Neal Schon / guitar (on 3, 5 & 6)- Jules Rowell / valve trombone- Tom Harrell / trumpet- Bob Ferreira / piccolo, tenor sax- Mel Martin / saxophones, flute, piccolo- Errol Knowles / vocals- Wendy Haas / vocals- Rico Reyes / vocals

From Wikipedia, the free encyclopedia

Azteca was a Latin jazz-rock-fusion group formed in 1972, started by Coke Escovedo and his brother Pete Escovedo, who had just finished stints with Latin rock pioneering band Santana. Azteca was the first large-scale attempt to combine multiple musical elements in the context of a Latin orchestra setting, and featured horns, woodwinds, multiple keyboards, three vocalists, guitars, drums, and multiple Latin percussionists.
Onstage, the band consisted of between 15-25 members, and toured with acts including Stevie Wonder. Other notable Azteca alumni included drummer Lenny White, bassist Paul Jackson, vocalist Wendy Haas, trumpeter Tom Harrell, guitarist Neal Schon, vocalist Errol Knowles and percussionist Victor Pantoja. The group was also a musical starting point for Latin percussionist Sheila E. (the daughter of Pete Escovedo), who appeared with the band as a teenager. Two albums were released on Columbia Records, the self titled Azteca (1972) and Pyramid Of The Moon (1973), before the band split up.
On September 15, 2007, a number of the surviving members of Azteca performed together for the first time in more than 30 years in Hollywood, California. The concert was recorded for an eventual DVD release.


1. La Piedra Del Sol (1:13) [T.Harrell, L.White]

2. Mamita Linda (3:42) [J.Vincent, T.Donlinger] solos: Coke Escovedo, timbales; Bob Ferreira, piccolo
3. Ain't Got No Special Woman (5:59) [R.Reyes, M.Pearson, T.Harrell] solos: Rico Reyes, vocal; Victor Pantoja, conga and vocal; Mel Martin, piccolo; Neal Schon, guitar
4. Empty Prophet (5:20) [J.Vincent, R.Canoff] solos: Errol Knowles, vocal; Mel Martin, tenor saxophone; Jim Vincent, guitar
5. Can't Take The Funk Out Of Me (4:23) [P.Jackson] solos: Paul Jackson, vocal; George DiQuattro, clavinet
6. Peace Everybody (4:32) [G.DiQuattro, P.Escovedo] solos: Bob Ferreira, tenor saxophone; Neal Schon, guitar
7. Non Pacem (6:40) [F.Nunez] solos: Tom Harrell, trumpet; Mel Martin, soprano saxophone
8. AH! AH! (3:24) [T.Puente, P.Escovedo]
9. Love Not Then (5:01) [F.Nunez] solos: Wendy Haas, vocal; George Moribus, piano; Flip Nunez, organ
10. AZTECA (4:38) [A.Bent] solos: George DiQuattro, piano; Lenny White, drums; Victor Pantoja, conga
11. Theme: La Piedra Del Sol (1:54)
Recorded at Columbia Studios, San Francisco, California, in 1972.

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Πέμπτη, 4 Σεπτεμβρίου 2008

SLY & THE FAMILY STONE - October 5, 1968- Live At Fillmore East (Early & Late Show)

Early Show)
1 life
2 color me true
3 it won't be long
4 are you ready
5 dance to the music
6 m'lady

Early Show Tracks: 6 / Total Time: 39:46

Late Show Tracks: 9 / Total Time: 53:31

(Late Show)
7 m'lady
8 life
9 are you ready
10 it won't be long
11 color me true
12 dance to the music
13 love city
14 turn me loose
15 outro

