Showing posts with label 17. Show all posts
Showing posts with label 17. Show all posts

Sunday 23 April 2017

Log #30 - Impressive Beards / Mixed Results

Eddy Bamyasi


1. Willard Grant Conspiracy - Mojave
2. Iron and Wine - Kiss Each Other Clean
3. David Sylvian - Dead Bees on a Cake
4. John Surman - Coruscating
5. Luke Vibert - YosepH
6. Arbouretum - The Gathering


The Willard Grant Conspiracy album is so so. I used to love this sort of laid back Americana stuff but now it sounds pretty middle of the road and very low key. Actually a bit depressing. The lead singer has one of those baritones popularised by The Handsome Family, Tindersticks and Nick Cave. Sadly on googling a meaning for Willard Grant (there wasn't one particularly) I learn that the lead singer died only this February and that wasn't his name.

Willard Grant singer Robert Fisher 1957 - 2017

I was surprised the band were still going actually. I saw them at our local Komedia venue many years ago, probably around the time (1999) of the Mojave album (which also has a pretty bleak cover) and they seemed jaded at the end of a long European Tour. I could see the drummer lying on the floor back stage before the band made their appearance.

Depressing imagery on the WGC album


Iron and Wine on the other hand really resonate with me. I came to them late when I saw beautifully bearded leader Sam Beam with full electric band at The Green Man Festival in Wales about 7 or 8 years ago. I thought they were excellent - superb musicians, great vocals, and powerful songs especially Your Fake Name is Good Enough for Me. Later I read that diehard fans of Sam Beam were not so impressed with his switch to electric band from his acoustic roots. I've now caught up on the more solo emphasized earlier albums and they are excellent, but that doesn't detract from Kiss Each Other Clean this week's cover album.

Sam Beam, impressively bearded well before it became fashionable


Finally this week a return for Baltimore rock band Arbouretum who I was surprised to see are playing at a tiny venue in Brighton in June. Tickets secured and I hope for some tracks from this guitar laden Gathering album.


Sunday 16 April 2017

Log #29 - I Love Luke Vibert's Acid

Eddy Bamyasi
1. Iron and Wine - Around the Well CD 2
2. Iron and Wine - Kiss Each Other Clean
3. David Sylvian - Dead Bees on a Cake
4. John Surman - Coruscating
5. Luke Vibert - Lover's Acid
6. Luke Vibert - YosepH


I love these heavy beatz Luke Vibert albums from his early noughties acid phase. They sound so fresh and current even though they are both over 10 years old now. An artist who has kept up a remarkably original and consistent standard over a number of years and name changes including Plug, Kerrier District and Wagon Christ.

One of my fave tracks with it's Kraftwerk like pulses and vocoder is I Love Acid from YosepH which does exactly what it says on the tin.

Sunday 9 April 2017

Log #28 - Lost and Found, the Unusual Career Trajectory of The Sugarman

Eddy Bamyasi


Like many I discovered Rodriguez through the superb Searching for Sugarman film. My partner wanted to go to the cinema and I'd read rave reviews about the film Argo which was also showing (also a brilliant film incidentally). I wasn't fussed about seeing the Sugarman film but I was wrong and it was fascinating. I knew nothing about him apart from through the track Sugarman which appeared on a David Holmes DJ mix album in 2002 entitled Come Get It I Got It.  And as I knew nothing and indeed had no idea if he was still alive the suspense in the film during "the search" was tangible. I'm sure the story of a poor manual labourer from Detroit achieving overdue fame and fortune in South Africa unbeknownst to himself was somewhat romanticised but still a great one.

*spoiler alert* I don't think there are many music fans left with an interest in his music who would not know the outcome of the film so it is ok for me to say that a still living Rodriguez was tracked down and by coincidence he appeared at Brighton Dome just two weeks after I saw the film in November 2012.

It was a superb concert where a fragile but strong voiced Rodriguez played most of the tracks from his only two albums Cold Fact and Coming From Reality plus a storming encore of Blowin' in the Wind (Rodriguez was yet another artist originally hailed as the new Dylan or could have been as good as...). The former album is the more famous and includes the Sugarman track but I actually think the Coming From Reality album is stronger. This edition includes a couple of new outtakes and B sides.

As a tragic aside the Oscar winning director of the Searching for Sugarman film shockingly took his own life in 2014: http://www.hollywoodreporter.com/news/searching-sugarman-director-dead-thr-710882

1. Rodriguez - Coming From Reality
2. Bob Dylan - Desire
3. Iron and Wine - Around the Well CD 1
4. Neil Young - After the Goldrush
5. Calexico - Garden Ruin
6. Van Morrison - Moondance/St. Dominic's Preview*

A bit of a cheat on the whole selection this week as I was on holiday and away from the CD magazine. These are the CDs I had with me and was able to play in a hire car. Amazingly I really was on the way to some Aztec ruins in Mexico when I heard Bob Dylan sing: "Past the Aztec ruins and the ghosts of our people" from Romance in Durango off of my favourite Dylan album Desire. #evocative

Durango is a real place in Northern Mexico


*The last CD in the list is a home made compilation of two of Van Morrison's greatest albums (sometimes fun to do this when you can fit two on the same CD) - a combination not officially available.




Sunday 2 April 2017

Log #27 - Four Tet Doing The Rounds

Eddy Bamyasi


1. Rodriguez - Coming From Reality
2. Money Mark - Mark's Keyboard Repair
3. Fairport Convention - The History Of
4. Four Tet - Rounds
5. Wagon Christ - Sorry I Make You Lush
6. Van Morrison - The 1967 New York Sessions

Cover album is from Four Tet. I really like this DJ Artist, real name Keiran Hebden, who composes his own material. Seeing him live too was a good experience (not normally the case I find with DJ sets as a spectacle). This is the only album I have of his and by many accounts is the best one to start with. There are some great hooks and loops and lugubrious jazzy down beats similar to DJ Shadow's best stuff. Centrepiece is the piano piece Unbroken. And They All Look Broken Hearted is fascinating with it's phased Japanese koto.



Sunday 26 March 2017

Log #26 - How to Tell the Temperature from a Cricket

Eddy Bamyasi


1. Rodriguez - Coming From Reality
2. Money Mark - Mark's Keyboard Repair
3. Sly and the Family Stone - The Collection
4. Four Tet - Rounds
5. Wagon Christ - Sorry I Make You Lush
6. Van Morrison - The 1967 New York Sessions

Wagon Christ is one of the pseudonyms of Luke Vibert - a prolific DJ and mixer, like Aphex Twin, from Cornwall. What I admire about Vibert's output is that although he covers different styles (electronica, acid, disco, dance, trance) he always stamps his own personality on his music - a characteristic not all that common in the rather anonymous world of DJ mixing. I found my way into Luke Vibert via his Stop the Panic album with slide guitarist BJ Cole - an unusual marriage, but one that works brilliantly.
That cricket was chirping at 76 degrees fahrenheit.
Also on the playlist this week is an intriguing album from Money Mark. Money Mark is actually Mark Nishita who has played keyboards with The Beastie Boys. Hear this frankly bonkers but brilliant track Insects Are All Around Us and ponder if you have ever heard anything like it before.




