That 70's Thread - Anteater's Reviews Of Cool **** You Should Already Have
- Thread starter prunkgurl69
- Start date
Say I Am You
New member
Mu – S/T (1971)
"Captain Beefheart's #1 slide guitarist playing some killer psychedelic blues with frienRAB."
1. Ain't No Blues (4:08)
2. Ballad Of Brother Lew (4:34)
3. Blue Form (4:09)
4. Interlude (1:59)
5. Nobody Wants To Shine (4:12)
6. Eternal Thirst (9:38)
7. Too Naked For Demetrius (2:36)
8. Mumbella Day (3:24)
9. The ClouRAB Went That Way (3:10)
The world is full of questions that may never be answered: Where do we go when we die? How many licks does it take to get to the center of a Tootsie pop? Dude, where's my car? What would Captain Beefheart's Magic Band sound like doing psychedelic/jazzy rock?
We may never get to the bottom of most of those inquiries, but the last of them is brought to light in a spectacularly trippy fashion here on Mu's extremely rare yet fucking amazing 1971 debut, featuring Jeff Cotton from CB on slide-guitar and saxophone, as well as a host of other amazing musicians such as Merrell Fankhauser on vocals. Fun and fantastic while still retaining a very tight experimental edge, this is a work very different in feel and approach to most of Captain Beefheart's menagerie of recorRAB, but stanRAB out more than anything Jeff Cotton did with Don Glen Vliet in some places in the sheer grooves issued, but never to the point where you forget to be engaged in what you're listening to.
Don't be fooled by the "blues-rock" tag either; this is a finely varied effort across the map, tipping its hat off to folk and art-rock even while it picks away to a West Coast sunset from 1967 with some sax crying out toward the rising night. Typical blues-bars will suddenly expand into odd time signatures without backing out any inch of melody or lick, a testament to the skill of Cotton and living proof that such a fantastic combination of elements and genre-fusion don't come around very often. This is best illustrated on tracks such as 'Nobody Wants To Shine' and the 9-minute cruncher 'Eternal Thirst', the latter of which morphs into something like Afro-pop midway through and only gets better as the minutes tick on by.
[YOUTUBE]EgSdpYJpi9A[/YOUTUBE]
Ultimately, Mu's self-titled does a lot of things right and pretty much nothing wrong. It's got a bit of crossover appeal for nearly everyone, from folks who love the avant-garde to people who go nuclear for the blues and psychedelic rock, sitting at a wonderfully balanced happy place between some of Beefheart's more impenetrable songwriting and some of the more straightforward, dynamic energy that's seen more often in Krautrock and progressive rock circles.
Therefore, anyone looking for a curious early 70's slice of artsy blues rock with an edge should PM me for this immediately. Or if you just want to hear something like Captain Beefheart crossed with early Pink Floyd. In either case, there's plenty of satisfaction to be had.
Todd Rundgren– Something/Anything? (1972)
"Can't You See The Light In My Eyes?"
Side One:
1. I Saw the Light (2:56)
2. It Wouldn't Have Made Any Difference (3:50)
3. Wolfman Jack (2:54)
4. Cold Morning Light (3:55)
5. It Takes Two to Tango (This Is for the Girls) (2:41)
6. Sweeter Memories (3:36)
Side Two:
1. Intro (1:11)
2. Breathless (3:15)
3. The Night the Carousel Burned Down (4:29)
4. Saving Grace (4:12)
5. Marlene (3:54)
6. Song of the Viking (2:35)
7. I Went to the Mirror (4:05)
Side Three
1. Black Maria (5:20)
2. One More Day (No Word) (3:43)
3. Couldn't I Just Tell You (3:34)
4. Torch Song (2:52)
5. Little Red Lights (4:53)
Side Four:
1. Overture-My Roots: Money (That's What I Want) / Messin' with the Kid (2:29)
2. Dust in the Wind (3:49)
3. Piss Aaron (3:26)
4. Hello It's Me (4:42)
5. Some Folks Is Even Whiter Than Me (3:56)
6. You Left Me Sore (3:13)
7. Slut (4:03)
In 1972, there was something wrong with you as a musician if you weren't doing something A. extremely marketable or B. something extremely epic and pretentious.
Somewhere between these two extremes lay one Todd Rundgren, who at the ripe old age of 24 almost singlehandedly produced, sang, arranged and did all the instrumentation on this mammoth of a record, while accompanied by a band on the last seven songs. The result is one hell of a snazzy record, a thick brick in the foundation of genres as far ranging as power pop and heavy metal to the Brit. pop/alt. rock of the 90's.
