AMBIENT/TRANCE/TECHNO,etc:
ASTRALASIA: Away With The Fairies DBLCD
Ohhhhhh…………..are you for a treat when you hear this album - it is SENSATIONAL!!!
The opening track on CD 1 is immediately Orb-meets-Massive Attack-meets-Hillage/Gong, is just under seven minutes long, features a stunning lurching ambient dub rhythm, some glorious glissandos, oceans of synths, whispered voices and ends with this incredible guitar work, a busy, cohesive, atmospheric and addictively jaw-dropping start. Track 2 is like a cross between Orb, '70's instrumental Gong and early '70's spacey Hawkwind, with another stunning rhythm from the bass and drums and electronic drums that just shudders along in fine fashion, over which a universe of synths, sax, guitars and violin weave some spellbinding melodies and atmospheres that conjure visions of 'ISOS/Mt Grill'-era Hawkwind, glissando-led Glastonbury Gong and more powerful early Orb as the track marches effortlessly through its world of psychedelic space-chill, with solid rhythmic undercurrents ensuring the flow is maintained throughout and a truly brilliant thirteen and a half minute track. Track 3 opens with swirling synths, swooshes of space synths, soaring space sax, ocean of string-like synths that sound like flutey mellotron, the whole soundpool unfolding and then this faster paced rhythm emerges from the bass and drums as a soaring violin lead flies overhead in classic High Tide fashion, while the space synths swoop all around, whirlpools of electronics bubble up from below and the whole train-ride travels onwards. Just under three minutes, a red hot electric guitar solo in classic Hillage vein just bursts out of nowhere and spirals onwards and upwards, as the piece rolls onwards. It's got a seriously chilled-out downtempo atmosphere, but is a lot faster than most, and with miles more textures and layers from the electronics, sax, violin, synths and guitars, in essence sounding more like classic instrumental early seventies Gong than anything, and another ten and a half minute gem of a track. The fifteen minute track 4 is much more sedate, this time a meeting of lurching, slightly faster than you'd expect, ambient dub rhythmic undercurrents with Middle Eastern sounding chilled-out acoustic string instruments, swooping space synths, languid electronic backdrops for the first five minutes, whereupon the whole pattern changes and suddenly there's this solid and quite stunning mix of sequencer rhythms, shuffling electronic drums and deep bass, above which the synth layers flow and float, as the sequencer rhythms become faster and echoed, louder, multi-layered and the heart of the track as string synths emerge with whispered sampled voices, all to stunning effect. At eight minutes it changes again, the sequencers fading then re-emerging as loud as before, as a soaring sax lead briefly appears, but then goes, to leave the track ending with the slow strains of the Middle Eastern twang and echoed space synths flying all over the mix, all very chilled-out and atmospheric. The nine minute fifth track returns to the lurching ambient dub-Massive Attack feel of the opener with a suitably strong, slow undulating beat from the chilled-out bass and drums, as synths, violin and strings, float, flow, soar and cascade all around the insistent rhythmic foundations, a lone hushed male voice adding to the sheer open-ended atmosphere that the track creates, eventually ending with just the violin and synths, almost like a spacey Nash The Slash with choral heavenly layers and sparkling space synths, sounding just wonderful. The final track on CD1 starts with rolling rhythms from drums, deep bass and tables as a lone synth lead soars on top, space synth swooshes are added then this gorgeous glissando backdrop emerges to put the icing on the cake. Sax floats into the mix on almost Pink Floyd fashion as the track has the feel of a mix of ambient dub-Floyd-Gong as it spirals and flows its way to the stars, an immaculate and equally addictive end to a stunning and faultless first CD.