Sunday 19 March 2017

Log #25 - Van's Window on Astral Weeks

Eddy Bamyasi


1. Lynyrd Skynryd - Gold and Platinum
2. John Martyn - Solid Air
3. Tom Waits - Blue Valentine
4. John Martyn - Grace and Danger
5. Van Morrison - The 1967 New York Sessions
6. John Martyn - Glorious Fool

The Van Morrison New York Sessions are outtakes from around the Astral Weeks time. Releases of studio outtakes like this are often filler for some artists. But not in the case of Van Morrison whose perfectionism has meant many great songs not making the cut to his albums over the years (see the tremendous Philosopher's Stone for example). On these tracks we hear the genesis of the Astral Weeks album with early takes of some of the songs that would resurface a year later on the album proper. The sound is rawer, his voice is powerful and soulful, and the songs are bluesy with an improvisational quality. Listening to this album reminds me of Bob Dylan's Basement Tapes and the aforementioned Philosopher's Stone.

Cover album Blue Valentine is classic Tom Waits,  providing a bridge between his early soulful ballads and his later industrial rhythms. I love the night hawk neon green tinged seedy imagery which augments the groovy blues tinged music and lyrics within.

Blue Valentine, back shot.

The evocative track titles tell some stories in themselves.




Sunday 12 March 2017

Log #24 - Johnny (Martyn) Be Good

Eddy Bamyasi


1. Lynyrd Skynryd - Gold and Platinum
2. John Martyn - Solid Air
3. Tom Waits - Blue Valentine
4. John Martyn - Grace and Danger
5. Van Morrison - Tupelo Honey
6. John Martyn - Glorious Fool


So there I was on this barge on the river wearing nothing but denims and a smile, and this blue man says to me, 'You know I used to be like you, but I saw sense and I changed myself.' So I looked at his sage expression and black shoes and thought 'Thanks all the same, I'll stay on the river.'

I do feel lucky to have discovered John Martyn relatively early in life. I was introduced to him on a summer holiday in France one year by a friend of a friend who played a bit of acoustic guitar in that percussive slapping manner which was very new to me at the time, and characteristic of Martyn's acoustic playing especially on his earlier folky albums. Then later the same (long) summer (I assume) I was helping another friend refurbish a boat down in Cornwall somewhere and had two albums in rotation on my Walkman: Bob Dylan's Desire and John Martyn's Solid Air.  Not a bad selection if you only had one C90 tape for the whole summer (and two of my favourite albums still today 30 years later)!

It sounds wonderfully free and romantic, rather like Martyn's quote from the sleeve notes of his debut album above. I had indeed just met a new girlfriend and in my mind's eye the sun shone and I would have been bare footed and long haired too! What emotional memories particular music always brings up.


JM with smoking joint lodged in machine head

Solid Air is the classic John Martyn. A lovely blend of folk and jazz and the beginnings of his more electronic echoplex guitar playing. Perhaps most evocative is the lovely electric piano. It is of course, like most of his records, a very chilled laid back album - there is a track entitled Go Down Easy and the title track is a homage to Island label mate Nick Drake. But perhaps his most famous song in his full catalogue is May You Never, a song he always played live and one the crowd would sing along with especially in later life when the drugs and booze had taken such a toll his concerts had become a little more ramshackle.

However like many artists who suffered poor health in later life his voice never left him (just becoming even more of a bear growl), nor did his unique guitar playing which although relying increasingly on effects still mesmerised. Like his very easy going effortless slurred voice the guitar also looked extremely loose and free but he was obviously channelling some higher source as I could never work out what he was doing despite studying May You Never guitar tabs for years.

We also have two later albums in the list above. I say later but Grace and Danger and Glorious Fool were released in 1980 and 1981 respectively so still very early relatively. The heartbreaking Grace and Danger album I've written more extensively about here. The slightly harder edged Glorious Fool was a bit of a crossover album between classic John Martyn and later 80s smoothness, and slightly disjointed as a consequence but still contains some excellent tracks. One disappointment is the electrified rendition of Couldn't Love You More which loses much of the soul of the acoustic original on the excellent One World album. In fact I'd proffer that One World is Martyn's peak, representing the perfect equilibrium of his earlier folk days and the later electric period. All his 70s albums right up to, and including Grace and Danger which was a departure, are worth getting but start with One World and Solid Air.




Sunday 5 March 2017

Log #23 - The Tragic Life of Allen Collins

Eddy Bamyasi


Some people have such tragic lives don't they? Sometimes it seems people of fame and fortune have their unfair share of infamy and misfortune too (is this a way the universe balances things out, or is this just a perception as we only hear about the famous ones subjected to tragedy?).

A couple of posts ago I talked about the unfortunate Barclay James Harvest band. But their trials and tribulations were nothing in comparison to US southern rockers Lynyrd Skynyrd. As we will learn below the whole extended band suffered awful trauma but take founding guitarist Allen Collins for instance. He was the lanky one dressed all in white, bushy long hair flowing in the wind, shredding his guitar during Freebird in one of the most famous guitar solos ever committed to film. The band were at the height of their powers playing to a stadium crowd at The Oakland Coliseum July 1977.

Allen Collins ripping it up during Freebird, Oakland, July 1977

Just two months later a plane carrying the band and their crew between gigs ran out of fuel over Mississippi swampland. Falling just short of its destination the crash claimed the lives of three band members and left the survivors including Collins never the same again.

Jacksonville, 1964

Allen Collins was at the genesis of Lynyrd Skynyrd when he joined lead singer Ronnie Van Zant and fellow guitarist Gary Rossington as long ago as 1964 to form a high school band in Jacksonville, Florida. Going through several name changes the Lynyrd Skynyrd name was finally taken on in 1969, a mocking tribute to the school's notoriously strict PE coach, one Leonard Skinner.

Collins, Van Zant, Rossington

Crafting a gritty "southern" sound through a creative blend of country, blues and heavy rock, Lynyrd Skynyrd developed a keen live following in their southern homeland before finally being "discovered" by producer Al Cooper with whom they recorded their debut album Pronounced Leh-nerd Skin-nerd (1973) - this was almost ten years after their initial formation so it was not surprising that they had by then a wealth of strong songs and had honed a super tight live act.

Freebird

The album contained several staples and the classic Freebird. With it's ballad piano and slide guitar opening morphing into heavy rock and searing guitar solo, this song, first conceived by Collins and Van Zant in the late 60s, was a forerunner to other epic rock songs of similar structure like Stairway to Heaven and Bohemian Rhapsody.

Lord knows, I can't chay-ay-ay-ay-ay-aaaange! Is there a more exciting moment in rock than the shift of gear midway through Freebird?


Kathy and Allen Collins on their wedding day, 1970

Legend has it that it was Allen Collins's partner, Kathy, who asked him one day: "If I leave here tomorrow, would you still remember me?" This became the famous opening line which was later augmented by a gentle piano introduction which had been written by the band's roadie. So impressed were the band that they formally asked roadie Billy Powell to join as their keyboardist.


Poised for take off - Lynyrd Skynyrd in 1973, Collins far left


20th October 1977

In October 1977 the band riding a euphoric wave of popularity and success set out on a US tour to promote their new Street Survivor album.  Just five days into the tour disaster struck.

