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There And Back
After touring with The Jan Hammer Group, Beck went back into the studio to record with Simon Philips and Tony Hymas. Typical Jeff Beck greatness is the result.
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"While their records were entertaining and full of skillful pop, it wasn't until At Budokan that Cheap Trick's vision truly gelled. Many of these songs, like "I Want You to Want Me" and "Big Eyes," were pleasant in their original form, but seemed more like sketches compared to the roaring versions on this album. With their ear-shatteringly loud guitars and sweet melodies, Cheap Trick unwittingly paved the way for much of the hard rock of the next decade, as well as a surprising amount of alternative rock of the 1990s, and it was At Budokan that captured the band in all of its power."- All music$7.50 -
Legendary first album comes with 4 unreleased bonus tracks. Now available at a great price.$7.50 -
"One of the great things about Jeff Beck is his utter unpredictability. It's also one of the most maddening things about him, too, since it's as likely to lead to flights of genius as it is to weird detours like Beck, Bogert & Appice. It's hard to tell what exactly attracted Beck to the rhythm section of Vanilla Fudge and Cactus -- perhaps he just wanted to rock really loud and really hard, beating Led Zeppelin at their own game. Whatever the motivation, the end result was the same -- a leaden album, with occasional interesting guitar work smothered by heavy riffs and rhythms that don't succeed on a visceral level. It's a loud, lumbering record that may be of interest for Beck archivists, provided they want to hear absolutely everything he did." - All Music Guide$7.50 -
Deluxe digipak set from this amazing trio of Guthrie Govan, Marco Minnemann, and Bryan Beller. It was filmed at Alvas Showroom in San Pedro, CA in June 2012. The material is drawn from the Aristocrats studio album as well as the back catalog of the individual members. Pro-shot DVD features a 5.1 surround mix courtesy of Steven Wilson. The 2CDs feature the soundtrack to the set. Oh yeah - the DVD is packed with live bonus material.$27.00 -
"Presenting radio with one of the best rock ballads ever, Cornerstone gave Chicago's Styx their big break with the number one single "Babe," which held that spot for two weeks in October of 1979. "Babe" is a smooth, keyboard-pampered love song that finally credited Dennis De Young's textured vocals. While this single helped the album climb all the way to the number two spot on the charts, the rest of the tracks from Cornerstone weren't nearly half as strong. "Why Me" made it to number 26, and both "Lights" and "Boat on the River" implement silky harmonies and welcoming choruses, yet failed to get off the ground. De Young's keyboards are effective without overly dominating the music, and the band's gritty rock & roll acerbity has been slightly sanded down to compliment the commercial market. The songs aren't as tight or assertive as their last few albums, but Shaw's presence can be felt strongly on most of the tracks, especially where the writing is concerned. Outside of "Babe," Cornerstone tends to sound a tad weaker than one would expect." - Allmusic guide$8.00 -
New Steven Wilson mixed edition of the reconstituted lineup's amazing 1981 album. Lots of interesting stuff here. The CD contains some alternate mixes (not a big deal). The DVD-A contains 5.1 mix in hi-res. You also get a hi-res version of the original stereo mix. Bonus material includes rough mixes of the album in its original running order as well as video of the band's Old Grey Whistle Test appearance.$20.00 -
This is the album that really broke the band in North America. Hit after hit..."After years of writing hook-laden choruses and triumphantly buzzing riffs, this German band finally perfected the formula. A fine mix of poise and passion, Love at First Sting appeals to both angry metalheads and Top-40 aficionados." -- Jon Wiederhorn$7.50 -
"Clive Nolan (Pendragon, Arena) returns with his new solo project - ‘Alchemy – a musical”, a Victorian adventure set in 1842. Next to Clive Nolan himself, the album feature the artists well known in the world of progressive rock including Tracy Hitchings (Landmarq, Strangers on a Train), Andy Sears (Twelfth Night), Paul Manzi (Arena), Damian Wilson (Threshold), Paul Menel (ex-IQ), David Clifford (Red Jasper) as well as the leading lady of Nolan's previous musical 'SHE', Agnieszka Świta and Noel Calcaterra - a Uruguayan singer/actress and the voice of Clive Nolan South American 'Otra Vida' project from 2010. The Caamora Company musicians - Clive Nolan (keyboards), Mark Westwood (guitars), Scott Higham (drums), Claudio Momberg (keyboards) and Kylan Amos (bass) will once more take charge of the instrumental part of the project. The core members of the company will be joined by special guests and a chorus. This release will be preceded by the world premiere of 'Alchemy' show at the famous Wyspianski Theatre in Katowice, Poland on February 22, 2013, where it will be recorded and released on a DVD by Metal Mind Productions in Autumn 2013."$17.00 -
Remastered edition of the 1991 album comes with two bonus tracks. You also get a second disc that contains the live California Brainstorm album which if I recall was a particularly hot set.$18.00 -