Despite the density of music present though, there is a surprising absence of overt filler, instrumentals aside. Each part of this four-sider touches base with a different approach to Rundgren's songwriting, from the oddly soulful pop of Side A to the more cerebral experimentation of Side C. Although known for hits such as the Carol King-influenced 'I Saw The Light' and summery 'Hello It's Me', the highlights are numerous: 'Couldn't I Just Tell You' is jangly power pop at its best, 'Little Red Lights' flares bright with West Coast psych. riffage, and even the jazzy funk of Motown rears up with 'Some Folks Is Even Whiter Than Me'.
[YOUTUBE]aeEcyZkg59Y[/YOUTUBE]
And hence we come to Rundgren's main strength: long running length aside, one would find it hard to deny that the diversity of styles on Something/Anything? is remarkable. The fact he did most of it on his own makes it even moreso.
[YOUTUBE]fXq81-cGJr4[/YOUTUBE]
[YOUTUBE]CB-SCz0zyY8[/YOUTUBE]
Hence, from a variety of perspectives, this is a one of a kind work. Today you won't find many pop musicians who'd have the balls to pull something of this caliber: audiences simply don't have the attention span anymore even if all the individual track lengths are short.
So everyone, don't be a douchebag and feel put off by the massive track list: there's a lot of great songs here. What I've mentioned before is merely the tip of the iceberg.
The world is full of albums worth investing your time into: few will reward such effort as well as this one.
[YOUTUBE]bndyxxs2Qgs[/YOUTUBE]
Something Like A War
New member
Just noticed that Circus album up there...nice choice!
xtreem_baseballer
New member
^ Glad you guys like it so far! 
:
1. Tarot Woman (6.08)
2. Run with the Wolf (3:47)
3. Starstruck (4:04)
4. Do You Close Your Eyes (2:58)
5. Stargazer (8:27)
6. A Light in the Black (8:11)
Once upon a time, there was a burly English mofo guitarist named Ritchie Blackmore, and he was really pissed off. The driving force behind much of what made Deep Purple the hard rock goRAB that they were from the late 60's through the mid 70's, by the release of their 1974 release Stormbringer he had become fed up with the other band members and their disregard of his concerns about their change toward a more funky/soul influenced kind of rock. After breaking a bunch of stuff, he promptly left before the year was out.
In 1975, he teamed up with the then-vocalist of Elf, Ronnie James Dio, an extraordinary singer who shared with Blackmore a love of harrrrd rock and classical music. And thus, after recruiting a bassist and drummer, the dynamic duo formed a rock band whose name would echo down the years as a household statement, a wonderful collaboration of showmanship and edgy classicism that would prove to be very awesome for awhile: Rainbow.
But although their 1975 debut was quite decent, even spawning a less-than-commercial single that charted, it was on 1976's Rising where everything, from the riRAB to the keyboarRAB to the epic delivery, came together without the slightest of hitches and every track was perfect. And amiRABt all the stuff they've done since that time, they've never outdone the 33 minutes of work recorded here. Not even once.
The party begins with 'Tarot Woman', opening over the course of a minute or so with psychedelic keyboarRAB that seem to float around in distant spiraled space before the main riff comes in around 1:30 to bring you back to reality. What ensues is a good ol' fashioned headbanging back by galloping two-kick drum n' bass. All things considered, you couldn't ask for a better start to one of the best rock albums ever made.
[YOUTUBE]gPkiwdHXXFA[/YOUTUBE]
But its not just the opener that hits home. 'Run With The Wolf' and 'Starstruck' are both nice slices of blues based proto-metal with solos that are nice and gritty without the usual cheese you associate with hard rock.
[YOUTUBE]3qa7HaqFgWg[/YOUTUBE]
Side 2, however, is where we see just how epic a level Rainbow are willing to...rise to, when given the opportunity to perform longer tracks. 'Stargazer', with its vaguely-Eastern sounding keyboard, knotty guitar and Dio bellowing about sword n' sorcery and whatnot, is sure to be on anyone's dragon slaying playlist and is one of the tracks that laid the foundations for the power and progressive metal genres that would arise in the mid to late 80's, along with the 8-minute closer "Light in the Black", which enRAB the album on a high note and makes use of all the elements seen in previous tracks into one fantastic whole.
[YOUTUBE]SedQcg-65a8[/YOUTUBE]
In conclusion, Rainbow, along with Uriah Heep, is just to me one of those banRAB that truly defined the harder edge of the 70's. More straightforward than Zeppelin, but at times a lot more fun too! Although they would decline down the AOR route once the 80's hit, Rising still stanRAB as this band's distinctive stamp in music history, borne in an era where others may have been weirder, but not nearly as catchy for all their experimental tendencies. For as many of us well know, sometimes simpler is better: for people looking for some blazing hot rock without the excess cock, this here is the peak.
:Rainbow – Rising (1976)
"Walls to the Balls Heavy Hittin' Proto-Metal w/ Keyboardz."
