The next two tracks are probably the weakest on the album. The nasal guitar featured on the center stereo field might have been Roger. White noise pulls the listener into the inventive use of backwards rhythm tracks that surge into some spry guitar, bass, and drum work by the band. The track is a precursor to riff-based speed metal, and something not out of place in early Metallica.
You can see that in my paintings. The one thing that remained true was a tongue-in-check humor that seemed intended to keep things in perspective. Mercury always understood the importance of mystique, and how critics could cultivate, in musicians, a kind of self-importance and unhealthy deification. The Dadd painting itself is rather fascinating to explore.
Mercury himself was an adept sketch artist in his own right. The image has been altered to highlight the details of this work. A Mercury sketch of another icon, under his non-de-plume Ponce. Both are long, episodic, with great emotional shifts; both feature ensemble characters that comment on the main character.
Both tracks seem to be frivolous, but in fact may be more profound than assumed. The opening line seems to be directed at a person, which could be a lover, or perhaps it could be a more veiled comment. Freddie might have seen himself in the role as the Queen. The queen continues to be boastful while her subjects plead. The song could be a jumble of references; in part it could be a veiled comment on manager Norman Sheffield who would soon plague the band with royalty problems. The echo of the saxophone adds to the sense of alienation and bleakness.
It all ends on an off kilter series of notes that speed up into a frenzy that finally fades out. It's a great sound and prepares the way for Hammill's spaced out lyrics. I just love the riff of the bass and sax in this track that stops and starts and even features quite a beautiful acoustic arrangement and spars saxophone.
Heavy stuff throughout it never becomes overbearing thanks to the excellent structures of each track that range from tranquility to an out of control maelstrom. The bonus tracks are surprisingly good and worth the effort.
From the estranged vocals, "I wish that you would set me free forever, but these rings on my arms are too deep I love the way it loses control halfway through almost improvisational in places and then somehow finds its way again, nobody could jam like these guys. The end is stuffed up with an added cymbal hit and the band members curse and laugh.
But who would care after the way this track spiralled all over the place, but I guess these guys were perfectionists. The early take of 'Emperor in His war Room' is more or less a curio and is a rare look at the makings of a classic track. It does sound different without the overdubs and atmospherics but is no the less the better for it. Overall, H to He Along with Pawn Hearts and Godbluff, I can't recommend this more highly. The album features some of the first use of Multi-tracked string acoustic guitars that are blended with folky vocal harmonies, quiet flute, acoustic piano, and gentle keyboard pads on the Hammond and mellotron.
It begins with an isolated secluded atmosphere in the form of 'Looking For Someone' that is certainly not a sound the band would return to on subsequent albums.
The band were very unsure at times of their sound Anthony Phillips holds back on guitar preferring an acoustic approach, John Mayhew gently touched his drums, Peter Gabriel is quiet and calm, Mike Rutherford maintains simple basslines, Tony Banks prefers a subtle keyboard motif - all this of course is transformed into glorious prog chaos on the last track.
Fangs frantic paws told the tale of his sin, Far off the chase shrieked revenge. Outcast he trespassed where no wolf may tread, The last sacred haunt of the dead. He learnt of a truth which only one wolf may know, The sceptre and crown of a king. Howling for blood, one-eye leads on the pack, Plunging through forest and snowstorm. The music peaks at the end of each verse and slows into the pastoral English feel, Gabriel's voice is even fed through a machine echo effect at one point.
The rhythm is maintained during the verse, with Gabriel part of the rhythm. The quieter moments of the song are characterised by flute and acoustic flourishes. The mellotron builds a cathedral atmosphere in the break. A wonderful song from the album characterising a new sound akin to Canterbury but still distinctive.
The softer moments of the track are almost like a fairy tale and then there is a darker razor edge to the music with some ethereal piano and mellotron. The flute lends it's folky pastoral quality to the piece. Gabriel has a phased effect on his voice in one section, abut he is master of the storyteller style and once again he dominates the track: "Visions of angels all around, Dance in the sky, Leaving me here, Forever goodbye.