The aircraft used to transport the band and their entourage from gig to gig was a rather vintage 1948 Convair 240. Rumour has it the same plane had already been rejected by the band Aerosmith, not only because it was felt the plane itself was unsafe but also on grounds of an unreliable flight crew (who had allegedly been witnessed drinking during the inspection).

It would appear it was obvious the plane had problems and was on its last legs. Sound technician Ken Peden had reported seeing flames from one of the engines on what turned out to be the plane's penultimate flight and apparently it had been decided it would be grounded as soon as it reached their next destination, Baton Rouge. It had also been observed by some passengers that the fuel gauges were deemed unreliable and fuel levels prior to flights were checked by literally dipping a stick inside the engines.

The Convair departed Greenville a little after 4pm on October 20th heading for Baton Rogue - a 3 hour flight. Aboard were the two pilots, and 24 passengers. But, at around 6:40pm, just minutes from their destination the pilots reported that fuel was low. One engine cut out. The pilot reportedly attempted to transfer fuel from the remaining engine to the dead engine but accidentally dumped all the fuel from that engine as well leaving the plane without power. All went quiet until impact.

Billy Powell would recall his experiences in an interview with Rolling Stone only a month later: “We had decided the night before that we would definitely get rid of the plane in Baton Rouge. So we started partying to celebrate the last flight on it. The right engine started sputtering, and I went up to the cockpit. The pilot said they were just transferring oil from one wing to another, everything's okay. Later, the engine went dead. [Drummer] Artimus [Pyle] and I ran to the cockpit. The pilot was in shock. He said, 'Oh my God, strap in.' Ronnie had been asleep on the floor and Artimus got him up and he was really pissed. We strapped in and a minute later we crashed. The pilot said he was trying for a field, but I didn't see one. The trees kept getting closer, they kept getting bigger. Then there was a sound like someone hitting the outside of the plane with hundreds of baseball bats. I crashed into a table; people were hit by flying objects all over the plane. Ronnie was killed with a single head injury. The top of the plane was ripped open. Artimus crawled out the top and said there was a swamp, maybe alligators. I kicked my way out and felt for my hands - they were still there. I felt for my nose and it wasn't, it was on the side of my face. There was just silence. Artimus and Ken Peden and I ran to get help Artimus with his ribs sticking out.”

The plane had skipped and skidded across tree tops, then smashed into a swampy area, just short of farmland. It has become confused conjecture what happened next but apparently some of the survivors nursed the injured and some went for help in the fading light. Rumours that the farmer had shot at the bloody survivors appearing out of the trees in the dusk, further injuring one, were exaggerated.



Lynryd Skynrd's flight from Greenville fell just short of its destination in Baton Rouge

Six lives were claimed in the crash including Ronnie Van Zant, new guitarist Steve Gaines, his sister vocalist Cassie Gaines, assistant road manager Dean Kilpatrick, pilot Walter McCreary and co-pilot William Gray.



20th October 1977 - the plane carrying the band crashed in Mississippi swampland


As a mark of respect MCA Records immediately withdrew the original "Street Survivors" album cover showing the band surrounded by flames (which had been released only 3 days earlier), and replaced it with the band striking a similar pose against a plain black background. The album rose rapidly in the charts to become the band's second platinum selling album.


The original fire Street Survivors cover and the black replacement, Collins far left again, Steve Gaines in red


Reunions

Like the rest of his bandmates, Collins struggled to find a way forward after 1977, and further tragedy seemed to dog his path in particular. Collins and fellow survivors did not reform until a one off gig in January 1979 where they performed a poignant instrumental version of Freebird with a lone mic stand positioned centre stage in respect to Ronnie Van Zant.

In 1980 Gary Rossington, Billy Powell and Leon Wilkeson joined Collins to form the Rossington-Collins Band. Female lead singer Dale Krantz was recruited deliberately to avoid comparisons with Van Zant. But just as they were preparing to tour in support of their new album, Collins’ wife died suddenly, the result of a miscarriage-related haemorrhage. Collins, devastated by yet another personal loss, entered a losing battle with addiction that would haunt him for his remaining years.

The Rossington-Collins Band soon split but Collins reemerged with Powell and Wilkeson under the name the Allen Collins Band. Eventually warming up to the idea of reuniting the rest of the Skynyrd survivors once again, Collins set about trying to assemble a band that, for a time, was referred to as Lynyrd Skynyrd II. Van Zant’s younger brother Johnny was recruited to take the mic but as the group was preparing for another reunion tour in 1986 tragedy struck yet again. Collins, who had already had numerous traffic related convictions, crashed his car in Jacksonville killing his then girlfriend and leaving himself paralyzed from the waist down and unable to play again. Literally adding insult to injury Collins was charged with manslaughter and was tasked to appear on stage, throughout the new tour, in his wheelchair, to warn the audience about the dangers of drunk driving.

His weakened condition after this latest accident contributed to further failing health and in 1990 he passed away after a struggle with pneumonia at the age of only 37.

A fairly unrecognisable version of Lynyrd Skynyrd have remained together since that 1987 reunion, but their road has remained a bumpy one, with a number of band members in dispute and facing legal issues over the band's legacy and the use of the band name, and even persistent accusations on the cause of the fateful plane crash and the actions of various individuals in the immediate aftermath.


LS today

The Real Leonard Skinner

Leonard Skinner is the man who inspired the Lynyrd Skynyrd band name. The gym teacher and high-school coach famously came down on Ronnie Van Zant and his school friends for wearing their hair too long, although he later said that his strictness was exaggerated: “They were good, talented, hard-working boys... worked hard, lived hard and boozed hard.”

He wasn't a fan of their music though— his son recalled him asking, “What the hell kind of noise are you listening to?”


The real Leonard Skinner, strict PE teacher at the boy's high school


Who Needs Neil Young Around Anyhow?

By all accounts, the famous lyrical war of words between Neil Young and Lynyrd Skynyrd was more like a spirited debate between respectful friends than an actual feud.

Well I heard Mr. Young sing about her, well I heard old Neil put her down, well I hope Neil Young will remember, a southern man don't need him around anyhow.

Ronnie Van Zant sporting his Neil Young T-shirt

Young’s songs Alabama and Southern Man took aim at the South’s checkered race relations past, with references to slave ownership and cross burning. Ronnie seemingly felt Young was painting too many good people with the same old, bad brush, and responded with the Sweet Home Alabama lyricHowever, both repeatedly declared their respect for each other.

RIP

Ronnie Van Zant - died in the 1977 plane crash
Steve Gaines - died in the 1977 plane crash
Billy Powell - died from a heart attack in 2009
Bob Burns - died in a car crash 2015
Allen Collins - died from pneumonia in 1990
Leon Wilkeson - died from liver disease 2001
Ean Evans - died from cancer 2009
Hughie Thomasson - died from a heart attack 2007
Cassie Gaines - died in the 1977 plane crash
JoJo Billingsley - died from cancer 2010
Ed King - died from cancer 2018


This week's magazine:

1. Lynyrd Skynyrd - Gold and Platinum
2. Tom Waits - Blue Valentine
3. Van Morrison - Philosopher's Stone CD2
4. Bob Dylan - New Morning
5. Van Morrison - Philosopher's Stone CD1
6. Grateful Dead - From the Mars Hotel


Sunday 26 February 2017

Log #22 - Grumpy Old Men - Tom Waits and Van Morrison

Eddy Bamyasi


There is really nothing better than a Van Morrison album on a lazy Saturday morning. Smoothie done, coffee on, Brighton Festival brochure open across a sunny kitchen table, blooming orchids left by a dear friend. Almost any album that is, but the vibe is particularly enhanced by these easy going bluesy mid Van period outtakes compiled on the brilliant The Philosopher's Stone double album. Outtakes I say! These previously unreleased tracks demonstrate the quality of Morrison's general output, being of a standard most artists could only dream of! The album contains new tracks, rarities and alternative versions, spanning his whole career to date - 1968 to 1988. Infamous for the strict demands he placed on his bands it is no surprise that the music is perfectly played and recorded as demonstrated on Naked in the Jungle.