CD2 begins where the previous album, 'Something Somewhere', left off, as a corking slice of powerful ambient trance unfolds with driving kick drums, swirling, rolling rampaging sequencers and solid bass at the heart of the piece, while all around, acid synths, sampled voice, space synths and an array of sustained lead synths and guitars, complete the picture to dance-floor shaking degree. The following track continues this theme albeit in more chilled vein for the first three and a half minutes, but then suddenly accelerates the rhythm, adds more drums and more solid sequencers, proceeds to rampage its way into your heart with all manner of wah-wah guitars, space synths, lead synths and early seventies languid space-rock surrounds, above this booming trancefloor beat, ending abruptly at just over six minutes. But then, after the briefest of space whisper and synth intros, the rhythms become even beefier as this stunning sea of space whisper, synths, deep bass synths and vast electronic oceans all fly above this magnificent rhythmic base that 's every bit as addictive as anything put on CD by recent System 7 and anyone liking System 7 will love this seven minute stunner, for sure. Track four is souped-up, busy sounding, multi-layered, strong, solid and addictive ambient dub with all sorts of flowing instrumentation flying away on top for just under seven minutes. Then come 3 five minute tracks that cover ambient chill-out with guitars and languid rhythms, sultry late-night vocal-led ambience (the only two things on the album approaching what you might call a "song", but more atmospheric than anything) and the CD ends on a slice of magic that starts off as 'Fish Rising' Hillage, then mutates into lurching ambient dub with a fantastic rhythm from the bass and drums as the bass really booms out, and space flutes and electronics provide this gorgeous top layer to it all, a whispered, almost Floyd-like vocal upfront, as the whole thing lifts onwards and upwards, a Gilli Smyth styled vocal briefly entering as the flutes take over and the whole sea of sound soars to the heavens over six amazing minutes - then it's gone - forty nine minutes of pure pleasure, and a total of just under two hours of pure genius.
BANCO DE GAIA: Two Thousand And 4 DVD
Amazing!! A professionally shot DVD that essentially documents a complete live concert from the ambient music legend. I say "essentially" since what you have here is a magnificently edited sea of live performances from several concerts on that year's world tour, video clips and imagery that formed part of the gigantic video screen which backed the concert performances, plus assorted video imagery included specially on this DVD - all of which adds up to the most incredible visual feast that you could imagine. What you are seeing on screen - never mind the actual live footage of Banco anyway - merges the visual and music to perfection. Ah yes, the music - sixty three minutes of live music which is exclusive to this DVD release and is not available on any audio CD. Quality-wise, it's top notch throughout, and, between the music that appeals to heart and mind, plus the visual treats, it all adds up to an essential slice of ambient magic. Additional features include extracts from the promo videos for a couple of his more recent singles.
MOOCH: Gaiaspace CD
The long-awaited brand new, Dead Earnest label studio album, and follow-up to the chill-out classic 'Acid Metal Grille' CD. Like that album, this is consistent, cohesive, varied and although each track is a different setting, the music flows perfectly throughout its seventy two minute running time. But this new album has two major improvements from its predecessor - rhythm and strength!!
This time around, the feast of synths and electric guitars are joined by sequencers, electronic and programmed drums, and percussion - but the effect and sound, while covering styles that range from downtempo chilled through solid ambient to "Retro" and space, is uniquely Mooch.
Opening with an eight minute starter, you'll find a spacey introduction leading to a solid rhythmic undercurrent from deep bass, lurching, rolling drums and percussives, while on top, assorted lead and background synths, wailing synth solos, searing but melodic electric guitar, and keyboards, all combine to provide this huge-sounding expanse of train-ride proportions as the whole track travels ever forwards, constantly changing shape, always busy and yet thoroughly engaging. Track 2 starts with string synths, choppy rhythms, swelling synth chords and rolling electronic drums as tinkling percussion, rolling bass and a variety of almost symphonic synth leads provide what is a light and airy melodic setting to some solid, rolling rhythmic foundations, as guitar is added onto all of this and another full-sounding slice of ambient magic unfolds to glorious degree, the effect utterly hypnotic and spellbinding, as the melodies and rhythms take you on another glorious sounding journey, space synths spiralling upwards as the synths flow, the rhythms drive forward in almost lazy but strong sounding fashion and keyboards, guitar and heavenly choral textures provide the icing on the cake, to what is a truly amazing and immaculate nine minutes of electronic music. The third track is a sixteen minute epic that could quite easily be likened to some of the best of the Namlook/Schulze 'DSOTM' series