The guitar is well executed here picking style and a chiming keyboard adds a mystical quality with descending shapes and chilling notes pulled down the scale almost ghostly. The other worldly sound builds with an electrifying instrumental passage capitalising on organ and a quick tempo beat with basslines and drums adding the metrical pattern. The flute shines on this when Gabriel sings gently: "Wait, there still is time for washing in the pool, Wash away the past.
Moon, my long-lost friend is smiling from above, Smiling at my tears. Come well walk the path to take us to my home, Keep outside the night. The ice-cold knife has come to decorate the dead, Somehow. And each will find a home, And there will still be time, For loving my friend, you are there The rhythm builds again and Gabriel ad libs all sorts of nonsense to end this, "I want a drink, I want a drink, To wash out the filth that is deep in my guts, I want a drink.
Once again an underrated track from this horrendously underrated album. The lyrics are as whimsical as ever; "Once Jesus suffered, Heaven could not see him. And now my ship is sinking, The captain stands alone. A pawn on a chessboard, A false move by God will now destroy me, But wait, on the horizon, A new dawn seems to be rising, Never to recall this passerby, born to die. The acoustic is once again a main factor and there are heavy crashes of piano.
Not too bad but only a shadow of the next track which is a bonafide classic. Gabriel was quite attracted with The Nice and the song 'Rondo' and in trying to capture this sound came up with a track that would typify the Genesis sound on their next album "Nursery Cryme".
The Hammond and one note fuzz bass intro this excellent prog exploration. The lyrics are a real point of interest and Gabriel frighteningly sneers his way through them with utter conviction; "Stand up and fight, for you know we are right, We will strike at the lies, That have Album) like disease through our minds.
Soon we'll have won and we'll treasure this worth, With our winnings and kindness To all who our love now deserve, Some of you are going to die, Martyrs, of course, to the freedom I will provide. In the mid section the dark Hammond sound ceases and a bass booms with a violining guitar created by volume swells, and then a lilting haunting flute, subtle cymbal clangs on the ride cymbal and a beautiful keyboard pad providing a dark ambience.
Then a fuzzed electric guitar is heard with Rutherford's fuzz bass, an off kilter chord structure, and phased vocals chant with a tape loop of screaming and voices, the birth pangs of prog are right here. The guitars have a chance to launch into flight with some of the best work from Anthony Phillips.
After you have been lulled to sleep by all the gentle pastoralness of the previous tracks with their one note bass passages and dreamscape instrumentals you are suddenly jolted back to life with 'The Knife'. After the quiet breeze there is a hailstorm of chaotic drums, a thunderclap of stormy distorted organ and soaring guitar solos, with an injection of venomous, sniping vocals. It is not for nothing that this song closed the Genesis set for years after and is the only track fans want to talk about from 'Trespass'.
The song in fact trespasses across the green fields and sets fire to them. The firestorm is a mixture of chemicals fuelled by psychedelic guitar passages, crunching fuzz bass, and blazing Hammond. The dynamic nuances are augmented by psychotic lyrics; "I'll give you the names of those you must kill, Then have all burned and quickly, Cover them up in Trafalgar square, Hurry to see, you'll see them dead In this ugly world, Ready to fight for your freedom, Now, when I give a word, Hang 'em on high, let the blood flow An absolute masterpiece of prog.
In conclusion it would be unrealistic that I rate this anything more than 3 stars as the greatness of Genesis was yet to come.
But this is still a solid slice of early prog and 'The Knife' is an outstanding track, one of the essential blasts of creativity from the Gabriel era. The knife stabbed in the album cover signifies that the band are slicing their ties with commercialism and dragging across a blade to usher in a new progressive sound that would become symphonic prog.