Stenness standing stones, Orkney - a suitably Celtic location

I've seen Van a few times live and his difficult reputation precedes him and can lead to some fairly bad tempered appearances. Often a musician in his band will feel the force of his displeasure where a cue for a solo is missed. At a gig at Brighton Dome a few years ago he turned to cue his choir of backing singers who had actually exited the stage -

Where's the f*****' choir?!

Sitting to the side of the stage I also had view of his countdown timer displayed in huge red LED lights. Van was not going to play a minute longer than agreed, and never does encores. Having said all that his voice remains as strong as ever and there was a period from the late 60s through to the mid 70s where he produced six or seven of the greatest albums ever made. The first of these Astral Weeks is my favourite album of all time. He can also still turn it on live when he wants to; headlining the Love Supreme Festival in 2015 he turned in a storming set of 70s classics finishing with an extended Gloria.


1. Crosby Stills and Nash - CSN
2. Tom Waits - Swordfishtrombones
3. Tom Waits - Rain Dogs
4. Bob Dylan - New Morning
5. Van Morrison - The Philospher's Stone CD 1
6. Grateful Dead - From the Mars Hotel


Tom Waits was the subject of a BBC retrospective last weekend. This naturally drew me to select a couple of his CDs. Swordfishtrombones and Rain Dogs were consecutive albums recorded in the early 80s. Although he always had his famous gravel and whiskey voice these albums represented quite a departure from the sound of his 70s output which was more conventionally song based. Here he employed a much more aggressive "industrial" sound of clanky rhythms, marimbas, brass and double bass, with cabaret like narratives recalling the songwriting of Kurt Weill.

The captain is a one-armed dwarf
He's throwing dice along the wharf
In the land of the blind, the one-eyed man is King
So take this ring
We sail tonight for Singapore
We're all as mad as hatters here
I've fallen for a tawny moor
took off to the Land of Nod
Drank with all the Chinamen
Walked the sewers of Paris
I danced along a colored wind
Dangled from a rope of sand
You must say goodbye to me

Tom Waits from Singapore


I really like Dylan's New Morning album. It's very understated with gentle piano based songs. I enjoy hearing the less celebrated songs of such an artist like Father of Night.

Dapper Dylan from the New Morning shoot

Grateful Dead were famous for their extended live performances captured on many bootlegs which the band, unlike most, actually encouraged and sanctioned. Their studio albums don't always capture the full atmosphere of the live experience although I think From the Mars Hotel is the best I have heard and contains my favourite Dead track Unbroken Chain which showcases Jerry Garcia's fluid jazz twinged soloing pretty well.

Liquid gold - the acid fretwork of Dead legend Jerry Garcia 1942 - 1995



Sunday 19 February 2017

Log #21 - The Conceptual Art of Thick as a Brick

Eddy Bamyasi


1. Jethro Tull - Thick As A Brick
2. Barclay James Harvest - The Harvest Years
3. Barclay James Harvest - The Harvest Years
4. Barclay James Harvest - Gone To Earth
5. Eilen Jewell - Sea of Tears
6. Paulo Nutini - Sunny Side Up

Head album this week is the Jethro Tull Thick as a Brick opus. This really was a concept album - deliberately so. Leader Ian Anderson, in response to the critics calling the Tull's previous album, Aqualung, a concept album (wrongly in his view - "it was just a bunch of songs") decided to deliver the mother of all concept albums.

...We were spoofing the idea of the concept album.

Hence we have Thick as a Brick which is essentially one composition spread in two parts of 20 minutes each. The concept as it were wasn't anything grand. It told the story of a schoolboy who was disqualified from a poetry competition. The schoolboy in question, one fictional Gerald Bostock, is pictured on the album cover which doubles as the St. Cleve Chronicle newspaper.

What of the actual Gerald Bostock? He was child model Andre C Le Breton who 45 years on works as a music engineer and record producer whilst dabbling in his own compositions which he describes as weird German underground trance blending light and dark electronic noise. Sounds great!

Apparently the design of the album cover took more time than the actual music. As for the music I can't say I've studied it as a whole much before this weekend. I'm familiar with the opening acoustic riff and Anderson's proclamation:

Really don't mind if you sit this one out. My word's but a whisper - your deafness a shout!

...and other passages are very catchy and like all good concept albums weave in and out at various points. As a whole opus it actually rocks - with loads of excellent Hammond organ and harlequin / renaissance court type one-legged flute.

I would never compare what we did back then to jazz rockers like Weather Report or the Mahavishnu Orchestra - they were really amazing musicians - but we were a little more sophisticated than the usual riff rockers you'd find on the scene.
Ian Anderson

A few years ago I saw Jethro Tull at a festival down in Devon where they were showcasing not only the original Thick as a Brick, but also a new follow up album TAAB 2 - it sounded pretty good although not so holistically well rounded. The live show was excellent too, part drama with a young actor, dressed in overalls holding a broom, taking on most of the singing. Anderson's strum on his miniature guitar of the opening of the original was one of my most exciting gig experiences ever!

The giant Ian Anderson today with tiny guitar

I do love the lengths people can go to on the internet - I'm a bit of a sucker for conspiracy theories for example which are rife. But isn't it great how people find worth and meaning and inspiration in such things. So by way of example someone has gone to town on Thick as a Brick. Check out http://thickasabrick.net for a comprehensive interpretation of the album. The writer of that website Paul Tarvydas makes an interesting point by way of explanation of his (over?) analysis:

"I don't actually think that an artist consciously decides to write with the detail I've expressed. A true artist feels certain emotions and convictions, then writes/paints/composes items which 'go with that flow'. It is up to us, the appreciators of this art, to parse the original intentions of the artist and to express them in more rudimentary terms. To make them more accessible to the masses (including myself). A truly good artist will make his/her expressions interpretable in more than one way." 

Yes and no. I think there is a lot of over interpretation in art. In many cases I think the author is being more random than they are given credit for.  Anderson actually admits this in his Aqualung quote above. Ironically a piece of art that is open ended usually benefits from multiple different interpretations - a hallmark of great art in my opinion.

I have really enjoyed rediscovering Barclay James Harvest this week. That goes for both their old stuff as showcased on the Harvest Years double compilation (covering most of their first three albums) and even the more soft poppy Gone to Earth. As with Afro Celt Sound System earlier in this annual log they were a band I was not expecting to be playing this year. Pleasant surprises.

Eilen Jewell is just great at what she does - which is Americana/Country. I've seen her a few times and the live band - guitar, double bass, and drums, is so tight. The guitarist Jerry Miller is particularly fantastic in that hard to define efficient musicality way - ie. not flashy but with a superb feel for melody. Check them out live if they come to a venue near you.