of albums, only here with added '74-era Tangerine Dream content at one end and added chill-out factor, at the other. The sequencer work is solid, the guitar work flying into the skies as the layers of string synths and synth melodies with added percussive rhythms combine to create this huge-sounding, expansive piece of electronic bliss, the perfect fusion of "retro" and ambient, and a track - as the whole album - that you will enjoy for a long time to come. Track 4 is a five minute piece, full of spiralling optimism, as lurching ambient percussive and deep bass rhythms roll forward, above which assorted lead synths soar and fly, the whole effect spiralling upwards as the mood and feel of the album so far, is continued and you hear music that has beauty, strength, depth, atmosphere and cohesion, as a distinctly Steve Hillage-esque electric guitar wanders in and proceeds to solo in searing lead and fuzzed-up manner to provide the electrifying main focus of the track - superb stuff! The rhythms on track 5 are to die for - it's one of those utterly addictive, rolling percussive rhythms with deep undulating bass, crisp and strong electronic drums and percussives providing the Namlook-meets-Kraftwerk train-ride effect, while oceans of flowing synths, sparkling space synths, gorgeous string synths and layers of expansive electronics just combine to jaw-dropping degree to provide this absolutely wonderful setting as the whole piece oozes strength and atmosphere, one of the best modern ambient tracks that you'll hear on the planet, and at over seventeen minutes long, yet another track on the album that is heaven itself, the perfect mixture of cosmic synths, soaring synth melodies, early Krautrock keys and totally compulsive rolling train-like rhythms. Genius!! The eight and a half minute track 6 leaves the percussion factor behind as it immediately sets its sights along slowly moving waves of cyclical synths, from which a gorgeous sea of sequencer rhythms emerges, as brief guitar slowly soars along the top, swooping space synths falling gracefully from the skies, deep bass undercurrents running under the cascading space synths as the whole track seems to climb and build, layer upon layer, to become this glorious sounding slice of space music but with a sea of light sequencers coming more into play as lead synths and flowing melody lines are also added and the track slowly takes on a more solid shape. Then the melodies die away to leave the slowly spiralling sequencers to which are added acoustic guitar textures, soaring distant string synths and ever spiralling space synths, the whole thing seeming to add layer upon layer once more, as a gorgeous electric guitar emerges and the whole track takes you to heaven once more, the sequencers, at the heart of the ocean. The album ends with six and a half minutes that are yet again different but in keeping with the feel of what has gone before, this time a spiralling deep sequencer-like rhythm at the core, overlaid with soaring, echoed flute, rolling drums, crisp percussion, deep undulating bas and assorted synths that swoop, flow and soar all around, providing melody, atmosphere and an almost Middle Eastern feel to the piece as it takes off but this time with an almost darker feel to it. Brief heavenly choral effects are added as the lead synth solos and wails, rhythmic synth layers entwined around the heart of the track and the flute returns briefly, climbing ever higher. The track is the most Middle Eastern sounding on the album and a link back to his early works with a modern outlook. It ends on a bell-like tone and fading space synths swoops to atmospheric degree.
Overall, one totally consistent, stunning album that is sure to please a whole host of synth and ambient electronic music fans for years to come.
PUFF DRAGON: Sazanami CD
The exotic face of chill-out ambient music at its finest. By fifteen minutes into it, I was lost in another world, my head away from the humdrum of everyday life and in a whole new world of mystery and magic. Fuelled by strong, languid, stretched out and wondrously downtempo electronic and percussive rhythms, there's an almost endless expanse of synths and electronics flowing gloriously on top of it all. Then, on top of all this, comes the icing on the cake with violin on the title track, subtle use of guitars, heavenly wordless choirs and flutes on 'Qi Gong', while 'Lava' is a more relaxed brew of almost laid-back symphonic ambience and slowly but purposefully lurching beats and sparkling sequencers. 'Marine Drive' is more in the vein of slowly unfolding ambient dub, but even here it takes on a more exotic form thanks to rippling piano and slowly gliding strings, while another echoed piano and gradually encroaching layers of electronics adds spice to the dubby beats and rhythmic undercurrents. The "Beijing Taxi" remix of 'Chinese Radio' is at the other end of the ambient scale with more of a strongly driving sea of electro-percussive beats and solid sequencers that carry the track forward amid waves of spacey synths, melodic layers and surround-sound synth splendours, the multi-instrumentation adding an exotic top layer to complete a truly splendid rolling rhythmic gem of a track. Overall, across 8 tracks and sixty five minutes of music, it's both addictive and satisfying, transporting you to a higher plane on a journey you'll want to repeat long and often.