Look what turned up in someone's attic! Archival live recording from Nottingham University on 1/24/76. Nothing unusual about the set but its a fine recording and a good representation of the band at their peak."Well, it is 2006 and here we have a new release by Renaissance, a band central to the first wave of Prog music in the 1970s with their classically orientated arrangements, distinctive orchestrated sound, and of course, the unmistakeable vocal talents of Annie Haslam. This single CD is from a recording made on Saturday 24th January 1976 by Realsound Mobile at a concert in the University of Nottingham, England and features just 6 of their best known songs played by the prime 70s line-up.It should be noted that this gig was played just seven months after their triumphant 3 night stint at the Carnegie Hall, complete with orchestra, which resulted in the highly respected 2CD set 'Live At Carnegie Hall' - all of these 6 tracks are also on that Carnegie Hall set, but this time they are played without an orchestra. This is what makes this CD so interesting - to hear how the same songs sound within a contemporary timeframe but without the orchestral arrangements.The origin of this recording has not been divulged other than what I have already mentioned. Clearly these are tapes that have been lying around for 30 years, but we are not told whether this CD has been mixed from original professionally recorded multi-track tapes or some other source. I suspect the latter, because the sound quality isn't great, specifically it has a stereo sound stage compressed toward the centre, something which would have been fixed had it been mixed from multi-track. The sound isn't bad - I have heard much much worse - but it could be a lot better, and it doesn't approach the clarity of the Carnegie Hall set. While the mid and upper registers are clear enough with good separation though somewhat subject to acoustic echo (especially some 'double hits' on snare drum), the lower frequencies wallow around in a muddiness that tends to swamp any intricate delicacies of bass guitar and drum kit when playing in ensemble. [I am reminded of a bootleg - a very high quality one maybe - but the sound and ambience is reminiscent of an audience recording, except there is not the usual amount of audience noise you would expect with a bootleg.]The quality of recording is excellent: there is no distortion; no drop-outs or glitches; noise (hiss) is only apparent during the very quietest passages; and all the instruments and voices sound solid. Audience noise is kept to a minimum with just the usual respectful applause: the exception being during a couple of very quiet moments when you can hear some distant chatter (maybe at the bar?), but this is not enough to interfere in any way. Generally, the mix is good, though in addition to the already mentioned problems, the piano (the main lead instrument) is a little too forward for my liking (and in any case sounds a bit odd) while the guitar and drumkit are often lost in the murk. Compared to the lush professional smoothness of the Carnegie set this album feels much more rough and raw, a more intimate recording from a smaller venue.The performers do their jobs well as always. Annie sounds wonderful, with just a little processing to give her voice more presence. She certainly hits all those high notes easily - I wouldn't have liked to stand next to her when belting out that final ear-shattering note near the end of Ashes Are Burning! John Tout on keyboards is the lead instrumentallist here, mainly on piano which works well where the part was created for piano (eg Prologue) but falls a little flat otherwise (eg Ashes Are Burning). He copes with the Song Of Scheherazade surprisingly well - by which I mean he does a good job of persuading the listener that you don't really miss the full orchestra backing! Jon Camp is an important and often overlooked ingredient in the classic Renaissance sound, and sadly he doesn't get enough opportunities to shine, but his bass playing is as faultless as always. Terry Sullivan's drumming and percussion is too often swamped in the mud, but he seems to be as much of a rock as usual. Michael Dunford tends to come and go: his delicate acoustic guitar is all too often swamped during the louder sections, which is a pity, but it is nice to hear his voice so clearly, both while singing solo and in harmony with Annie.The performances are what you might expect - imagine these songs on the Carnegie set but in an intimate setting without orchestra and you won't go far wrong as they are performed much the same, but with Tout filling in some of the empty spaces with synth washes and pads. Playing this album in isolation gives a great deal of pleasure and the songs sound natural and right in this environment. Even the Song Of Scheherazade, their orchestrated magnum opus, comes across very well indeed as the band pull together to generate a moving experience ........ that is, until you then hear the same song in all its orchestrated glory from Carnegie Hall (or, indeed, the original studio version) and suddenly you get the goose-bumps and realise there is no comparison! Good as this album is, it will inevitably be fated to be compared unfavourably to the Carnegie Hall performances. A particular example is the final track - Ashes Are Burning. The Carnegie Hall version is sublime and has me writhing is ecstacy - sadly this new version only has me writhing in .... well, almost boredom actually. From the mid-song instrumental jam onwards it is uninspired with a bit of bass, some synth and piano noodling, and, what is worse, there is no Hammond on this version! I am a sucker for that 3-note descending motif but without the Hammond it sounds quite ordinary, and Tout seems to have run out of ideas.This is not to say that this is a bad album. Far from it, it is a welcome and enjoyable addition to the collection of the Renaissance afficianado which gives a different slant on the material, and in much better quality than some of the extremely rough unauthorised recordings I have heard from this period. But neither is it essential, especially for those new to the band.One final point: it is nice to report that, for once, the record company - Major League Productions - have done a good job with the packaging. The inner booklet contains lots of photos of the band and tour memorabilia, proper credits, and some notes by Annie in which she reminisces on 'the old days' (eg how they used to stop off at a 'greasy spoon' motorway cafe in the middle of the night and she would always eat egg and chips etc)." - ProgArchives$8.00 -