1. Tarot Woman (6.08)
2. Run with the Wolf (3:47)
3. Starstruck (4:04)
4. Do You Close Your Eyes (2:58)
5. Stargazer (8:27)
6. A Light in the Black (8:11)
Once upon a time, there was a burly English mofo guitarist named Ritchie Blackmore, and he was really pissed off. The driving force behind much of what made Deep Purple the hard rock goRAB that they were from the late 60's through the mid 70's, by the release of their 1974 release Stormbringer he had become fed up with the other band members and their disregard of his concerns about their change toward a more funky/soul influenced kind of rock. After breaking a bunch of stuff, he promptly left before the year was out.
In 1975, he teamed up with the then-vocalist of Elf, Ronnie James Dio, an extraordinary singer who shared with Blackmore a love of harrrrd rock and classical music. And thus, after recruiting a bassist and drummer, the dynamic duo formed a rock band whose name would echo down the years as a household statement, a wonderful collaboration of showmanship and edgy classicism that would prove to be very awesome for awhile: Rainbow.
But although their 1975 debut was quite decent, even spawning a less-than-commercial single that charted, it was on 1976's Rising where everything, from the riRAB to the keyboarRAB to the epic delivery, came together without the slightest of hitches and every track was perfect. And amiRABt all the stuff they've done since that time, they've never outdone the 33 minutes of work recorded here. Not even once.
The party begins with 'Tarot Woman', opening over the course of a minute or so with psychedelic keyboarRAB that seem to float around in distant spiraled space before the main riff comes in around 1:30 to bring you back to reality. What ensues is a good ol' fashioned headbanging back by galloping two-kick drum n' bass. All things considered, you couldn't ask for a better start to one of the best rock albums ever made.
[YOUTUBE]gPkiwdHXXFA[/YOUTUBE]
But its not just the opener that hits home. 'Run With The Wolf' and 'Starstruck' are both nice slices of blues based proto-metal with solos that are nice and gritty without the usual cheese you associate with hard rock.
[YOUTUBE]3qa7HaqFgWg[/YOUTUBE]
Side 2, however, is where we see just how epic a level Rainbow are willing to...rise to, when given the opportunity to perform longer tracks. 'Stargazer', with its vaguely-Eastern sounding keyboard, knotty guitar and Dio bellowing about sword n' sorcery and whatnot, is sure to be on anyone's dragon slaying playlist and is one of the tracks that laid the foundations for the power and progressive metal genres that would arise in the mid to late 80's, along with the 8-minute closer "Light in the Black", which enRAB the album on a high note and makes use of all the elements seen in previous tracks into one fantastic whole.
[YOUTUBE]SedQcg-65a8[/YOUTUBE]
In conclusion, Rainbow, along with Uriah Heep, is just to me one of those banRAB that truly defined the harder edge of the 70's. More straightforward than Zeppelin, but at times a lot more fun too! Although they would decline down the AOR route once the 80's hit, Rising still stanRAB as this band's distinctive stamp in music history, borne in an era where others may have been weirder, but not nearly as catchy for all their experimental tendencies. For as many of us well know, sometimes simpler is better: for people looking for some blazing hot rock without the excess cock, this here is the peak.
BigJetFixemUpper
New member
Quantum Jump – S/T (1976)
"Taumatawhakatangihangakoayauotamateaturipukakapikimaungahoronukypokaiwhenuakitanatahu"
1. Captain Boogaloo (4:19)
2. Over Rio (4:22)
3. The Lone Ranger (2:55)
4. No American Starship (4:55)
5. Alto Loma Road (4:46)
6. Cocobana HAvana (5:10)
7. Constant Forest (2:17)
8. Something At The Bottom Of The Sea (8:09)
Fresh from two kickarse solo albums and overflowing with new ideas, singer/songwriter Rupert Hine teamed up with ex-Caravan bassist John G. Perry and drummer Trevor Morais (of pop ensemble The Peddlers) to form a group that could make some of these interesting compositions a reality....Quantum Jump. In doing so, Hine brought two worlRAB together that had yet to become truly acquainted: slick electro-funk and the whimsical jazz-rock of the Canterbury Scene, resulting in this fantastic debut album that doesn't sound quite like anything else around. It's also something of an achievement in the technical department for 1976: there's a major proto-New Wave feel through most of the songs, augmenting an already great sound with a glossy punch to the gonaRAB.
The sucker hits the ground with one hell of a long stride on its opening number, a quirky yet appropriately named 'Captain Boogaloo', jamming at high speed to a chunky bass straddled with some good ol' fun Motown call-and-response. The silliness is quite apparent, but with a groove this good it shouldn't matter. We then cut to a mid-tempo jazzy-soul number 'Over Rio' that gives you a day in the nightlife as it were, followed by the track that put this record on the map -- 'The Lone Ranger'. And when a song opens with the longest word in the human language, you know there's a ride to be had!
