Issue #32 Extra!: Archives & Reissues
Allen Trio, Daevid – “Live 1963”
Asia – “Live in Buffalo”
Asia – “Live in Hyogo”
Barclay James Harvest - "BBC In Concert 1972"
Barclay James Harvest - "Time Honoured Ghosts"
Bruce, Jack - "Out of the Storm"
Bruford – “One of a Kind”
Chapman's Riffburglars, Roger — “The Legendary Funny Cider Sessions/Swag”
Ray Charles - "Ô Genio Live in Brazil"
Free - "Songs of Yesterday"
Tangerine Dream – “Live Montreal – April 9th 1977”
Tangerine Dream – “Live Aachen – January 21st 1981”
Tangerine Dream – “Live Paris – February 2nd 1981”
Tangerine Dream – “Live Sydney – February 22nd 1982”
Roger Chapman Riffburglars—“The Legendary Funny Cider Sessions/Swag”
Mystic MYS CD 165, 1982/83/2003, CD)
Family’s Roger Chapman is somewhat of a workaholic. His departure from Family only saw him tirelessly fronting bands under a number of other names including his own. This package of two albums released in the early 80s finds him visiting some of his favorite blues and R&B numbers. Perhaps it was an unlikely project given the state of popular music in Britain at the time, but considering that very same time saw Chappo nearly dominating the German music scene (including winning album of the year for 1981’s Hyenas Only Laugh For Fun), it isn’t surprising that he could afford to take the odd indulgent detour or two, including originally releasing these discs under assumed names.
In keeping with the roots rock concept, the two albums were recorded and mixed with as little production drag as possible. With the aid of a generous selection of well traveled musicians, this would be a breeze. Considering that Chapman is regarded by many (myself included) as one of rock’s great vocalists, one might expect he would have sung all of these songs, but that isn’t the case: Geoff Whitehorn (Procol Harum) sings Cream’s “Strange Brew,” while Tim Hinkley from the classic Jody Grind lends his great voice to Freddie King’s “Big Leg Woman.” An impromptu jam by Hinkley and Whitehorn has the distinct honor of inclusion here, named after Hinkley’s assumed name, “Stovepipe.” In fact, these projects were born from a recording session of Hinkley’s Heroes. “The Legendary Cider Sessions” has the nod on “Swag”. It’s a much more vibrant, enthusiastic disc, from the track selection to the performances and arrangements. Swag has more of a sterile, meditated feel, and suffers from a production that sucked some of the life out of it. Overall it’s an entertaining set, but obviously it’s value depends on the listener’s interest in revisiting old rock standards. – Mac Beaulieu
Bruford – “One of a Kind”
(Winterfold BBWF004CD, 1979/2004, CD)
After UK’s rookie tour of the US, Eddie Jobson and John Wetton fired Bill Bruford and Allan Holdsworth, thus removing the pervasive jazz element from their soon-to-be transitory super group. The two talented, out-of-work musicians didn’t waste time enlisting again both Dave Stewart (ex-Egg, Hatfield and the North, National Health) and Jeff Berlin (bass, vocals) whom also recorded Bruford’s acclaimed first solo recording Feels Good to Me. From the get-go, this collection of ten tracks stands as a maelstrom of chops, arranging skills and inspired ensemble playing. Easily the dynamics between drums, keys and fretless bass provide a high profile, capable structure for Holdsworth’s top-flight soloing ability. Key pieces include the two-part title track and “Travels with Myself and Someone Else.” The former piece is split between a vibes-driven melody and band interplay. The latter track shows that a drummer and keyboardist could jointly compose a truly empathic ballad. The best jam piece is “5G” which is propelled by an aggressive bass riff and features Holdsworth’s finest set of solos on the disc. Surprisingly, Jobson makes a cameo violin appearance on the introduction “Forever until Sunday” where Holdsworth’s guitar has been brought forward in the mix. As with any musical divorce, some tracks also part ways, such as “The Sahara of Snow” which was slated for the second UK recording. Stewart is up to the task of taking on most of Jobson’s complex parts, adding his own sound backdrops to enhance that song’s atmospheric landscapes. A bonus live piece, “Manacles” is included from a later tour with Stewart’s mad organ flailing away as well as the unknown John Clark filling Holdsworth’s size 14 guitar shoes. Bruford has taken on the task of remastering the original recordings for re-release, but — although the mix is not much different — many of Stewart’s keyboard parts appear to be even further up in the mix than they were on the original vinyl or CD releases. Bruford narrates the accompanying Summerfold sampler CD, interjecting many Earthworks high points. The reissue is recommended highly as one of the peak points of 70s British fusion. - Jeff Melton
Barclay James Harvest - "Time Honoured Ghosts"
(Polydor 065 400-2, CD, 1975/2003)