New studio album from Roye Albrighton and Ron Howden carrying on with the Nektar name. Since the band reformed last decade, their studio output hasn't lived up to the reputation of the classic 70s era. This album appears to stop the skid. Keyboardist Klaus Henatsch has been with the band for some time now. His keyboard arsenal has that old school sound utilizing Hammond organ at every turn. Fill-in bassist to the stars Billy Sherwood rounds out the quartet and he also handled production. While no two Nektar albums sounded exactly alike there was an overriding sound - once you heard a song you immediately were able to identify it as Nektar. A lot of that had to do with Albrighton's vocals and guitar work. Time Machine is just that - a trip back in time to the sound of Nektar in the early 70s. I'm not going to tell you that is will supplant Remember The Future as their magnum opus, but I have to say that this isn't half bad at all and pretty closely approximates the Nektar sound that we all know and loved. Surprising and satisfying.$16.00 -
Budget priced 5CD set in a slimline case featuring the following albums:ManDo You Like It Here Now, Are You Settling In?Be Good To Yourself At Least Once A DayRhinos, Winos & LunaticsSlow Motion$20.00 -
"Soft Machine were one of the greatest UK avant/jazz-rock bands of all time and their work, whether their earliest performances as a psychedelic band, who were contemporaries of, and shared stages with Syd Barrett's Pink Floyd and the Jimi Hendrix Experience, all the way to being one of Europe's best known 'fusion' bands, their work continues to be name-checked by today's hip experimentalists.By mid 1973, Soft Machine had gone through a tremendous amount of personnel turnover and a shifting in their sound over the previous year. The band now consisted of founding member Mike Ratledge (electric piano, synthesizer), Karl Jenkins (electric piano, piano, sax, oboe), Roy Babbington (electric bass) and John Marshall (drums and percussion). Having already collaborated with a guitarist, Gary Boyle (as documented on NDR Jazz Workshop), upon meeting guitarist Allan Holdsworth, then in the early stages of his professional career, in November, the group invited him to join the band, which he did, becoming the first guitarist to join the band in over 5 years!With the addition of a musician of Holdsworth's prowess, Soft Machine decided to take a fresh start and develop material that would feature their virtuosic new addition in a fitting manner. Jenkins and Ratledge composed a whole new repertoire which was road-tested on extensive tours of North America and continental Europe in the first half of 1974 and which would ultimately make up the Bundles album, widely acknowledged as a jazz-fusion classic alongside the best exponents of the genre worldwide.On July 4, 1974, Soft Machine were invited to perform at the prestigious Montreux Jazz Festival in Switzerland, sharing the spotlight with such headliners as Billy Cobham’s Spectrum, Larry Coryell’s Eleventh House and the Mahavishnu Orchestra. This alone was evidence of the band being a dominant presence on the now widely popular jazz-rock scene, which had evolved out of the unique and edgy sound that the band had pioneered a few years before. Switzerland 1974 is this performance, captured just a couple of weeks before the studio sessions for Bundles. The hour-long set is the only available visual document of the Ratledge-Marshall-Jenkins-Babbington-Holdsworth line-up, and it includes live versions of the entire album, most notably the classic “Hazard Profile” suite, augmented with individual showcases for each member as well as a collective improvisation and brief snippets from Six and Seven. As well as retracing Soft Machine’s transformation into one of the leading exponents of jazz-fusion, it provides a rare chance to witness the genesis of Allan Holdsworth’s unique, innovative and unbelievably fluid and dexterous playing, before he went on to universal acclaim with Tony Williams’ New Lifetime, the prog-rock ‘supergroup’ U.K., Jean-Luc Ponty, Bill Bruford and ultimately his own electric fusion groups.Caveat: Due to the age of these tapes and how they had been previously mixed, edited, used, and stored, there were multiple visual and audio sources of this show in varying lengths, each with their own flaws. While significant flaws could not be completely eliminated, very special thanks are due to our engineers Doug Moon and Udi Koomran, who worked from these multiple copies in order to make the final result as good as it can possibly be."$19.00 -
1989's album with Terry Bozzio and longtime keyboardist Tony Hymas is one of Beck's great ones. All instrumental it shows the trio pulling out all stops for a head on collision of hard rock and fusion. 100% face melter.$7.50