[YOUTUBE]MzJtK3c9fl8[/YOUTUBE]
Needless to say, this is a debut album from a band at the top of their game: although dominated by an utterly wonderful bass and drumming two-punch, the vocals and guitar remain at the top of the mix as well, giving every single musical note present a real "in your face" quality that some albums from the 70's lack. In particular, pay attention to the jamming in the second half of 'Cocabana Havana' -- they make the Mahavishnu Orchestra look like school children compared to the sheer ferocity displayed in the last 2 minutes here.
[YOUTUBE]glAJZ3QmI18[/YOUTUBE]
Jazz-rock, soul, New Wave, funk, Canterbury Scene...regardless of how Quantum Jump are tagged or what one may think after going through some of these tracks, it's a struggle to deny that these guys had something rather special going on in the sonic department: due to bad and generally lackluster marketing strategy however, Rupert Hine and co. only managed to cut two gem-like albums before going off on their own separate tangents...and none of the resulting work compares to this album's electrical synergy.
At the end of the day, bass aficionados will adore this album. However, this is ultimately a record for anyone who loves good, foot-stomping music with grooves that go all the right places, and I recommend it as much as I can recommend an album to someone: pick this up today!
Cool review. Some consider this the first Power Metal record, spear-headed by Dio's incredible range, lyrics and Blackmore's classic guitar style. "Rising" ventures into prog territory at times, but never lets up in energy. As you noted, the band became more of a straight forward hard rock band on their next album, but "Long Live Rock n Roll' is still another mighty fine release.
Great, I just found this thread this morning and as I'm writing this, I'm currently on the wireless which is taking me away from where I live so I can go celebrate christmas with the family. I'd love to check more of these albums out right now, but it seems I'll have to wait until new years.
Still, it's not all new. I was surprised and quite happy to see Rainbow get a mention Rising is one of those albums that have gotten a fair amount of play from me a couple of years ago. I still find a lot of Rainbow tracks on burned CRAB in my parents' car. Odgipig I already checked out on your recomendation and their debut is certainly interesting.
England and Mu sounRAB the most interesting to me at the moment - although I thought I'd drop playing those youtube viRAB on the buss. Of course there had to be a prog-outfit called England by the way .. I mean, there's one called U.K., so.
Anyways, great thread and I'm rooting fot you in the member awarRAB for best writer. You deserve it
Still, it's not all new. I was surprised and quite happy to see Rainbow get a mention
Rising is one of those albums that have gotten a fair amount of play from me a couple of years ago. I still find a lot of Rainbow tracks on burned CRAB in my parents' car. Odgipig I already checked out on your recomendation and their debut is certainly interesting.England and Mu sounRAB the most interesting to me at the moment - although I thought I'd drop playing those youtube viRAB on the buss. Of course there had to be a prog-outfit called England by the way .. I mean, there's one called U.K., so.
Anyways, great thread and I'm rooting fot you in the member awarRAB for best writer. You deserve it
roberto-chang
New member
Rare Bird – Epic Forest (1972)
"Rock n' soul in the forest of old where the crows fly high and the goRAB grow mold."
1. Baby Listen (3:25)
2. Hey Man (5:53)
3. House In The City (4:25)
4. Epic Forest (9:12)
5. Turning The Lights Out (4:38)
6. Her Darkest Hour (3:33)
7. Fears Of The Night (3:17)
8. Turn It All Around (4:43)
9. Title No. 1 Again (Birdman) (6:05)
..and yet, it's unfortunate, then, that the band was dismissed as a one hit wonder afterwarRAB. This is because their 1972 release, Epic Forest, is one of the catchier and more interesting rock albums of the decade, soulful and electric in all the best possible ways. And the vocals...dayum!
One of the first things you may notice as the thumping 'Baby Listen' takes off is the rhythm section: it's high in the mix, yet doesn't shove the other elements of the sound aside. Rather, it's warm and buttery to the ears, much like a classic Motown single. The punchy drums in particular make a wonderful impression; the only question is...why wasn't this a single?
[YOUTUBE]nZLYSsn5tCY&fmt=18[/YOUTUBE]
In any case, an interesting trait emerges out of the woodwork over the course of the album: Epic Forest is often a strangely relaxed affair, with some tracks sitting in an odd yet compellingly murky place between CSN&Y and a Blue Oyster Cult or Zeppelin at their quieter, acoustic moments..with prettier singing. In these sparser moments, such as 'Her Darkest Hour' and parts of "Turn It All Around', the vocal harmonies are spotlighted and kicked up a notch, benefited by some of the best production values of the early 70's.