After leaving the Harvest label, BJH met up with U.S. Producer Eliot Mazer (Neil Young) who recorded the band in San Francisco in the summer of 1975. The quartet was on the upswing with bassist Les Holroyd and guitarist John Lees showing the most growth in their songwriting development. Holroyd’s “Jonathan” based on the popular novel, “Jonathan Livingston Seagull” and “Moongirl” evidenced better melodic maturity which would form the basis of his style going forward. “Sweet Jesus” expands on Holroyd’s acoustic side where the echoey harpsichord is used well for dramatic effect. Lees' seminal pieces included “One Night” which was a band mainstay through the next few years of touring. Wooly Wolstenholme’s signature tracks would include the lush, grandiose but inspired “Beyond the Grave” where lush mellotron meets with subtle synthesizer doubled chords. As a follow-up to Everyone is Everybody Else, the LP did fair business in the UK, but still managed no dent in the US as the quartet continued to focus on consolidating their audience in Europe. In retrospect this could have been a huge logistical mistake as “Titles” had all the makings of a FM radio success in particular with regional airplay by DJs who enjoyed the band’s clever word play using familiar Beatles song titles to create a convincing lyric. The remastering of the original recordings bas brought forward much of Holroyd’s excellent backing vocals for easier listening. Overall it’s another creditable work from the English mainstay act. - Jeff Melton
Barclay James Harvest - "BBC In Concert 1972"
(EMI/Harvest 07243 38404 2 6, CD, 2003)
Part of archivist Mark Powell’s job has been digging through the vaults at the BBC to locate the master recording tapes for Barclay James Harvest. In the process of uncovering several live tapes he stumbled across a unique and rare radio broadcast. This excellent set of nine pieces from winter 1972 was a huge find of the previously undocumented live work for the quartet’s brief and expensive performances with their own tailored multi-piece orchestra. Songs played include the band’s standards of the day such as “Mockingbird” and the new piece “Summer Soldier”, which was the strongest epic from Baby James Harvest. The latter piece is a quartet tour de force as John Lees’ lead guitar pairs up with keyboardist Wooly Wolstenholme’s organ and mellotron blasts. The keyboardist’s penned track “Moonwater” is also given the full orchestral delivery as many of his pieces seem to work well in the extended format. His grasp of the possibility of merging rock and orchestra arrangements succeeds when compared to either Jon Lord’s brief attempts with Deep Purple or the Moody Blues Days of Future Passed. Both “Galadriel” and “The Poet” come off well with strings as the delicacy of each song is allowed to come to the forefront on the live stage. “Dark Now My Sky” from the band’s first album carries an ominous stamp beginning with some over the top narration and proceeding into an intense ensemble performance. In summary these recordings provide ample support for BJH’s strong claims as founders of English symphonic rock. - Jeff Melton
Free - "Songs of Yesterday"
(Island IBXCD3/542499-2, 2000, 5 CD)
The roots of popular blues based rock and roll are firmly tied to that of Free, a four piece act from the late sixties that had both singer and composer Paul Rogers and drummer Simon Kirke (later of Bad Company fame). Despite the worldwide success of the band's 1970 anthem, "All Right Now" and the instant fame accorded the band, the four piece group could not keep it together to capitalize both musically and financially. This in turn led to an initial and final break-up after a disappointing reunion attempt. The late guitarist Paul Kossoff was simply the soul of the band as his empathic leads fed a comparable role to that of Fleetwood Mac's Peter Green. Bassist Andy Fraser was known for his non-standard lines both providing low end propulsion and melodies that complemented Kossoff's riffing. Discs one to three cover studio work done by the group with several outtakes and alternative new mixes from master tapes covering 5 years. Disc four is mostly a reissue of Free “Live” dating from 1972 with two additional tracks, a cover popularized by Cream, Robert Johnson's "Crossroads" and "I'll be Creepin'". The minimalist but powerful arrangements by the band in a live setting are instantly apparent. One of the best tracks is "Free Me" that emphasizes the group's subtle control of a slow moody blues that later influenced bands such a Lynyrd Skynyrd. Disc five shows the splinter acts songs after the band’s initial split. A rare single by Rodger's three-piece, Peace is included as well as several as yet unreleased CD samples of Kossoff's efforts and Fraser's band Sharks with Chris Spedding. The real oddity is Rodger's creditable reggae experiment with Maytals, "(I Just Wanna) Make you Smile" that shows how the singer can succeed in a different format to what he was accustomed. The most impressive bonus song of these is an extended jam with guitarist John Martyn that dates from live work in 1974, "Time Spent (Time Away) that shows Kossoff extending much of his playing power in an open format. The compiled exhaustive liner notes are a personalized and frustrating account from each member of the band as well as from close associates (engineers, managers etc.). The insider's point of view lends strong credence to the band's unfortunate rise and fall. As a complete history of a much underappreciated blues rock icon, the boxed set is not only an excellent introduction but essential tome for collectors. - Jeff Melton