It is interesting to note that the album cover has a pastoral feel with religious overtones, a couple stare lovingly out the arch toward the distant horizon and a cupid creature dances merrily in the foreground, but the knife stabbed in the back gatefold is like the stab in the heart of the pastoral idyll, the way 'The Knife' stabs in at the end of the album, infiltrating the quiet atmosphere, almost tacked on as an afterthought is intriguing; it is one thing to swim against the flow but here the goldfish has jumped out of the bowl.
Perhaps the band were experimenting, and trying to ascertain what would happen if they pulled out all the stops and attempted a 'Rondo'.
The result was a success and opened the floodgates for a prog sound like no other in the years to come. Overall, the album is a genuine curio showing the birth of a band that is ready to catapult into the progosphere with their next adventure, the awesome "Nursery Cryme". The album begins with the dynamic 'Killer' which is easily the best track on the album and a concert favourite.
It focuses on a narrative perspective from a killer shark who wants to be loved but has an impulse to kill outside of its control: "You crave companionship Interesting enough, the real highlight beyond the lyrics is the way Hammill delivers with absolute conviction and the way that the instruments compliment the keyboards with saxophones and percussion that is off beat at times but never out of time. Perfectly in synch, all the instruments blend to create a soundscape of doom and majesty and it captures the imagination unlike anything the early 70s had to offer.
At 8 minutes the track flows beautifully from one segment to another, and features an erratic instrumental break that almost transports you under the sea witnessing a shark attack, the shrill saxophone bursts could be a fish screaming in pain, and the deep rumbles Well-Lighted Places - The Glam - Escapism (CD be the shark swimming to its next meal.
Part 5:Prog Poll through the years Amazing sounds of early 70s with a plethora of masterpiece albums that are still discussed and revered today.
This was toughest choice thus far but I had to go for these:. There were more choices for other than previous polls and these were the choices specified, some with multiple votes:. Third time for Genesis and they finally got it right.
Everything that was great about "Trespass", namely their classic album closer 'The Knife' was captured on every track. The production is wonderful with intricate mixing of instrumentation and Gabriel's vocals are kept back blended in with the music rather than overbearing as on "Trespass".
Each track tends to create an atmosphere and tell a story that is captured by the beautiful iconic cover illustration that is an enigmatic collage of all things Genesis. They are undisputed on this track and it remains one of the all time treasured masterpieces of Genesis and indeed prog history. The chord progressions are intricately executed with a dozen or so melodies and time sigs pastiched over one another to create a soundscape montage.
Play me my song, here it comes again". The references to Lewis Carroll echo the album artwork, and there are huge dollops of black humour and an enchanting Gothic mystical fragility. The flute is sweet and beautiful, and it plays over a dark tirade of Rutherford's heavy bass and Hackett's guitar. Gabriel is pastoral with flute and gentle vocals for the first section and then it builds to the dramatic blast of fire that explodes and rains down over shadowy volcanoes of molten mellotron.
The time sig changes as a swell of organs and Hackett shines in the lead break, the sound cascades down from speaker to speaker teasing the ears, like an aural torture device. Then it settles as the 'Old King Cole' nursery rhyme is sung. It could be pretentious but it sounds moody and serious. Gabriel gets intimate on, "The clock tick tock on the mantelpiece and I want you to feel It lulls into an unnerving quiet guitar picking as the vocals state, "she's a lady and she's got time, brush back your hair, and let me get to know your flesh.
This completes an absolute blitz of song structures within songs and it coincides with the final paroxysm of energy from Hackett and Banks trading off perfectly with stop start ruptures of sound. May 23, Singles, third strike. Hello, the third and last singles strike coming up here, afterwards mid eighties the 12 " format prevailed, even when in those days the remixing wasn't that good, current day digital techniques enable so much more, still the sound quality was superior and the deejays were eager to show off scratching and mixing skills, even if the interval between tracks almost doubled, i didnt like that part, i remember having many an argument about that.