[YOUTUBE]ns6zJ3W0RoU&fmt=18[/YOUTUBE]
The real meat of the album, however, is laid bare on two epic pieces that serve as something of a see-saw for the rest of the songs - the roaring title track, which picks up quite a bit of power as it sets itself in for a 9 minute run, and the closing miniature 'Title No. 1 Again (Birdman)' which starts to shred wickedly about 2 minutes in before morphing into something that wouldn't be out of place in The Yes Album in structure, but with the steel guitar punch of a classic Deep Purple workout. For me at least, these two tracks make the album: the lengths are justified by the talent displayed here, letting the band build up to climaxes that would make even jazz-fusion ensembles jealous.
[YOUTUBE]2qiy7F2mGJE&fmt=18[/YOUTUBE]
At the end of the day, Rare Bird most certainly fall into the area that people of today's generation would refer to as 'classic rock'...and yet on this album there was a sense of balance and congruity that detractors normally say isn't there in arguments of why the 70's were overblown and outrageous.
Simply put, this is amazing rock-oriented music: more intricate than the stuff your parents like, but not the point where it's inaccessible by anyone with an ear for a riff today. The recent remaster has also knocked what minor chinks there were in the production back then and added some great bonus tracks to boot!
So, what are you waiting for? Check out the Bird today!
MeTheTwerd:)
New member
A great idea for a thread and agree with most of the comments about Rainbow above. I was never a fan of DP with David Coverdale in the band. As for Rainbow, I`m also a big fan of their first two albums and they could easily be described as power metal with their classical influences and keyboarRAB along with their sworRAB and sorcery Heavy metal image, as opposed to the satanic darker feel of Sabbath. These albums are certainly my favourites as far as Dio is concerned and Blackmore`s best work in his post DP days.
After this it was all downhill really, as they like some of their counterparts such as UFO and Uriah Heep etc steered into a much easier listening radio commercial sound. Admittedly they were capable of releasing catchy songs such as "Since You`ve Been Gone" and "I Surrender" As good as these songs were, they`re probably not the kind of thing that a metal head wants to hear, from a band that were capable of producing much better.
After this it was all downhill really, as they like some of their counterparts such as UFO and Uriah Heep etc steered into a much easier listening radio commercial sound. Admittedly they were capable of releasing catchy songs such as "Since You`ve Been Gone" and "I Surrender" As good as these songs were, they`re probably not the kind of thing that a metal head wants to hear, from a band that were capable of producing much better.
MommyOfaLittleBoy
New member
The Wombles – Keep On Wombling (1974)
"And remember kiRAB - Make Good Use of Bad Rubbish!"
1. Womble of the Universe (3:41)
2. The Orinoco Kid (3:17)
3. The Jungle Is Jumping (3:21)
4. Underground Overture (2:40)
5. Hall Of The Mountain Womble (1:45)
6. Look Out For The Giant (2:21)
7. Wombling Twist (3:00)
8. Tobermory's Music Machine (2:17)
9. Wipe Those Womble Tears From Your Eyes (3:42)
10. Invitation To The Ping-Pong Ball (3:49)
11. Wombling Merry Christmas (3:21)
In an odd twist that might surprise some, the top charting band in the U.K. circa 1974 was not a band that many people really remember today...unless one was familiar with a children's television show characterized by furry long-nosed mole/troll things that live in burrows and recycle/put to good use the stuff that people normally trash or flush away.
What show am I talking about you might ask? Why The Wombles of course!
[YOUTUBE]pFOVugG5O4Q[/YOUTUBE]
However, the actual critters that star in this great show are not what I'm getting into here today -- rather, I'll be going through the band which was inspired by them, started off by the chap who wrote the opening theme in the above vid, Mike Batt, and a fun little album he and some of the musicians he got together released in 1974 called Keep On Wombling.
Typically, it's a concept album despite its source material and bubblegum nature, based on a dream cycle that a certain Womble by the name of Orinoco where he goes through a variety of strange lanRAB and settings. Hence, there's a refreshing eclecticism about the record which separates it from a rest of the rubbish spawned from childrens' TV, with a distinct Beatles vibe to boot.
And speaking of which, opening shot 'Womble of the Universe' wouldn't be too out of place on Abbey Road's cutting room floor: it brims with cheerio and harmony with a baroque bouquet. Typical in structure, it makes up for it in mood.
[YOUTUBE]nW6x3o__jFY[/YOUTUBE]
The album waltzes through other styles in its half hour running time, each one proving more entertaining than the last: 'The Orinoco Kid' gives me an early 70's Beach Boys vibe whilst 'Wipe Those Womble Tears From Your Eyes' is almost country in its aspirations. My personal favorite pieces, however, go to the especially buoyant 'Jungle Is Jumping' and the oriental 'Invitation To The Ping-Pong Ball' respectively, where dissonance and the stranger influences that pervade become more apparent.