The Eilen Jewell Band - guitar legend Jerry Miller in customary Stetson







Sunday 12 February 2017

Log #20 - The Jethro Oyster Harvest - Underachievers in Rock

Eddy Bamyasi

1. Randy Newman - Lonely at the Top
2. Nitin Sawhney - Beyond Skin
3. Blue Oyster Cult - Spectres
4. Barclay James Harvest - Gone to Earth
5. Jethro Tull - Aqualung
6. Paolo Nutini - Sunny Side Up

A quick word on a super local band who have been doing the rounds for a while - I had the pleasure of seeing The Mountain Firework Company at the Wellington pub in Shoreham the other night. If you get a chance catch them live and enjoy their effortlessly great swamp folk Americana. Lovely harmonies, sensitive brush stick rhythms, and a fiddle sound to die for. Bands like this should be huge but they probably don't want to be.

Barclay James Harvest eh, or BJH for short. That’s a strange one as is their name. Apparently this was decided by drawing random slips of paper from a hat and the word Harvest came before the subsequently named fledgling label they were signed to.

I first heard them at a school friend’s house one evening – I’d just broken up with my girlfriend. A girl named Penny who had decided to go out with my sister’s boyfriend, but that’s off the point! Their music is pretty sad but it was a small consolation to discover them that evening as I’d spent some time looking for other bands that sounded like King Crimson who I adored at the time, and with their prog rock mellotron strings they fitted the bill pretty well.

[They were].. everything that identified progrock then: vaulting themes, orchestra, wailing guitar riding heaving swells of tempestuous music like a doomed ship out of Coleridge, lyrics arising from areas other than the crotch, and a dexterity that would turn most composers and players on their heads.
Marc S. Tucker

Discovering new music and subsequently lending it around school was a constant excitement in those years (something I feel must be lacking in today’s digital world). I had an album called New Morning or something – an early compilation and amongst the odd mix of acoustic Simon and Garfunkel type tunes and rather portentous classical rock there was a tremendous rocker called Taking Some Time On. This tune (albeit not really representative) really turned me on to BJH and plenty of my friends too.

Progressing through the 70s their writing became more expansive and ambitious but their bloated live performances with full orchestra, allied with poor record sales, almost bankrupted the group before they underwent a renaissance with an enforced change of record label and a rebirth as a (relatively) stripped back four piece.

For a short time I bought everything they did. Personally I think they peaked with Octoberon (1976). By then they had mellowed somewhat and were writing largely radio friendly soft rock - songs like Rock N Roll Star should have been massive. After that they began that all too familiar terminal decline into 80s synthesizer irrelevance - an affliction of many 70s rock bands.

Despite playing some massive concerts (famously a 1980 live album was recorded in front of 200,000 in Berlin) they were always on the fringe of success. Bassist and singer Les Holroyd recently theorised that this had something to do with them refusing to join the London scene and remaining a "northern band". Maybe their music was just a little bit too twee – much more Moody Blues than King Crimson in hindsight - there is even a track called Poor Man's Moody Blues on the 1977 album Gone to Earth. It also sounds quite religious – something that I hadn’t really clocked at all before playing this album again this weekend.

The classic line up Wolstenholme, Lees, Pritchard, Holroyd

I saw a Holroyd incarnation of them relatively recently in Hove where they hesitatingly played to only about 300 people – what a fall from grace (albeit a relatively short-lived grace you could say). The persistent downbeat vibes surrounding this underachieving/underrated band were heightened poignantly with the suicide of keyboardist Woolly Wolstenholme in 2010.

While we are on underachievers let's talk about The Blue Oyster Cult. As I mentioned in an earlier post somewhere their early albums like their eponymous debut, Secret Treaties, and Tyranny and Mutation, are tight rock albums with an original twist. They then had their big hit Don't Fear the Reaper and like a lot of rock bands of the time drifted into a slightly more poppy sound on Spectres and Mirrors. Then possibly continuing to chase commercial success they went heavy metal with a sci-fi bent in the early 80s even recruiting sci-fi writer Michael Moorcock to pen some lyrics (as he had done for Hawkwind). Incidentally if you aren't familiar with the writings of Moorcock checkout his brilliant novella Behold the Man about a time traveller who returns to the time of Christ with blasphemous consequences.

BOC - ELO in leathers (plus Saturday Night Fever)

I picked up Spectres on the strength of the literally spooky cover! I don't remember many specific album purchases but I do this one, a single LP purchase one afternoon from an old record shop in Havant. The whole album doesn't particularly gel what with it's mix of rock tunes and ballads (indeed the picture above may suggest some degree of identity crisis although their mysterious mason like symbolism and umlauted "O" were always cool and consistent). Aside from the straight rockers like the catchy Godzilla there are beautiful tunes like Fireworks and I Love The Night, some super tight pop like Searchin for Celine and Goin' Through the Motions, and some epic prog like Golden Age of Leather and Nosferatu (lyrical extract below). 


This ship pulled in without a sound
The faithful captain long since cold
He kept his log till the bloody end
Last entry read "Rats in the hold.
My crew is dead, I fear the plague."

Da da da da daaaa da! In case you didn't recognise it, that's the riff from the title track to Jethro Tull's Aqualung - one of the most famous guitar riffs ever. It's a very strong album and probably the "go to" one for new Tull fans. Apparently there is debate about whether it was meant as a concept album - the first side about a tramp like character called Aqualung, and the second side a commentary on organised religion (actually isn't all religion "organised"?). But Tull leader Ian Anderson dismissed this:

Aqualung was just a bunch of songs.

And a mighty fine bunch of songs it is including heavy rockers like Cross Eyed Mary, Hymn 43, and Locomotive Breath and acoustic gems like Cheap Day Return and Mother Goose.

Anderson was reportedly not best pleased with the similarity between the painted Aqualung figure on the album cover and himself!

The fictitious Aqualung and the real Ian Anderson

Just a quick word this week on slots 1 and 2. Multi instrumentalist and composer Nitin Sawhney shot to fame when his album Beyond Skin was released in 1999. It is a slickly produced affair melding indian influences with electronica and jazz plus some beautiful piano pieces like Tides.

Singer-songwriter-pianist Randy Newman eschewed the Hollywood/Laurel Canyon/Troubadour scene of his native LA in the late 60s and early 70s when contemporaries like Neil Young, James Taylor, Jackson Browne and Joni Mitchell were seeking fame and fortune. This didn't stop him producing some critically acclaimed albums like Sail Away and Good Old Boys full of political satire and irony, and well represented on this 1987 compilation album. Now he has fully embraced Hollywood gaining a wealth of grammys and oscars for his film compositions especially the tunes for Toy Story.

Randy Newman - We Talk Real Funny Down Here





Sunday 5 February 2017

Log #19 - Have a flutter with purveyors of out of tune electronica Boards of Canada

Eddy Bamyasi


1. Neu! - Neu!
2. Boards of Canada - Music Has The Right to Children
3. Boards of Canada - Twoism
4. Bob Dylan - Desire
5. Kruder and Dorfmeister - Sessions CD 2
6. Mo Wax - Headz Volume 1


Boards of Canada are two Scottish brothers who make electronic music. Their music is weird and strangely appealing. I think this is just as it is so unusual - it therefore does different things inside your brain than most music and hence stands out and becomes memorable. The effect is rather like hearing the minimalism composers Part, Glass or Reich for the first time, or music from a different culture (eg. Indian, or Chinese, or South East Asian) that sounds alien to our western ears.