Fillmore East - - October 5, 1968

On Stage

4 &5 october 1968 Fillmore East Poster

Sly & the Family Stone is an American funk, soul and rock band from San Francisco, California. Originally active from 1966 to 1983, the band was pivotal in the development of soul, funk, and psychedelic music. Headed by singer, songwriter, record producer, and multi-instrumentalist Sly Stone, and containing several of his family members and friends, the band was the first major American rock band to have an integrated lineup in both race and gender.
Brothers Sly and singer/guitarist Freddie Stone combined their bands (Sly & the Stoners and Freddie & the Stone Souls) at the end of 1966. Sly and Freddie Stone, trumpeter Cynthia Robinson, drummer Gregg Errico, saxophonist Jerry Martini, and bassist Larry Graham completed the original lineup;
Sly and Freddie's sister, singer/keyboardist Rose Stone, joined within a year. This collective recorded five Top 10 hits and four groundbreaking albums, which greatly influenced the sound of American pop music, soul, R&B, funk, and hip hop music. In the preface of his 1998 book For the Record: Sly and the Family Stone: An Oral History, Joel Selvin sums up the importance of Sly & the Family Stone's influence on African American music by stating "there are two types of black music: black music before Sly Stone, and black music after Sly Stone".
The band was inducted into the Rock and Roll Hall of Fame in 1993.
During the early 1970s, the band switched to a grittier funk sound, which was as influential on the music industry as their earlier work. The band began to fall apart during this period because of drug abuse and ego clashes; consequently, the fortunes and reliability of the band deteriorated, leading to its dissolution in 1975 .
Sly Stone continued to record albums and tour with a new rotating lineup under the "Sly & the Family Stone" name from 1975 to 1983. In 1987, Sly Stone was arrested and sentenced for cocaine use, after which he went into effective retirement .
As of 2008, Sly & the Family Stone had reunited for a series of shows beginning with several dates at the House of Blues in Anaheim and West Hollywood California.

Sly Stone - keyboards, guitar, harmonica, lead vocals
Freddie Stone - guitar, vocals
Rose Stone - keyboards, vocals
Larry Graham - bass, vocals
Gregg Errico - drums
Cynthia Robinson - trumpet, vocals, percussion
Jerry Martini - saxophone, percussion

Fillmore East 69 05 11

These performances were recorded weeks after the release of Sly and the Family Stone's second album, Life, but just before the "Everyday People" single would vault the band to international recognition and incredible commercial success. The influence Sly and the Family Stone would soon have on the American music scene cannot be underestimated. It’s safe to say they were a major force in the development of 1960s era funk and soul, but they would have equal influence on the likes of other musicians, including jazz great Miles Davis and rock guitar giant, Jimi Hendrix. The multicultural personnel of the band, as well as the inclusion of both men and women in the group, were virtually unheard of in the 1960s. The fact that these multicultural elements would blend so perfectly had far-reaching effects on both audiences and the music industry itself.
@ @@@@Biography On answers.com@@@@@

ABC Tv show 'Music Scene' taped in 1969

SLY & THE FAMILY STONE - Thank You (1970)

The outstanding arrangements and the deep grooves that Sly and the Family Stone achieved in 1968 must have caught the attention of many a producer. The group's instrumental sound is echoed in many recordings that became hits the following year. This Fillmore East show captures the group at a pivotal time in the history both of American music, and of its culture in general. (http://concerts.wolfgangsvault.com/)

SLY & THE FAMILY STONE - October 5, 1968 - Live At Fillmore East New York City

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The Glass Harp - The Glass Harp 1970 US Psych Rock

The Glass Harp
Phil Keaggy - Guitars, Vocals
John Sferra - Drums, Guitars, Vocals
Dan Pecchio - Bass, Piano, Flute, Vocals

1(B) GLASS HARP (Decca DL-75261) 1971
2(B) SYNERGY (Decca DL-75306) 1971
3(B) IT MAKES ME GLAD (Decca DL-75358) 1972
1971 Live at Carnegie Hall
1971 Pacific High Recorders Studio Live
1977 Song In The Air Live
These albums, which are in a progressive/psychedelic style with lots of heavy guitar, are beginning to interest some collectors. The outfit formed in Youngstown, Ohio in the late sixties and were among the State's prime flag bearers of the British invasion. @

They recorded an unreleased acetate-album before going on to sign for Decca. Only ten copies of the acetate were made, which contained both sides of the United Audio 45 plus I've Just Begun, a typical slice of Zombies' - influenced pop and six other tracks. One copy of the acetate was sent to Apple Records in the hope of getting a contract, but it was rejected. The bass player on these United Audio recordings was Steve Markulin, a cousin of Joe "Ting" Markulin, The Human Beinz rhythm guitarist. Dann Pecchio joined later and he is featured on all the Decca recordings.
Phil Keaggy had earlier played in The Squires, Volume IV and New Hudson Exit.
Both tracks on their first 45 Where Did My World Come From/She Told Me were written by Phil Keaggy who also produced several records for Ohio area garage bands and later achieved success in the Christian music movement.
One track from the United Audio acetate, I've Just Begun has subsequently re-surfaced on Pebbles, Vol. 21 (LP).
(Vernon Joynson/Mike McKay/George Gell/Max Waller/Bob Wickland)

the official website
Link Removed After request by Glass Harp

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Ronnie Drew & The Dubliners - In The Rare Old Times

Rest in Peace Ronnie, you will never be forgotten.