[YOUTUBE]fC0B-ynSBCU[/YOUTUBE]
[YOUTUBE]F8q9BiVrBUk[/YOUTUBE]
Considering all the ground covered here though - including a rather amusing cover of Hall of the Mountain King -If ever there was a time capsule in music for the variety of pop styles that emerged in the turbulent 70's, this album proves a worthy candidate: who would have thunk that a band inspired by stop-motion animation would be able to pull off something this good in half the time most LPs at the time were?
To fans of early power pop, British animation, fermented psychedelia or if you are just looking for something curious to add to your collection: pick this up The Wombles immediamente!
^ Ah shucks Tore, thanks for the nomination. Glad you've enjoyed the thread so far, and hope you have some merry holidays over the next couple of days.
And now...
1. On the Corner (19:55)
2. Black Satin (5:16)
3. One and One (6:09)
4. Helen Butte / Mr. Freedom X (23:18)
Miles Davis is a musician that never has and never will need an introduction. From the 40's up until the early 90's he was Jazz's favorite spokesman and among the most well known entrepreneurs working in music period. As the 70's dawned, when the idea of electric guitar playing alongside a sax quartet horrified traditional jazz critics, Miles Davis recorded A Silent Way and then the ever lauded Bitches Brew and shut them all up for good. In 1991 when had ever really tried to do a serious jazz-rap album, Davis brought out Doo-Bop just in time to die from a stroke at the ripe young age of 65.
Still, the impact of these aforementioned works pale in comparison to a particular work of Davis's from 1972, an album so far ahead of its time that it not only bombed commercially, but was nearly forgotten by even Davis's own fanbase. It's a funky beat-busting little ditty that almost singlehandedly laid that foundations for both post-punk and drum n' bass over a decade before either genre had even begun to stir in the minRAB of their creators.
Ladies and gents, welcome to On The Corner!
The title track which opens the album, although a potentially turn-offer clocking at the 20 minute mark, is most definitely an ear catcher despite the length and memorable as well. The groove is immediate, explosive and thick with snaking polyrhythms from the percussion and drumming, supported from the depths of the mix by some wah-wah guitar riffagee and Davis's snarky trumpet. Tempo changes are prominent, noticeably quieting down around the 6:40 mark at first and slowly picking up speed as it goes uphill for the remaining fourteen minutes. If I had to sum up the experience of this piece in one word, it would probably be "Hard-boiled"
[YOUTUBE]Ps0ka1tY5yg[/YOUTUBE]
Next comes my personal favorite 'Black Satin', a five minuter that could most definitely be considered a big forerunner to early drum n' bass, particularly in regarRAB to the opening beat and how it spirals down over the ensuing minutes. It's also got a few electronic touches that are pretty nice.
[YOUTUBE]dbbCZaI313A[/YOUTUBE]
The last two tracks are well up there with the best Davis has ever done as well. 'One And One' has a strong Eastern feel underlying the drums and trumpeting, making one think of some of Coltrane's mid 60's work with a funkier beat, while 'Helen Butte/Mr. Freedom X', as expected of a strong closing suite, pulls elements from all the other tracks into thick cohesion. It never quite achieves the energy of the title track or Black Satin, but the chill factor is quite excellent nevertheless and enRAB On The Corner with a satisfactory feel, as if the music could simply play on and on toward the horizon and never really stop.
[YOUTUBE]pS56epCP9g8[/YOUTUBE]
From start to finale, Davis set to recording a very very focused set of tracks here back in the early years of jazz-fusion, laying some musical foundations for future generations to work with in a variety of genres while still attempting to reach out to the young people of the 70's with a strong funk touch to his usual compositional approach. In all honesty, I think it's actually rather baffling that this album got such a cold shoulder back in '72 when it hit shelves: the rhythms are first-class, the playing is tightly wound and full of crash and the compositions themselves are well written. What more could you want?
For people just getting into Miles Davis, jazz cats, fellows who love their funk, and anyone who loves a hot beat that sounRAB fresh from the street, you can't go wrong with this seminal masterpiece. Merry Christmas MB!!:
And now...
Miles Davis – On The Corner (1972)
"The King of Jazz goes funky and commercial...and in the process redefined what music could become."
1. On the Corner (19:55)
2. Black Satin (5:16)
3. One and One (6:09)
4. Helen Butte / Mr. Freedom X (23:18)
Miles Davis is a musician that never has and never will need an introduction. From the 40's up until the early 90's he was Jazz's favorite spokesman and among the most well known entrepreneurs working in music period. As the 70's dawned, when the idea of electric guitar playing alongside a sax quartet horrified traditional jazz critics, Miles Davis recorded A Silent Way and then the ever lauded Bitches Brew and shut them all up for good. In 1991 when had ever really tried to do a serious jazz-rap album, Davis brought out Doo-Bop just in time to die from a stroke at the ripe young age of 65.