We believe that there are powers in music that are almost supernatural.

Unlike most electronic contemporaries the Boards of Canada make wide use of vintage and analogue equipment including tapes. This gives their music an authenticity and warmth rarely present in the more mathematically perfect music of other electronic pioneers like Kraftwerk. On casual listening a lot of their music sounds "out of tune" but stick with it and literally "tune-in" and it becomes beguiling and hypnotic.


The reclusive Boards of Canada, unmasked

Debut album Twoism (1995) was a home recorded affair and was a real mind bender like a Chris Nolan film - but one of his earlier low budget ones. Like my favourite film of all time Memento Twoism sounds like it was recorded backwards. Follow up Music Has The Right To Children (1998) was a studio album recorded for Warp Records but is barely more "commercial".

Both records make liberal use of samples over a characteristic mix of loops, flutters, drone, squeaks, pips and wobbles, pinned by primitive drum machine beats. Aquarius from the latter album is a very accessible start point for new listeners. Things get a lot weirder than this lovely "counting" song (but checkout how the sequential count in the "lyrics" goes awry after 36 - I wonder if there is any pattern or coded meaning to this? - I expect a BoC geek, of whom there are many apparently, has investigated).


Someone even plotted the lyrics to Aquarius!

The boys' apparent love of codes, hidden meanings, fractals, subliminal messages, numerology and cults, allied with the paucity of their releases and live appearances, has added suitably to their mythical status over their 20 year career. Hashtag cool!

Similar but not really at all is the compilation release from the Mo Wax label Headz. This sort of bland sampled jazzy looped trip hop may have been cutting edge at the time (1994!) but now sounds frankly a bit lazy and soulless despite containing cuts by Autechre and DJ Shadow. It always fascinates me how music of very similar styles can either leave you inspired or cold. To describe the difference between say Bonnie Prince Billy, Iron and Wine, The National, Fleet Foxes, Mumford and Sons, Bears Den and The Felice Brothers, may be quite difficult in words but you'll rarely find someone who likes all those bands, and one is fairly universally disliked for whatever reason (any guesses?)! I also have this debate with my teenage son who loves "his" music and "hates" my music although on the face of it there is barely any difference.

Fancy a flutter on Boards of Canada? No better place to start than here >>

 

Sunday 29 January 2017

Log #18 - Dylan and German

Eddy Bamyasi


Desire is my favourite Dylan album. The experience of listening attentively to the nine songs on this album is like reading nine short stories, actually not even short stories, there is such depth and character in these atmospheric songs it feels more like reading nine novels.

One of Dylan's most celebrated songs on Desire, or from his whole canon actually, is Hurricane which tells the story of Ruben "Hurricane" Carter, the heavyweight boxer who was framed for a murder "he never done... the one time he could have been the champion of the world."

It is argued that some liberties have been taken with the historical accuracy of some of Dylan's accounts particularly on Hurricane and the 11 minute epic Joey chronicling the life story of gangster Joe Gallo. Some of his subjects were no doubt romanticised in song but it remains a fact that Carter wrongfully served 19 years in jail from 1966 until his pardon in 1985.

Dylan's writing was in a rich vein of form in the mid 70s and prior to Desire he had released another fan favourite, Blood on the Tracks. It is easy to forget that Dylan had been around a long time and by 1975, when equivalent singer song writers of the era were maybe on to the their sixth album or so, he had already recorded fourteen. Blood on the Tracks was his cathartic "break-up" album featuring heartbreaking odes to his ex-wife Sara, and some anger too such as Idiot Wind.

Of course Dylan's song writing genius is much celebrated, and he has recently been honoured by the award of the Nobel Prize for Literature, the first time the award has gone to a song writer. This is not the place to offer any lyrical analysis or interpretation from such a vast body of work as I could choose practically any verse from practically any song so where could one possibly start? Suffice to say he often surprises with wit and humour as with this simple stream of consciousness dialogue between a husband and wife in Isis:
She said "Where you been ?" I said "No place special?"
She said "You look different" I said "Well I guess"
She said "You been gone"
I said "That's only natural"
She said "You gonna stay?"
I said "If you want me to, Yeah."
Then there's always this sort of wit and devastating commentary, this time from Joey:
The police department hounded him, they called him Mr. Smith
They got him on conspiracy, they were never sure who with
"What time is it?" said the judge to Joey when they met
"Five to ten," said Joey, the judge says, "that's exactly what you get!"
Dylan is an artist I return to again and again. Always offering something new or something reassuringly familiar.

This week's magazine then:

1. Can - Tago Mago
2. Can - Anthology
3. Neu! - Neu!
4. Bob Dylan - Blood on the Tracks
5. Bob Dylan - Desire
6. Kruder and Dorfmeister - Sessions CD 1


The Tago Mago speaking alien brain man - usually in orange    

Another group who have stood the test of time is Can. Indeed their 70s music really was ahead of its time. Of all the "Krautrock" bands Can are probably the most revered and influential. In a genre that had a relatively short heyday Can had the greatest longevity. Tago Mago is an amazing piece of work - probably in my Top Ten albums of all time (now, what would they be I ask myself?). Originally a double LP the album consists of only 7 tracks. Two of the more lengthy numbers are Aumgn and Peking O which are both mind-blowing sonic soundscapes of random avant garde experimentation. Good for them putting these tracks to record. It took me a while to fully appreciate these tracks when I first had the album - in fact I bought the vinyl album second hand from an old record shop in the bus terminal at Chichester (a great shop that introduced me to many unusual bands - oh the excitement of thumbing through racks of old records!) and one of these side long tracks was marred by a nasty scratch that was possibly a blessing in disguise. Thankfully the absolutely amazing Hallelujah was unaffected and remains arguably the greatest Can track of all time. At 18 minutes long it gives full reign to drummer Jaki Liebezeit's hypnotic patterns and Holger Czukay's funky bass, over which eccentric singer Damo Suzuki repetively shouts what sounds like "I'm searching for my brother, yes I am!" It was for many years my go to track when I wanted to impress and astound a new friend.
Irmin Schmidt's sythesizer has been likened to the sound of a UFO taking off.
There is a brief respite during Hallelujah around the five or six minute point which is where the edit is made for the Anthology compilation. I'm normally not a fan of anthologies or greatest hits packages but despite one or two such edits (Can are rather like Pink Floyd in that it is quite difficult to create a greatest hits summary without trimming the length of the tracks) it's a very good career retrospective - unnecessary for completists like me but a good primer for less religious Can fans.

Kruder and Dorfmeister are also German (or Austrian rather I think?) but of a much more recent vintage. The Sessions album is lovely. It is remixes of various pop and jazz tunes mostly in the dub vein but these talented DJs really make the music their own. Who would have thought Depeche Mode could ever sound this good. Highly recommended and also one of my favourite records certainly a decade or so ago.