Jack Bruce - "Out of the Storm"
(Polydor 065 606-2, 1974/2003, CD)
Continuing further into the back catalogue of bassist, singer and composer Jack
Bruce, Out of the Storm offers up a creditable Mark Powell sound update from 30 year old studio sessions in LA. The origin of the record stems from Bruce's need to quickly execute his new solo compositions in a studio setting after a mixed bag experience with West, Bruce and Laing (ex-Mountain). By focusing on a short recording window the results confirm this album as one of Bruce’s finest as a vocalist and songwriter. Engineer Andy Johns coached the ex-Cream bassist to work in another power trio configuration but this time supported by seasoned session players such Steve Hunter (Alice Cooper and Peter Gabriel's first solo record) and acclaimed drummers Jim Keltner (John Lennon, George Harrison) and Jim Gordon. Songs such as "Pieces of Mind" showcase the best of what Bruce had to offer: powerful lead vocal surrounded by odd little riffs that tie strong main themes together. Another important track is "Running through Our Hands" which is one of those eerie songs with an off kilter tempo that leads into a piano based main verse. The arrangement belies an undertone of mystery contrasted through a crafted scenic imagery. Additional remixes of four of the album pieces are also of note if only to show variations in the final product. In summary, the recording sessions have stood up to the test of time for fans who can appreciate Bruce’s unique talents. – Jeff Melton
Daevid Allen Trio – “Live 1963”
(Blueprint BP122CD, 2005, CD)
The fruitful seeds of the Canterbury sound have always been traceable back to the Wilde Flowers. So what if a valid live document of beat poetry just happened to suddenly surface as part of Rob Ayling’s Soft Machine archive project funneled by Brian Hopper? Surprisingly this semi-cohesive archive recording is intact from a small trio club gig led by Australian beatnik Daevid Allen. Allen’s support is propelled by the future rhythm section which would also drive “Hope for Happiness” and then “Facelift” several years later. Allen’s recitation is reflective of the type of Alan Ginsberg social commentary of the day; the sneering snobbery of “Capital Travel” is revealing to hear how developed Allen’s attitude was already for the time. A young Robert Wyatt on drums and Hugh Hopper on bass provide the occasional musical accompaniment albeit tentative and off a tangent to who knows where. Of note is both Allen’s and Hopper’s liner note commentary that muses on looking back into this simpler development phase in their careers. Allen’s point of view is one of political naiveté while Hopper’s focuses on keen reflection. Other tracks of note include “Song of the Jazzman” that spotlights a memorable bass line from Hopper and some inspired jazz drumming from Wyatt. Mike Ratledge contributes piano on the ensemble track “Dear Olde Benny Green is A-Turning in his Grave” which works as rambly jam for Allen’s brittle guitar leads. Overall the disc serves as the purest form of archive since the fact that this recording has survived in listenable format was unlikely. - Jeff Melton
Ray Charles - "Ô Genio Live in Brazil"
(Rhino Home Video R2 970389, 1963/2004, DVD)
Not long after releasing one of the signpost LPs of modern pop crossover, Ray Charles took his big band to Brazil and filmed two television programs featuring his live stage set. Charles was just as much a jazz innovator as he was a masterful icon of soul, gospel and pop fusion and it shows in this collection of rare performances. His live show reflected his passionate unique skills set as lead vocalist and nimble piano accompanist from his standard live repertoire. The stark genius is more apparent in these forty-year-old tapes than with the recent Hollywood biography as evidenced by the inclusion of standards. Songs such as “Hit the Road Jack” and “I Can’t Stop Loving You” were mainstays of AM radio during this timeframe and on the live stage they shine brightly. Charles was touring to support “Modern Sounds in Country and Western Music” which was as popular as it was controversial for the day. Many of his arrangements of country classics such as “You Don’t Know Me” would be associated with Charles over the original performer of the track. Set #1 opens with a blistering version of “What I’d Say” the singer’s first big hit. Other pieces such as the classy instrumental, “Moanin” shows the entire ensemble establishing a smooth chart before the pianist himself takes a solo. David ‘Fathead’ Newman is seen clearly in the front saxophone line along with several other mainstay players of the day. It is also important to note that both sets contain good versions of “You are my Sunshine” but it’s the second performance of the traditional piece that stands out as Charles’ backing vocalists carry the piece home. Overall the singer’s stature as one of the most important artists of the 20th century is confirmed by these seminal live recordings from the distant past. – Jeff Melton