Been thinking about where to go next, there's so much out there, i've decided to delve into my vinyl collection and digitize music 84not the big namesthose have been digitised already, but the stuff that doesnt flow out of Amazon. Posted by Rho at Wednesday, May 23, 4 comments:.
May 19, Singles, too time. Hello, time for my second of 3 batches of singles, still from the good old days, when most tracks rarely crossed the 3 min mark.
To be honest i wasnt sure if there would be interested at all, im glad there obviously was, considering ripping and cleaning up these old vinyls is time consuming. Well ive adapted my blog with the re-uploadsif you come across a dead link post it in the latest comments section. Posted by Rho at Saturday, May 19, 5 comments:.
May 16, Singles time. So what's next? Well i had planned digitizing some of my remaining singles, not that i ever was a big buyer, they were too expensive back in the days, and as soon as i discovered albums, i just picked them up here and there, Album) them too well the coming posts i will bunch 9 together catagorised in time and or kind.
Why not as single downloadtoo much work and this way you may get some unexpected, afterall deleting is easy enough Posted by Rho at Wednesday, May 16, 7 comments:. May 12, Japan, Sayonara. Japan, the last leg of my little tour, if anything it can be said that the million Japanese have a great musical culture, a strongly developped drive to create music, as such they manifest in a lot of niches.
It is however unfortunate that as islanders go they are looking inward, that and the fact that language and their writing have made it difficult for foreigners to pick up on whats going on there. The Japanese could have been more outspoken to the world concerning their music, certainly in electronic and avant gardistic circles they are right up there. However there's a certain frivolous element that the generally over-serious-self important west artists lack and which causes a divide of misunderstanding specially with the followers fans and pressobviously it's collective vs individual culture at work here.
This last post is the most recent of all and the most electronic minimal abstract, Nobukazu Takemura and Aoki Takamasa glitch pop from Sketch Show, psychedelic Ghost and 2 DJ's with very different outlooks techno By Ken Ishi and DJ Krush with a fvery cool usion of Japanese traditional and hiphop jazz. As i have been rather busy today i have forgotten to add Oggfiles to some of the Sharebee re-uploads, if in need you can get them here, Oggfiles 1mb.
Furthermorei extended the rtf with information on re uploads from eurosonics stage 9 till 13, this will be further extended the coming weeks, if you come across a dead link please tell me at my comments section.
Posted by Rho at Saturday, May 12, 8 comments:. May 9, Japan Zen. As such, it de-emphasizes both theoretical knowledge and the study of religious texts in favor of what it terms a "special transmission outside the scriptures" that points to each individual practitioner's inherent Buddha-nature. Satori awakening has always been the goal of every school of Buddhism, but that which distinguished the Zen tradition as it developed in China, Korea, and Japan was a way of life radically different from that of Indian Buddhists.
In China social circumstances led to the development of a temple and training-center system in which the abbot and the monks all performed mundane tasks. Big Barn Bed continues the same eccentric rustic acoustic theme that echoed through earlier numbers like Heart of the Country, Bip Bop and Tomorrow. McCartney was floored. Anyone expecting the kind of driving 70 mph rock suggested by the title will be sorely disappointed. Little Lamb Dragonfly, left over from the Ram sessions and thus featuring session man Hugh McCracken on lead guitar, should really have a stroke dividing the animal names as the Dragonfly section serves as a sandwich filling bookended by the opening and closing Little Lamb sections.
Single Pigeon, a solo piano number, is just one of a number of bird songs McCartney has done over the years including Two Magpies, Jenny Wren, Bluebird and most famously Blackbird. We only get seriously experimental stuff on the instrumental Loup 1st Indian on the Moon but we close Abbey Road style with a medley.
For the first number, Hold Me Tight, Paul actually dares to nick the title of one of his old Beatles numbers but after that I find myself rather losing interest though it peaks again somewhat for the topical Power Cut inspired by the miners strike of the previoys year.
A pleasant listen but Paul needed to get back to giving it some wellie. The next Wings album would see him doing just that. McCullough went on to pursue a sporadic solo career while Seiwell largely worked as a session man.