SYSTEM 7: Live Transmissions CD
Now at last receiving a general release. We've been selling a few of these in advance and it's no word of a lie to say that the System 7 fans who've bought this already, have come back to us in absolute raptures to say what a stunning album it is - and they're not wrong.
Featuring ten tracks over just short of seventy minutes, this is the duo of Steve Hillage & Miquette Giraudi at a peak level of ambient trance energy that proves to be so addictive, you simply have to play it all in one go, especially as it's continuously mixed to play as one track. Beginning with the classic 'Fay Deau Deau', they immediately provide this soundscape of synth splendours before it's all systems go for 'Teotehuican' as a rhythm enters on top - then another rhythm, then another rhythm and slowly the electronic, sequenced and electro-percussive layers are added to absolutely body-shaking effect. Then, just as you thought it couldn't go any higher, around three minuets in, the sound of the Hillage electric guitar comes sailing over the top a it all flies into a heady mix of dancefloor and 'Fish Rising'-esque electronics and guitar, only then for this massive, high-powered, mid-paced, train-like rhythm from electronic drums to speed ahead as synths swoop, soar and spiral all around to breathtaking effect, the sound of trademark Hillage echoed guitar returning as the icing on the cake - and all just astounding. This then lowers the rhythms and soars into the ambient synths and guitars that opens 'Manik Shamanik' as another steam-train rhythm from the synths and solid electronic drums/programms takes hold, while all around the synths well up and echoed, shimmering, surging lead electric guitar takes you into another dimension for ten magical minutes before it's right into the awesome rhythmic power that is the beefy foundations of 'High Plains Drifter', here sounding so much more solid and on fire than the previous studio version, with added guitar squalls to complete the picture as synths wail out and the fast-paced, lurching, rampaging electro-percussive beats defy you to stay still as the whole thing launches into action and takes you with it, guitars pouring out of the speakers and swooping space synths flying everywhere for what is effectively a fourteen minute epic rendition of the mighty track. From here, it's headlong into the echoed guitars and synths that open 'Gazed And Diffused' as the sound wells up and the guitars swirl, only for this rapid-fire rhythm from electro-percussives and solid chunky beats emerges to floor-shaking effect as the synth figure is repeated, guitars continue to swirl and then the train ride continues, this time at some pace as synths swoop all around the core rhythmic strength, all just so addictive that the politicians would ban it if they knew about it!! From there it continues, unbroken and on fire, as the spellbinding performance continues, the overall result being the most powerful and at the same time totally musical and 100% enjoyable album that this lot have come up with to date.
V/A: Invasion From Hyperspace CD
From those wonderful people at Organic comes this latest psy-trance album with 9 banging slices of rhythm-driven psychedelic trance, sequencers so heavy they'll fall through the floor as an earth-moving array of electronic drum and sequencers thunder forward, defying you not to get caught up in the whole heady nature of it all as you find it increasingly harder not to leap around the room to its addictive beats, heady rhythms and soaring leads, the oceans of synths and electronics occasionally embellished with scything guitars for added impact. But this is by no means all about just a heavy dose of rhythmic assault - for there are more layers, textures and melodies on here than you'd think possible on a psy-trance album, with a fair sprinkling of more chilled-out layers above the rolling rhythmic foundations, a melody lines, strings, space synths and swooping echoed electronics all combine in assorted settings to provide this thunderous yet absolutely enjoyable listening experience. Anyone into the likes of eearly Eat Static, a more urgent sounding Salt Tank and the classics of mid-nineties ambient dancefloor, would do well to score this album, as it simply doesn't put a trance foot wrong.