Tangerine Dream – “Live Montreal – April 9th 1977”
(TDC B00TMOON002CD, 2004, 2 CD)
Tangerine Dream – “Live Aachen – January 21st 1981”
(TDC B00TMOON001CD, 2004, 2 CD)
Tangerine Dream – “Live Paris – February 2nd 1981”
(TDC B00TMOON003CD, 2004, 2 CD)
Tangerine Dream – “Live Sydney – February 22nd 1982”
(TDC B00TMOON005CD, 2004, 2 CD)
1977 was the year that Edgar Froese, Chris Franke and Peter Baumann conquered North America and Canada with a massive twenty plus city tour (and on select dates performing with Laserium). The April 9th gig (recorded in FM radio) took place in Montreal earlier in the tour with the trio expanding on elements from their highly successful Stratosfear album that had charted well in the US. The gig starts out with a phased steam engine cycling between both channels before diving into an effective but creepy mellotron driven theme. Sequenced pulses fade into the sound map to give the “First Movement” some rhythmic structure. The trio then moves into extended synthesizer and flute based mellotron solo improvisations that were high on drama propelled along a linear course. The band could easily establish their own electronic grooves and cycle seemingly in an endless barrage of random sound effects linked to directly to hours of intense rehearsal and telepathy. The “Second Movement” in contrast is begun with a loose piano passage with some warbling synth grinding in the background. This sets the tone for another cyclic reprise of the main themes from the title track of Stratosfear that works well in a live setting with old minimalist style synth drum accompaniment. Sound effects and cascades of thumping synth patterns created a recognizable tension which fans were excited to hear in a live setting (many tripping out on psychedelics of the day). Otherworldly voices matched with dissonant chords meant quantum leaps to the trio who not only pioneered the techno movement but refined it on personal level (in contrast to Kraftwerk). Froese switches over to lead guitar for some expanded soloing mid-way through the third sonic excursion which often paralleled elements of Mike Oldfield’s instrumental catalogue. Disc two continues the trio’s set with tinkling crystalline swirls, lush faux strings and plaintive organ before meandering again into another sequential sonic workout. “Fived Movement” matches much of the intensity of the third with Froese’s fiercest guitar lead in the set.
1981 began another year of touring for Froese and Frank with newest member Johannes Schmoelling on board driving the new trio into somewhat familiar musical realm. Rather as a tangent to recent film collaborative works such as Michael Mann’s Thief (with James Caan), this two CD bootleg performance captures the band expanding on ideas begun with Tangram and Quichotte (the latter a live date from a year prior). Certainly the sequencers were still in force as heard on the opening two cuts ”Undulation” and the two part “Calymba Caly” of which also appears on the Antique Dreams set. The drum machines get a bit plodding on “Thermal Inversion”, but I’m certain that with the proper light show this was partially compelling. The real surprise in the set list is a five minute extract but a strong, familiar performance of the main theme from “Force Majeure” that predates Schmoelling’s tenure with the band. Other pieces of note include “Silver Scale” which originally appeared as one of the unreleased pieces on the 5 disc Tangents box from 1994. Also a live version of “Chronozon” appears which would later be included in the band’s summer sessions for Exit. Closing out the set is “Trap Feeling” which previously only appeared the Siren boot from 1981.
The following year brought two more releases from the trio and some carryover songs in their set list. Retained in this rare live concert from down under are “Thermal Inversion”, “Force Majeure” and “Choronzon” each bundled into the last part of the band’s performance. The first piece again is characterized by a quick tempo rhythm that pushes a dynamic rock theme while the latter piece relies on drum machines to create a metallic but effective vibe. The spotlight of the set was the new album White Eagle of which three pieces were played that evening. ‘Convention of the 24” opens the gig on a slowly building premise that steadily increases tension and pulse. The shorter title track of the new album is the follow-on and it opens with spacey electronic voices before sweeping into a standard delivery of synthesizers and chordal wash. “Mojave Plan” is the twenty five minute centerpiece of the show and by far the most ambitious undertaking sonically for the trio on the stage. Opening with an experimental set of tentative sounds and percussion, the soundscape eventually develops into a linear nearly techno vibe. Possibly the best piece of the night was “Logos (part one)” which would later be expanded to two parts when recorded live in the UK later that June. The track features a slow emphatic synthesizer fanfare that is both majestic and one of this line-ups high point pieces. For completists, this two CD set supersedes the Sohoman classic editions release by adding six additional tracks and thus completes the entire show.