In recent years they have reunited to record the Beatles tribute album Shabby Road. Released 19th October Image imported from Wikipedia under their fair usage guidelines. DISC 1 1. I Am the Sea effectively serves as an overture, combining extracts from songs throughout the symposium.
On Cut My Hair it becomes apparent that the story takes place in the Britain where the Who first became popular. Then he dialogues with his forebears in the fight on The Dirty Jobs before we get into the first of four vignettes on the different facets of the character, each sung by a different member of the group.
The second half sees the protagonist escape down to Brighton to join the mod scene. We even get to share his train journey in the hit single 5. But he soon gets to feeling suicidal and looking with morbid thoughts at the sea. Then the other three personalities start to shine through. I thoroughly recommend it as companion viewing.
Bob Welch too gets confirmed in his role as the resident mystic on Bright Fire, Revelation and Night Watch, the latter featuring a guitar contribution from Peter Green who had been persuaded by Fleetwood. The remaining members pulled together and produced a much more cohesive effort.
The closing track Why justly remained in the live set for some years to come while The Way I Feel is equally gorgeous. Mac would also not work with Martin Birch due, no doubt, to his adulterous involvement with Christine McVie. Clifford Davis again made a drastic decision — he assembled a completely new group of musicians to complete the dates under the Fleetwood Mac name. He sang with more bands, including a brief return to Savoy Brown, but now fronts his own Dave Walker band. He lives in the United States.
His position was made redundant when Marriott decided to do all the guitar playing himself. Weston went on to cut three solo albums he had not supplied any lyrics or lead vocals with Fleetwood Mac one of which Mick Fleetwood did a bit of drumming on. He died suddenly from a gastrointestinal hemorrhage at his London flat in January As far as his relationship with his former Maiden mates, it sounds like he doesn't harbor any ill will towards them, and that he recently had a humorous run-in at an airport with longtime Maiden manager Rod Smallwood, which he recounts in the book.
Do you think he gets the credit he deserves from not only the fans, but also his colleagues in the business? GP: Yes and no. Any serious heavy metal fan I would think is well aware of Di'Anno's vocal contributions and importance towards Maiden's early albums and sound. But perhaps to newer fans who may just be discovering Maiden and other veteran metal acts, maybe not — since they've probably only been exposed to Bruce Dickinson-era Maiden.
But as you read in the book, just about everybody interviewed has very complimentary things to say about Di'Anno's vocals on those Maiden discs. And out of all the NWOBHM bands, Maiden probably stuck to their stylistic guns the most, and didn't soften their sound further down the line not to take anything away from Def Leppard, who I think did the right move with the direction they went with on Pyromania and Hysteria.
Was his departure almost preordained? GP: Another tough-to-answer question — you're hitting me hard with these questions! It seems like Di'Anno and the rest of the band were going in two different directions regarding what they thought Maiden should sound like, Di'Anno wanting Album) stick with the "punk metal" sound, while Steve Harris and the others wanting to open up their sound which eventually shifted towards a more "prog metal" approach.
It would have been interesting to hear what Mr. Di'Anno would have done on The Number of the Beast material, though. Maybe Dennis Stratton, whose relationship with Paul was pretty frosty? There seem to be disagreements over what went on in the studio during the making of the first album, at least between Wil Malone and the band.
Does he get an unfair rap for the production of that record? GP: I personally like the sound of the first record! Raw and live — the way most of my favorite all-time rock Well-Lighted Places - The Glam - Escapism (CD roll recordings are.
I admit that the sound of Killers is better, but the sonics of Iron Maiden get a bad rap, in my opinion. That album still holds up well — both sonically and musically. Whose reaction to hearing that first album or memory of making it surprised you the most? GP: Well, obviously Di'Anno's, who holds nothing back in voicing his disapproval of Malone's production!