Peter Kruder and Richard Dorfmeister - master DJ mixers

Actually it is so odd how your mind plays tricks on you. I was convinced someone introduced me to this music in 1992 (I remember as it was a certain time and place that was particularly memorable as I was travelling on a year out in Asia). I even remember the name of the person, who was called Dave Person and came from San Francisco! I then shared notes with an old muso friend of mine that I hooked up with when I moved to Brighton in 1997. But blow me down, both these memories are fundamentally flawed - I've checked and the album was released in 1998. I just can't understand how that is possible!

Last up this week in this German flavoured listing is Neu!
Please note that Neu! are the only band permitted to use punctuation in their name without being mercilessly ridiculed.
Tim Sommer 

Neu! - Sound like more than a 2-piece

Their music is quintessential Krautrock - mostly instrumental with the basic 4/4 rock "motorik" beat and very effective. Certainly not as groundbreaking or prolific as Can but very similar and this, their debut, is many people's favourite album of the whole genre, and the opening track Hallagallo is frequently proffered as the krautrock track.




Monday 23 January 2017

Log #17 - Jaki Liebezeit (1938 - 2017) and the Motorik Beat

Eddy Bamyasi


1. The Cinematic Orchestra - Ma Fleur
2. Holger Czukay - Movies
3. Klaus Schulze - Picture Music
4. Tangerine Dream - Encore
5. Can - Ege Bamyasi
6. Can - Sacrilege

Well with a pseudonym like Eddy Bamyasi it was inevitable there would be a "Krautrock" entry sooner or later in the blog. The term "Krautrock" in music seems to have been generally accepted without too many negative connotations. Perhaps that is because the purveyors are almost exclusively held in high esteem and are frequently name-checked as hugely influential by more modern artists. Krautrock doesn't literally mean all German rock - it refers to a particular genre arising in the early 70s through bands such as Can, Neu!, Faust, Kraftwerk, Amon Duul, and Tangerine Dream, characterised (very generally speaking) by experimental electronics, and repetitive heavy beats termed motorik.

Here we have three albums shared between Can and Tangerine Dream plus solo efforts from Holger Czukay (of Can) and Klaus Schulze (of Tangerine Dream).

Breaking News! Sadly I have just heard, literally mid post, that Can's drummer Jaki Liebezeit died this week (the music selection being entirely coincidental but subsequently appropriate and poignant). I was surprised to learn he was 78, and was due to play a concert at the Barbican, London, this spring with fellow Can member keyboardist Irmin Schmidt.

Can was one of those bands that blew my mind when I first heard them. I had not heard anything like them before and a huge characteristic of their sound was Jaki's drumming. From that moment on he became, and remained, my favourite drummer.

Jaki Liebezeit behind his minimal kit and singer Damo Suzuki

Ege Bamyasi is probably the best starting point for any new Can fans. Released in 1972 with its Andy Warhol inspired soup can cover it is the middle one of the celebrated "Damo" trilogy, offering more focused grooves than both the preceding avant garde epic Tago Mago, and the following more space-prog-rocky Future Days. Can covered a wide range of genres in their music over their core career (essentially 1969 - 1979) including heavy rock, funk, jazz, and electronic, and even classical avant garde and minimalism (founding members Czukay and Schmidt studied under Stockhausen). Well known for their extended jams and improvisations Ege Bamyasi efficiently covers most components of the Can sound across seven tracks of power and beauty, all underpinned by Jaki's metronomic drumming high in the mix as beautifully demonstrated here in Vitamin C.

As well as Jaki's drumming the bone crushing rhythms were augmented by the thump of Holger Czukay's deep bass. Czukay liked to experiment in the studio with other instruments and unusual sampling, and his full ambitions were realised on a number of experimental solo albums - some with collaborators including David Sylvian and Jah Wobble. Movies must be one of the earliest pop/rock albums (1980) to draw extensively upon samples. In particular Czukay would record voices he picked up on short wave radio. The album has two short poppy tunes and two extended experimental compositions. All four tracks have enough ideas for a whole musical career! There certainly wasn't anything else that sounded like this album when I first heard it, and I don't think there is even today. If you would like to delve into the bizarre mind of Holger Czukay start with the Persian Love tidbit and then progress to the soundbite rich Hollywood Symphony.

The Can Sacrilege album was aptly named as it is a double CD of remixes (by Brian Eno, System 7, Sonic Youth, and The Orb amongst others) of revered Can classics. But I don't think purists should be too precious. It's actually very good and the tracks are different enough to be interesting but at the same time retain a lot of what Can was all about. Befitting of the release date of 1997 (and the Can blueprint itself) most tracks are of the drum and bass persuasion giving off a massive sound!

Tangerine Dream, and former member Klaus Schulze, specialise in what I call pulse music. The tracks are all instrumental (I believe Tan Dream only released one album Cyclone with vocals which was panned by the fans, but I actually think is one of their best) and usually lengthy (these two albums for instance each have single LP side length tracks of around 20 minutes each). Unlike electronic contemporaries Kraftwerk the beat is usually provided by pulsing gated synths rather than drum machines.

There is no death, there is just a change of our cosmic address.
 Edgar Froese

I guess with the emergence of popular music in the 1960s there will now continuously be artists reaching their 60s and 70s and becoming nearer to a change of cosmic address. While researching this piece I learnt that TD's founder Edgar Froese had passed away in 2015. With each passing a chance to see an iconic artist or band live for the first time passes too - a realisation that has resolved me to buy a ticket to see Damo Suzuki coming to Brighton this Spring. Damo is usually backed by a band of local (relatively unrehearsed I assume) musicians at each gig - an intriguing concept not entirely alien to the former Can front man. One can hope his random sonic journeys will lead to the resurrection of some familiar riffs in his sets.

German "Krautrock" pioneers Edgar Froese 1944-2015 and Jaki Liebezeit 1938-2017





To learn more about some key Krautrock artists have a look at this article http://observer.com/2015/07/8-krautrock-artists-you-need-to-hear-right-now/



Powered by Blogger.

Leading Artists (by appearance)