By the time of the last live set in 1986, Schmoelling had departed after a perceived decline in high quality new material. New keyboardist Paul Haslinger joined early in the new year. The rejuvenated trio recorded Underwater Sunlight in Berlin in April and was eager to take their new pieces on the road (and road test a few others). The National Arts Center in Ottawa was one of seven gigs in North America during that summer’s tour. The bulk of the new release was the focal center of this good sounding audience recording with three new pieces “Dolphin Dance”, “Scuba Scuba” and “Underwater Twilight” included later in the performance. The former piece is characterized by a plaintive rhythmic soundtrack and a simple melodic line while the latter piece is a slice of 80s rock which would have benefited from one of Froese’s trademark guitar solos. The surprise blast from the past is the welcome inclusion of the title track from Stratosfear where the new trio plows through with composure. Unusual for most TD gigs was the inclusion of two distinct piano solo sections. The first I assume is played by Haslinger and features some of the most tranquil and emotive moments of the evening. The brief Mozart piano concerto leads into “Rare Bird” and was also played by Haslinger as comic relief (much like Rick Wakeman) and shows he could deliver a standard classical piece within a live context. A few from this performance would later appear on Le Parc including the concert closer, “Bois de Boulogne”, plus “Zen Garden” and “Yellowstone Park”. Of these the Xth one is the best due to it’s mixing of churning sequences rhythmic patterns and lush backdrop. The only discernable lowlight of the Bootmoon reissue series is the lack of any specific information regarding the gigs, analysis or recollections by band members. In summary, Edgar Froese clearly has a handle on selecting and now presenting the best representative live shows of his iconic act through many line-up and style changes.
- Jeff Melton
Asia – “Live in Buffalo”
(Trade Mark of Official Quality/Voiceprint VPTM005CD, 2003, 2CD)
Asia – “Live in Hyogo”
(Trade Mark of Official Quality/Voiceprint VPTM0006CD, 2003, 2CD)
Asia’s first tour of the US in 1982 was one of discovery for fans. From the ashes of Yes, Steve Howe and Geoff Downes merged musical intentions with John Wetton and Carl Palmer and a new super group was formed. The band was riding high with their self-titled debut, which comprises most of the set list on this soundboard recording. The group was not unlike UK or Drama era Yes as heard in their delivery of heavy rock themes such as on the opener, “Time Again”. The musicians are well rehearsed and it’s revealing to hear how the members were represented in a live setting with guitars and keyboards a bit forward in the sound mix. John Wetton’s lead vocal is spot on for the entire show and the group is obviously playing at a fever pitch with Howe in a lead axe man role. The guitarist also reprises a few Yes acoustic pieces in particular the closing section to “The Ancient” and one of his two signature pieces, “Clap” to offset the band’s group pieces. “Midnight Sun” was already part of the set list, and it comes off well as a straight ballad with a few embellishments. Disc two is the better of the two CDs with the quartet retaining intensity throughout. “Here Comes the Feeling” is extended to contain Carl Palmer’s drum solo spot. “Sole Survivor” is my choice for best track for the concert recording.
In contrast, the Then and Now tour of Japan was spotlighted on the Live in Hyogo set with new guitarist Mandy Meyer from Krokus. “Wildest Dreams” opens up the concert in assertive form. His guitar solo on “Sole Survivor” is a shredding rave up that seems to be a better fit than Steve Howe’s initial role. However Wetton’s vocal on the recording is not in the best form for part of the gig as either the sound mix or his delivery (or both) leaves a lot to be desired. Downes solo set is a high point of the gig as he reprises “Video Killed the Radio star” in a lush instrumental format with just piano and synthesizer backing. Wetton’s solo material is also reprised into the band’s set list with UK’s “Rendezvous 602” and King Crimson’s “Book of Saturday” warmly welcomed by Japanese fans. Downes helps out on the former piece as he also plays a harmonica based synthesizer solo. The latter piece is acoustic which gives a charge to the Japanese crowd and also includes Downes’ minimal accompaniment. Overall these two recordings further document the viable performance history of the quartet in a live format. – Jeff Melton