WINDY & CARL: The Dream House DBLCD
There is nothing you need say about this album of four lengthy tracks of pure and complete cosmic electronic and electric bliss other than it's absolutely beautiful. Either rhythm-less or with what amounts to an undulating undercurrent, the gorgeous arrangements of long, flowing, spacey electronics and soothing electric guitars, will make you go weak at the knees with delight. The second track on CD 2 is accompanied by some samples that rustle and pant (mainly because it's a dog!) and overall, it's a calming sea of heavenly electronic bliss with hardly a rhythm and melody in sight, but still incredibly mesmerising for all that.
CANTERBURY:
ACID MOTHERS GONG: Live In Nagoya CD
Fear not those who may be wary of anything with Acid Mothers in the title, for this is a one seventy four minute gem of a live album. Recorded in perfect quality, it contains few moments of self-indulgence and mostly instrumental, dual-guitar and synths driven tracks that are of a surprisingly high musical and enjoyment factor. Take the opener for a start - nearly seventeen minutes of classic psychedelic rock, nearly all instrumental, with guitars blazing and space synths swooping on what is almost space-rock but ends up being simply souped-up vintage seventies oriented, sax-less Gong. The fourteen minute 'Makototen' isn't far off either, and takes off directly from where the previous track ended with yet more spiralling space-rock jamming that sees a rocket-ship of guitars and a universe of space synths all swoop and drive over solid rhythms and assorted effects, again, the spirit of classic jamming Gong never far away. Throughout the album's lengthy tracks, the same rings true - and this is a stunning psych-meets-Canterbury album of electrifying proportions. The occasional song doth rear its head but in the context of what you are hearing - which is essentially a modern day Gong sounding fresh and alive - they sound as natural as the best Gong always has.
FABIO GOLFETTI: The Calm Lake And The Autumn Moon CD
Solo album from the guy behind Invisible Opera Company Of Tibet. Featuring him on guitar, glissando, programming and vocals, the album begins with a couple of short songs featuring vocals and guitar, pleasant enough, for sure, but a bit like when Tim Blake used to do his New Age songs. From there it's into a five minute track called 'Deep Lake', this time an instrumental that starts with deep synth drones and water sounds before this gorgeous sounding echoed acoustic guitar ripples in with space synth way in the distance. String synth backs the guitar as the whole expanse repeats these lines with subtle variations and then around three minutes in, the guitar starts to weave a more melodic path, this time a bit like the electro-acoustic sounding outings that Hillage produced on the 'Green' album only here instrumental and backed with this ever cascading backdrop of synth and guitar, tinkling percussion adding extra textural qualities in the background as it all reaches a mesmerising conclusion. The seven minute 'Cold Wind' is an acoustic instrumental led by layers of rolling melodic acoustic guitars with a ringing, sonorous quality to them, backed by solid electric bass and simply creating a multitude of melodies that soar and flow in heart-warming fashion, all very strong but full of feeling. Finally the album ends on a thirty minute epic that is dominated by glissando guitar textures, with synths and guitar for added textural layers, but one of the most gorgeous examples of space music you'll come across. Overall, a wide-ranging and consistent, enjoyable set of tracks.
SOFT MACHINE: Shooting At The Moon CD
With new packaging, you'd be forgiven for groaning when I tell you that this is yet another version of the old pre-first album era band's BYG sessions and the only known CD recordings with the classic Daevid Allen-Kevin Ayers-Robert Wyatt-Mike Ratledge line-up. Across 9 tracks, the band play their original and highly addictive brew of Canterbury fusion-pop to eye-opening degree. Now, I'm sure that this has not been remastered, but I also have to say that, compared to the CD version I have at home, which I got aeons ago, the sound is a whole lot clearer and less fuzzy, so someone, somewhere at some stage has de-noised the thing, at the very least. Either way, quality or composition, it's an essential addiction to anyone's Canterbury Music collection, anyone who loves Wyatt and, despite the protestations of the band that their playing was not as good as they'd have preferred (the CD never having appeared with the band's permission along the years), it's still an important musical slice of history which at least now sounds fresh and clean. Know it, love it, play it.
SYSTEM 7: Live Transmissions CD
Now at last receiving a general release. We've been selling a few of these in advance and it's no word of a lie to say that the System 7 fans who've bought this already, have come back to us in absolute raptures to say what a stunning album it is - and they're not wrong.