Did what someone said about it make you look at it differently? I thought it was interesting that Mr. Malone explains that he was consciously going for a "punk meets metal" sound on the album — so it may not have been solely the band's doing. What was the best Iron Maiden touring story you heard from your interviews?
Everybody talks about the production of that second album, Killers. Was that the main difference between those first two records, or was there more to it than that? It seems as if there was a real sea change in the direction of the band in the aftermath of that first record.
GP: The sonics have a lot to do with the difference between the two. As far as the material, both albums are great from start to finish. But there is something about Killers — if I really had to choose a favorite Maiden album, I'd probably go with that one. Perhaps because there are so many songs on it that have either been forgotten or are seldom played live anymore by Maiden namely, a song that I always thought could have been a rock radio hit at the time — "Prodigal Son". And do you think the other bands from that era were aware of the differences?
GP: As I said earlier, they appeared to be one of the first bands bold enough to merge punk and metal, and the fact that they became a global success by not shifting their approach towards a more pop direction. Not sure if the other bands were aware of the differences, as most NWOBHM bands followed a similar "punk metal" sound on their debut albums. What would you like Iron Maiden fans to come away with after reading this book? GP: With all my books, I make sure the main story is included, but also, I always try and include a few facts or stories that have never been recounted anywhere before.
What was Maiden up to when they learned of John Lennon's murder? What are Di'Anno's two favorite rock concerts he ever attended? All are included in "Iron Maiden: ''81," dear friends! Posted by Peter Lindblad at AM 0 comments.
Turn the radio to FM. They could see the writing on the wall in the mids and decided they weren't going to swim against a rising tide of record label indifference. It just seemed to be the right time. There was no animosity in the band. We all still got on. FM's big break, however, came late inwhen Bon Jovi brought them aboard for the U. Through changes in record labels and personnel, FM persevered, penning well-crafted, radio-friendly fare that, for whatever reason, rarely ever made the airwaves.
Not even a writing summit with hit-making guru Desmond Child in the States would do the trick. And when labels went scouring the land for the next Nirvana, Soundgarden or Alice in Chains, FM knew its days were numbered. The experience convinced them to carry on, leading to the recording of 's Metropolis LP and playing out with bands like Europe, Thin Lizzy and Foreigner and performing at high-profile events such as Graspop, Sweden Rock Festival, Loreley and Download Festival.
Steve Overland talked about with All Access recently by e-mail to discuss the new record and share some memories of FM's heyday. Nothing sinister or deep. Just all the band liked it, very simple really. In what ways does Heroes and Villains remind you of earlier FM albums, and in what ways is it different? How did that affect you personally and the band as a whole? Did you see it as validation that had been a long time coming? Talk about the making of both and your feelings about them after hearing them on the record.
SO: Those were two of the last songs we recorded for Heroes and Villains. Steve had had the idea kicking around for a while.
Merv really liked the vibe, and so we went into rehearsals and arranged and finished it quite quickly. We demoed it and presented it to the guys. From what I can remember the arrangement is identical to that of the demo, but everyone has put their stamp on it. FM - Heroes and Villains Heroes and Villains does not sound like records that are out there today.
What do you think is the biggest difference between the songwriting of FM and songs mostly heard on the radio today? Are there any similarities? We write rock songs, but to us, melody is king. We just wanted it to be very simple and organic, personal. It has had such a great reaction. What tour did you enjoy the most and what was the worst? SO: The Bon Jovi tour was just so good for us. It was right around the time they went global with Slippery When Wet.
It was infectious to be around them with all the excitement. I think we were in Newcastle when they heard they had hit the No. They were a great bunch of guys, great to work with. They really looked after us, and that tour took us to a whole new level in the UK. Since getting back together, the tour we did with Foreigner last year was just as memorable. You forget how many great songs they have.
The band are amazing, and Kelly Hansen is a brilliant singer and front man. And what can you say about Mick Jones? The man is a legend. What a songwriter and such a lovely guy.
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