neil young (26) van morrison (22) john martyn (18) tangerine dream (18) felice brothers (16) pink floyd (14) led zeppelin (13) black sabbath (12) brian eno (12) whitest boy alive (12) bonnie prince billy (11) can (11) david sylvian (11) radiohead (11) talk talk (11) beatles (10) cluster (10) cocteau twins (10) laura marling (10) nick cave (10) afro celts (9) beck (9) bob dylan (9) fennesz (9) genesis (9) iron and wine (8) loscil (8) midlake (8) paolo nutini (8) tom waits (8) autechre (7) foals (7) nucleus (7) richard hawley (7) stars of the lid (7) camel (6) david bowie (6) dj vadim (6) efterklang (6) elo (6) fairport convention (6) harmonia (6) holger czukay (6) kings of convenience (6) low (6) luke vibert (6) matthew e white (6) miles davis (6) sahb (6) the doobie brothers (6) tord gustavsen (6) war on drugs (6) william basinski (6) arovane (5) bear's den (5) black keys (5) boards of canada (5) bob marley (5) calexico (5) edgar froese (5) father john misty (5) hawkwind (5) jan jelinek (5) king crimson (5) mouse on mars (5) nils frahm (5) public service broadcasting (5) robert plant (5) sigur ros (5) takemitsu (5) arbouretum (4) badly drawn boy (4) budgie (4) carly simon (4) carole king (4) decemberists (4) emeralds (4) four tet (4) handsome family (4) hidden orchestra (4) jethro tull (4) jj cale (4) john legend (4) klaus schulze (4) kruder and dorfmeister (4) manuel gottsching (4) opeth (4) penguin cafe orchestra (4) ravi shankar (4) soft hair (4) steely dan (4) the unthanks (4) tim hecker (4) trees (4) ulrich schnauss (4) KLF (3) alan parsons project (3) alex harvey (3) alison krauss (3) alva noto (3) barclay james harvest (3) bon iver (3) bonobo (3) caitlin canty (3) caribou (3) chicago (3) coldplay (3) curtis mayfield (3) david crosby (3) deep purple (3) depeche mode (3) eilen jewell (3) enid (3) fleetwood mac (3) floating points (3) free (3) gorillaz (3) gram parsons (3) grateful dead (3) grobschnitt (3) incredible string band (3) james morrison (3) jill scott (3) john grant (3) john surman (3) keith jarrett (3) kraftwerk (3) lal waterson (3) last shadow puppets (3) lift to experience (3) lynyrd skynyrd (3) mahavishnu orchestra (3) manitoba (3) mike oldfield (3) mike waterson (3) monolake (3) neu! (3) palace brothers (3) philip glass (3) popol vuh (3) quantic (3) rodriguez (3) rokia traore (3) rolling stones (3) rory gallagher (3) roxy music (3) rush (3) simon and garfunkel (3) sly and the family stone (3) steve hillage (3) suede (3) sufjan stevens (3) the comet is coming (3) tim buckley (3) wagon christ (3) wilco (3) 4hero (2) abc (2) ac/dc (2) al stewart (2) amon duul II (2) aphex twin (2) arctic monkeys (2) baka beyond (2) band of horses (2) belle and sebastian (2) blue oyster cult (2) blue states (2) bonzo dog band (2) boris salchow (2) burial (2) cardigans (2) carlos barbosa-lima (2) charles mingus (2) chemical brothers (2) chris rea (2) cinematic orchestra (2) compilations (2) crosby stills nash (2) david darling (2) death in vegas (2) debussy (2) dj shadow (2) doors (2) earl sweatshirt (2) eloy (2) emilie simon (2) erik satie (2) farben (2) festivals (2) fleet foxes (2) francois and the atlas mountains (2) fripp and eno (2) gas (2) gong (2) granados (2) green on red (2) griffin anthony (2) jazzland (2) jean sibelius (2) jeff buckley (2) john coltrane (2) johnny flynn (2) josh t pearson (2) julian cope (2) kamasi washington (2) kanye west (2) kate bush (2) ketil bjornstad (2) la dusseldorf (2) lambchop (2) larkin poe (2) little feat (2) ludovico einaudi (2) magma (2) marianne faithfull (2) marvin gaye (2) mike lazarev (2) money mark (2) morton feldman (2) nektar (2) nightmares on wax (2) ninja (2) nirvana (2) nitin sawhney (2) peace (2) porya hatami (2) prefuse 73 (2) prem joshua (2) randy newman (2) robert fripp (2) ryan adams (2) scorpions (2) scott and maria (2) scott matthews (2) servants of science (2) soft machine (2) steve miller (2) susumu yokota (2) talvin singh (2) the who (2) thievery corporation (2) traffic (2) truckstop honeymoon (2) ufo (2) up bustle and out (2) weather report (2) wiley (2) willard grant conspiracy (2) wishbone ash (2) wyclef jean (2) yes (2) abba (1) acid mothers temple and the cosmic inferno (1) aimee mann (1) air (1) alabama 3 (1) alice coltrane (1) amadou and mariam (1) andy shauf (1) anthony hamilton (1) april wine (1) arcade fire (1) ashra (1) asia (1) badger (1) barber (1) beach boys (1) bee gees (1) beirut (1) bert jansch (1) beuno vista social club (1) bill laswell (1) biosphere (1) bjork (1) blow monkeys (1) bob geldof (1) bob holroyd (1) bob seger (1) bombay bicycle club (1) boubacar traore (1) broken social scene (1) bruce springsteen (1) bruch (1) byline (1) captain beefheart (1) cardi b (1) cast (1) cat stevens (1) catfish and the bottlemen (1) charles and eddie (1) chopin (1) chris child (1) christine and the queens (1) chuck prophet (1) climax blues band (1) cosmic jokers (1) crowded house (1) d'angelo (1) daft punk (1) david goodrich (1) davy graham (1) dexy's midnight runners (1) dolly collins (1) donald fagen (1) dreadzone (1) dub pistols (1) eagles (1) echo and the bunnymen (1) eden espinosa (1) eels (1) elbow (1) electric ape (1) emerson lake and palmer (1) erlend oye (1) erukah badu (1) essays (1) euphony in electronics (1) faust (1) feist (1) flaming lips (1) future days (1) gamma (1) gang of four (1) gentle giant (1) goat roper rodeo band (1) godspeed you black emperor (1) gorecki (1) groove armada (1) grover washington jr. (1) gun (1) guru guru (1) hatfield and the north (1) hats off gentlemen it's adequate (1) heron (1) hiss golden messenger (1) hozier (1) human league (1) idles (1) india arie (1) iron and wire (1) isaac hayes (1) james brown (1) james joys (1) jamie t (1) janelle monae (1) jayhawks (1) jean-michel jarre (1) jerry paper (1) jim croce (1) jimi hendrix (1) jjcale (1) john cale (1) john mclaughlin (1) jon hassell (1) jurassic 5 (1) kacey musgraves (1) keith berry (1) kid loco (1) king tubby (1) king's consort (1) kings of leon (1) kirk degiorgio (1) kodomo (1) lenny kravitz (1) lighthouse (1) love supreme (1) luc vanlaere (1) lumineers (1) mark pritchard (1) mark ronson (1) me'shell ndegeocello (1) messiaen (1) metallica (1) micah frank (1) michael hedges (1) michael jackson (1) mike west (1) mitski (1) modest mouse (1) moody blues (1) morte macabre (1) motorhead (1) national health (1) nick drake (1) nusrat fateh ali khan (1) oasis (1) omd (1) orb (1) orquesta reve (1) other lives (1) oval (1) paco pena (1) paladin (1) panda bear (1) pat metheny (1) paulo nutini (1) pentangle (1) pierre bensusan (1) portishead (1) proprio (1) protoje (1) purcell (1) pussy riot (1) queen (1) rainbow (1) ramsay midwood (1) rautavaara (1) rem (1) rhythm kings (1) richard strauss (1) robyn (1) roni size (1) ryuichi sakamoto (1) sada sat kaur (1) saga (1) sam jordan (1) sammy hagar (1) santana (1) scaramanga silk (1) shakti (1) shirley collins (1) shostakovich (1) snafu (1) snatam kaur (1) sparks (1) st germain (1) stanford (1) steeleye span (1) stereolab (1) steve reich (1) styx (1) supertramp (1) susumo yokota (1) t bone walker (1) terry riley (1) the band (1) the clash (1) the jayhawks (1) the streets (1) the wreks (1) tricky (1) tycho (1) uriah heep (1) velvet underground (1) venetian snares (1) vladislav delay (1) whiskeytown (1) whitesnake (1) william ackerman (1) yngwie j malmsteen (1) zhou yu (1) μ-Ziq (1)