Featuring ten tracks over just short of seventy minutes, this is the duo of Steve Hillage & Miquette Giraudi at a peak level of ambient trance energy that proves to be so addictive, you simply have to play it all in one go, especially as it's continuously mixed to play as one track. Beginning with the classic 'Fay Deau Deau', they immediately provide this soundscape of synth splendours before it's all systems go for 'Teotehuican' as a rhythm enters on top - then another rhythm, then another rhythm and slowly the electronic, sequenced and electro-percussive layers are added to absolutely body-shaking effect. Then, just as you thought it couldn't go any higher, around three minuets in, the sound of the Hillage electric guitar comes sailing over the top a it all flies into a heady mix of dancefloor and 'Fish Rising'-esque electronics and guitar, only then for this massive, high-powered, mid-paced, train-like rhythm from electronic drums to speed ahead as synths swoop, soar and spiral all around to breathtaking effect, the sound of trademark Hillage echoed guitar returning as the icing on the cake - and all just astounding. This then lowers the rhythms and soars into the ambient synths and guitars that opens 'Manik Shamanik' as another steam-train rhythm from the synths and solid electronic drums/programms takes hold, while all around the synths well up and echoed, shimmering, surging lead electric guitar takes you into another dimension for ten magical minutes before it's right into the awesome rhythmic power that is the beefy foundations of 'High Plains Drifter', here sounding so much more solid and on fire than the previous studio version, with added guitar squalls to complete the picture as synths wail out and the fast-paced, lurching, rampaging electro-percussive beats defy you to stay still as the whole thing launches into action and takes you with it, guitars pouring out of the speakers and swooping space synths flying everywhere for what is effectively a fourteen minute epic rendition of the mighty track. From here, it's headlong into the echoed guitars and synths that open 'Gazed And Diffused' as the sound wells up and the guitars swirl, only for this rapid-fire rhythm from electro-percussives and solid chunky beats emerges to floor-shaking effect as the synth figure is repeated, guitars continue to swirl and then the train ride continues, this time at some pace as synths swoop all around the core rhythmic strength, all just so addictive that the politicians would ban it if they knew about it!! From there it continues, unbroken and on fire, as the spellbinding performance continues, the overall result being the most powerful and at the same time totally musical and 100% enjoyable album that this lot have come up with to date.
EURO-ROCK/CONTEMPORARY:
DAMO SUZUKI'S NETWORK: 3 Dead People After The Performance CD
…..and I'm tempted to add "4 dead musicians", because this band is positively supercharged and on fire for this performance. Those who don't know, should be told that the ex-Can vocalist Suzuki tours the world and plays completely improvised concerts with different musicians backing him in every venue, the musicians he lovingly refers to as "sound carriers". Thus, every concert is unique, nothing ever repeated - making that each CD release is also unique and you never know what to expect. IN this case, it's a document of his performance at a festival in Finland in 2003, mastered in 2005 and featuring Suzuki backed by just four Finnish musicians that number bassist, drummer and two electric guitarists - and right from the start the band goes nuclear. A single fifty two minute track, this is the singer at his most fiery ferocious best, backed by a band who are not only on fire, but exhibiting the power of a blazing sun, as the rhythm section powers onwards in classic Krautrock fashion, while the two guitarists blaze a trail that is nothing short of jaw-dropping for the entire performance. Suzuki himself comes up with a fierce set of urgent vocal and the band really test him to his limits, but he just flies effortlessly above the inferno to amazing effect. To say that this is one of his best performances since the classic days of early seventies Can would not be an understatement, and anyone into Can or Suzuki must buy this album as it's one that you'll be playing long, loud and often.
GENERAL:
BERNARD ALLISON: Energized - Live In Europe DBLCD
Mighty double album that whips up a storm and also carries its fair share of slower tracks to allow the musicians considerable time to showcase all that they can do. But by and large this is a complete concert of lovingly performed blues and blues-rock - all electric - The lead limelight is shared by keyboards and electric guitar, with organ the most prevalent keyboard, while the guitar work simply shines from a master of the craft. Vocally, he's got this gutsy passion of a typical bluesy vocal and delivers the songs with feeling. The band as a whole plays it superbly, with some solid rhythmic backing that allows the original songs to sound as though you've known them for years, while the guitar work is everything you'd expect on a leading blues-rock album. With more than its fair share of guitar work and instrumental passages, this is one of the best albums I've heard from this legend of blues, to this day.