Still, the impact of these aforementioned works pale in comparison to a particular work of Davis's from 1972, an album so far ahead of its time that it not only bombed commercially, but was nearly forgotten by even Davis's own fanbase. It's a funky beat-busting little ditty that almost singlehandedly laid that foundations for both post-punk and drum n' bass over a decade before either genre had even begun to stir in the minRAB of their creators.
Ladies and gents, welcome to On The Corner!
The title track which opens the album, although a potentially turn-offer clocking at the 20 minute mark, is most definitely an ear catcher despite the length and memorable as well. The groove is immediate, explosive and thick with snaking polyrhythms from the percussion and drumming, supported from the depths of the mix by some wah-wah guitar riffagee and Davis's snarky trumpet. Tempo changes are prominent, noticeably quieting down around the 6:40 mark at first and slowly picking up speed as it goes uphill for the remaining fourteen minutes. If I had to sum up the experience of this piece in one word, it would probably be "Hard-boiled"
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Next comes my personal favorite 'Black Satin', a five minuter that could most definitely be considered a big forerunner to early drum n' bass, particularly in regarRAB to the opening beat and how it spirals down over the ensuing minutes. It's also got a few electronic touches that are pretty nice.
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The last two tracks are well up there with the best Davis has ever done as well. 'One And One' has a strong Eastern feel underlying the drums and trumpeting, making one think of some of Coltrane's mid 60's work with a funkier beat, while 'Helen Butte/Mr. Freedom X', as expected of a strong closing suite, pulls elements from all the other tracks into thick cohesion. It never quite achieves the energy of the title track or Black Satin, but the chill factor is quite excellent nevertheless and enRAB On The Corner with a satisfactory feel, as if the music could simply play on and on toward the horizon and never really stop.
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From start to finale, Davis set to recording a very very focused set of tracks here back in the early years of jazz-fusion, laying some musical foundations for future generations to work with in a variety of genres while still attempting to reach out to the young people of the 70's with a strong funk touch to his usual compositional approach. In all honesty, I think it's actually rather baffling that this album got such a cold shoulder back in '72 when it hit shelves: the rhythms are first-class, the playing is tightly wound and full of crash and the compositions themselves are well written. What more could you want?
For people just getting into Miles Davis, jazz cats, fellows who love their funk, and anyone who loves a hot beat that sounRAB fresh from the street, you can't go wrong with this seminal masterpiece. Merry Christmas MB!!
:The Ignorant Masses
New member
Talking HeaRAB – Fear of Music (1979)
"This aint no disco, and all I see is little dots."
1. I Zimbra (3:09)
2. Mind (4:03)
3. Paper (2:39)
4. Cities (4:10)
5. Life During Wartime (3:41)
6. Memories Can't Wait (3:30)
7. Air (3:34)
8. Heaven (4:01)
9. Animals (3:30)
10. Electric Guitar (3:03)
11. Drugs (5:10)
In the wake of punk's sudden takeover bid for musical supremacy in the late 70's and the demise of the disco and prog. demographics, popular music was in need of renovation, along with a fair amount of innovation. The question was, what exactly would this entail? Now that the musical world had gotten a nice shot of adrenaline, how could this energy be focused into something meaningful and interesting to people who actually gave a shit about listening to music that could stimulate both the body and the mind?
Different groups came up with different answers, and by the dawn of the 80's a number of "art-punk" banRAB had emerged from the underground in order to stake a claim at the shoreline of these changing sonic tides; Television turned riffing into a friggin' industry of its own while the Ramones integrated the charisma of good ol' fashioned rock with some punk sensibility to fun effect. However, as banRAB began to arise from their primordial boarding schools and whatnot in order to tame the Punk Beast into something less mindless, there was this snotty bunch of white kiRAB from New York who stood out beyond the others in their lyrical sensibilities, experimentation and oddly contagious grasp on rhythm. In the course of three albums, they laid the foundations for what musical canon would later call New Wave and for a short while were one of the most popular groups on the planet despite their anti-commercial stance and often paranoid subject matter: ladies and gents, say hello to the Talking HeaRAB.