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Τετάρτη, 3 Σεπτεμβρίου 2008

Ten Wheel Drive - 1969 Construction #1. (NYC Psych Hippie Brass Rock)

Band history from Wikipedia
In 1968, after the final break-up of the all-female rock band Goldie & The Gingerbreads, Genya Ravan was looking for a new band, as were two New Jersey musicians and songwriters, Michael Zager and Aram Schefrin. and the Greek Bill Takas,on Bass.

Personnel incl:

GENYA RAVAN vcls, hrmnca,tambourine



MICHAEL ZAGER organ ,piano

LEON RIX drms ,cello,perc.

LOUIS HOFF flute , tenor , baritone sax


JAY SILVA flute,trumbet, fleugelhorn

RICHARD MEISTERMAN trumbet,fleugelhorn

PETER HYDE piccolo trumbet,fleugelhorn

Produced by Walter Raim
Engineer Ed Rice

Recorded At Gotham Studios,New York City 1969


1(A) CONSTRUCTION N1 (Polydor 4008) 1969

2(B) BRIEF REPLIES (Polydor 4024) 1970

3(C) PECULIAR FRIENDS (Polydor 4062) 1971

4(-) TEN WHEEL DRIVE (Capitol ST 11199) 1974

Acquainted by their managers, the three musicians who would become the nucleus of the new band. Their origins and artistic backgrounds were very different, and at first the music was not to Ravan’s liking.
More musicians had to be found for the rhythm and brass sections. With the exemption of Genya Ravan, only people who were able to read sheet music were hired.
In 1969 the band started to perform regularly and attract positive reviews, and comparisons were drawn between Genya Ravan and Janis Joplin.

Boston Tea Party 11-13 Dec. 1969

At the same time, the Polydor record label was forming an American division. Its new President, Jerry Schoenbaum, closed a deal with Ten Wheel Drive, and together with producer Walter Raim the band released its first album, Construction #1.
Ten Wheel Drive's first big concert appearance was in 1969 at the Fillmore East in New York City. Apart from the band's intense musical presence, Ravan caused some excitement when she took off her transparent vest and continued the performance half-naked with painted breasts and shoulders.

In the summer of the same year, Ten Wheel Drive appeared at the Atlanta Pop Festival. On this occasion Ravan and Janis Joplin, who had previously often been compared, met in person for the second time, having first met at Steve Paul's club The Scene when Joplin sat in with the band.
In 1970, Ten Wheel Drive released their second album, Brief Replies, with producer Guy Draper. By then many of the brass musicians had also been replaced.
1971 saw Ten Wheel Drive performing at Carnegie Hall. Genya with Johnny Carson on the Tonight Show
The project consisted of a rock opera based on the Battle of the Little Big Horn and the history of the Native North American peoples. The American Symphony Orchestra and a choir participated in the project, which had been meticulously prepared. Polydor finally decided against the recording of the event and was later criticised for its bad judgement. Steppenwolf Ten Wheel Drive Luther Allison Feb 5, 1971 Fillmore East (NYC )

Also in 1971, the band's third album Peculiar Friends appeared, for the first time produced by Aram Schefrin and Michael Zager themselves. Genya Ravan’s decision to leave the band and start her solo career at this time, was presumably influenced by the record company’s attitude towards the Carnegie Hall concert. She was replaced by Annie Sutton of The Rascals. Aram Schefrin and Michael Zager later contributed to Genya Ravan’s first solo album.
Ten Wheel Drive left Polydor and their fourth and final album, Ten Wheel Drive (1974), was released by Capitol Records. It includes one song which had earlier been composed by Genya Ravan with Aram Schefrin and Michael Zager, "Why Am I So Easy to Leave". With this record the already loose cooperation between the band's musicians ended.

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