BAKER GURVITZ ARMY: Live In Derby '75 CD
The previously unrecorded quintet version of the band that was the touring outfit, on a perfect sound quality live recording taken from Derby King's Hall in 1975 - couldn't be any other era, actually, as you can tell from the style - core songs on which plenty of improvisation occurs as the band follows a long tradition of seventies live acts that moved in similar ways such as Colosseum, Quiver, Gypsy, Streetwalkers and the like. The line-up of ex-Cream drummer Ginger Baker, plus Peter Lemer (Gilgamesh) on keyboards, Mr Snips (Sharks) on vocals and the Gurvitz brothers (Three Man Army) on bass and guitar play largely blues-touched mixtures of solid seventies rock with a soulful edge as songs unfold, with the icing on the cake in the form of some high-flying instrumental sections throughout the album from all members, but some sizzling guitar solos and fluid organ/synth along the way. A near eighty minute concert, it's really something for those that liked this side of the seventies fence, vocally and instrumentally.
CAPTAIN BEEFHEART & THE MAGIC BAND: Amsterdam '80 CD
This radio concert has been around the bootleg circuit for years - but it's never sounded THIS good before. Taken directly from the original broadcast tapes, this has to be seen as the best live album on the planet by this particular legend. Not only is Beefheart on such top vocal form that even those who thought by this point he'd passed his best, will be suitably impressed, but the band he has with him includes the guitarists Richard Snyder & Jeff Morris Tepper, with Robert Wiliams on drums and Eric Drew Feldman on bass guitar, all of which actually makes for one of THE best Magic Band line-ups to accompany the great man. Across a staggering 18 tracks the intensity of performance only really subsides its mix of twisted blues signatures, angular, lurching, marching rhythms and ringing, chiming, searing, high-flying, stuttering, electrifying dual guitar work and trademark gravel vocal for the ballad 'Her Eyes Are A Blue Million Miles' and a couple of instrumentals. Otherwise, this is vintage Beefheart at an accessible best, performing a cross section of compositions from the very first album right up to the time it was recorded.
OMAR & THE HOWLERS: Bamboozled CD
Too oft overshadowed by the early George Thorogood & The Destoyers, this is a blues-rocking trio that is so underestimated in terms of its overall enjoyment, power and effectiveness, something that this CD should do to dispel with every one of its 15 smoking tracks. With a voice somewhere between Captain Beefheart & John Fogerty, main man Omar delivers the songs with force and passion, suitably smouldering on the slower numbers, spiralling upwards on the rockers. Then, if that wasn't enough, there's his electric guitar work - capable of delivering some corking solos above the solid, crunchy, tasty and driving rhythm section, he blinds you with his blues chops and sheer emotion of playing, as the chiming, burning, slow heat alternates with blistering firepower to provide a stunning set of live performances. Song-wise, all bar the last track are originals, from the Fogerty-esque swamp blues of 'Mississippi Hoodoo Man' through the blues swagger of the title track to the gorgeously languid but razor sharp 'East Side Blues', the Bo Diddley-esque 'Magic Man, to the early ZZ Top-Molly Hatchet tendencies of 'Boogie Man' and the slowly smouldering Beefheart-Dr John-Fleetwod Mac fusion that is 'Snake Oil Doctor'. Basically, it's seventy four minutes of blues-rock with passion and strength that you really should check out.
WISHBONE ASH: Twin Axe Warriors CD
Classic live performance from 1992 with 8 tracks and forty eight minutes of music that showcases their uniquely restrained brand of seventies guitar-rock over a classic set of material. Through three vintage seventies gems from 'Argus' to the surging instrumental 'Outward Bound' to the tight and bluesy 'Bad Weather Blues', this is, indeed, an album that shows off this unique twin-guitar line-up in all its glory.