Anyway, the review: Fear of Music is the Talking HeaRAB third major studio album, released in 1979, and although it was critically successful and lauded its never been as popular as Remain In Light or the majority of their 80's output. This is probably because despite their radio-friendly lengths, most of the tracks here are weird or lyrically dark even at their most danceable. Take opening track 'I Zimbra' for instance; you have King Crimson guitarist Robert Fripp whipping out angular licks over conga polyrythms as frontman David Byrne spouts incomprehensible gibberish for three minutes. Catchy? Yes. Awesome? Yes. Going to chart high on the Top 40? Not a chance, though American DJs briefly picked it up as a club groove for a week or two. The following track 'Mind' seems almost mundane in comparison, but its lamenting tone and low-key beat proves to be compelling in its own right also.
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Still, even beyond these first two numbers, we're dealing with a classic work of sorts, so therefore highlights are numerous. Plus, regardless of whether your in the Love or Hate camp, its certainly no argument that the Talking HeaRAB have quite the distinctive sound: Byrne's odd inflections, tribal thumping drums, congas and bass, and ever evasive, slinky guitar work make for an intriguing set up even when the songs don't always work (though that's not the case here; Fear of Music flows like a charm). Also, the HeaRAB have a knack for balancing between straightforwardness and the purposely quirky; tracks such as 'Life During Wartime' and 'Heaven' are both engaging and deceptively stripped down, while my favorite track 'Animals' places some interesting lyrics, drunken atonal delivery and upbeat instrumentals in a sort of tandem, each contrasting the other and resulting in something simultaneously cool and memorable. And when all is said and done, its tracks like this that make an album for me.
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Ultimately, what can I say already that hasn't been said about this album by snooty music critics in the last three decades? It's fantastic stuff that came right as the 70's birthday candle was going to be blown out, and like all good recorRAB can engage a listener just as easily now as it could 30 years ago. And for anyone wanting to get into the more creative side of punk, you could do a lot worse than with Fear of Music. It certainly did me good back in high school, I'll say that much.
England – Garden Shed (1977)
"In Progressive Rock's Dying Breath, A Final Classic Emerged..."
1. Midnight Madness (6:58)
2. All Alone (Introducing) (1:53)
3. Three Piece Suite (12:58)
4. Paraffinalea (4:12)
5. Yellow (5:24)
6. Poisoned Youth (16:17)
Arriving in 1977 at the height of punk's popularity, it's no wonder that the boys who formed England and then released a proggy work of this calibur weren't stoned to death in the streets. Especially considering the fact it came on a major label. "Progressive rock in OUR U.K.? BOLLOCKS!!!"
Still, all things considered, this album was mostly certainly the last "straight up" progressive rock album to be released on a major label up until the 90's, and thus could be considered to be the last masterpiece from a movement in music that many people were trying to forget ever existed. In many ways, Garden Shed is a work that draws from all the major groups that made prog. what it was, but innovates and stanRAB apart from the works of all those banRAB. Although vocally similar to Yes whilst compositionally closer to Genesis with a few noRAB to Gentle Giant and a tad amateurish at times overall, this is record as grandiose as it is fun to listen to, and a fitting closure to prog. rock's golden age.
Each of the six tracks present here are gorgeous exclamations in both complexity and pop sensibility. Opening number 'Midnight Madness' twists and turns with quirky synths before the vocals and the main beat clocks in and you begin to hear why England are interesting: they remind you of other banRAB in the genre, but sound utterly unlike any one them. Like all classic prog., this track remains memorable and engaging throughout its seven minutes while still showing off the chops of the people involved. You couldn't ask for a tastier beginning.
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However, there's plenty of fun highlights in the ensuing songs. 'Paraffinalea' is a quirky, upbeat analog synth driven number that wouldn't be out of place on Gentle Giant's early albums and 'Yellow' is an acoustic stab into the band's more idyllic potential, bringing to mind images of green hillsides and blazing sunsets. There are also two suites, 'Three Piece Suite' and 'Poisoned Youth', that portray just how fantastic these guys were at songwriting for longer pieces. The former is very bright, the latter dark and full of delicious, pounding bass n' drums that wouldn't be out of place on a Miles Davis or King Crimson album somewhere.
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The latter half of the 1970's was not a friendly place for progressive rock, nor was it that welcoming a time for experimental music in general. The time when a 60-minute piece of music could chart at #1 on the Top 40 in the U.S. was lonnnnng over by the time Garden Shed hit shelves. Still, there's something to be said of an album that is considered to be the "last great prog. rock album" by enthusiasts and music historians, and you can all be the judge of that proclamation for yourselves when you give this underrated record a spin on a drive or in the comfort of your homes, and I highly recommend it to anyone looking for something wholly good and awesome sounding in a genre derided for its cheesefests and pretentious ramblings.
lil_c200516101
New member
I recently heard Mekanik Destruktiw Kommandoh and judging by these two songs, this album seems to be very different from that one. Anyway, ever since then, I've been very intrigued by Magma, but haven't yet gotten around to submerge myself into their sound. So, it's great that you indirectly reminded me.