CMU, also known as CONTEMPORARY MUSIC UNIT were an UK band active in the early 1970's. They were fusing various aspects of art-rock, jazz-rock and folk with a nod to the psychedelic rock.A unique (at the time) characteristic of the band was a combination of female and male vocals, making an interesting blend. The male vocalist was James Gordon (who was also participating with percussion in the band),the female vocalist being Larraine Odell (later of RED EXPRESS, still active in various jazz projects nowadays). Other members were keyboardist Terry Mortimer (who also played some violin), Ian Hamlett (guitar, flute), Ed Lee (bass) and Larraine's husband Roger Odell (on drums).The band released their debut 'Open Spaces' for Transatlantic in 1971. The record is an unpretentious mixture of psychedelia and blues, with some bizarre sonic patches here and there. The opener "Henry" is one of the better tracks, based in a nice melody and with tasteful, atmospheric arrangements consisting of piano, guitar, bass, drums and some almost inaudible flute. "Voodoo Man" sounds like something Arthur Brown could have done, and the heavy chorus in the middle introduces the raspy voice of James Gordon, who together with guitarist Ian Hamlett is the main reason for the bluesy touch of this album. Hamlett really proves that point on the instrumental "Slow and Lonesome Blues" that is actually a bit faster and more energetic than what you would expect from such a title. "Chantecleer" starts slow, dark and moody with some haunting pairing of vocals from Odell and Gordon, but builds quickly up to a fast, organ-driven and almost funky tune where an influence from Arthur Brown again can be detected.The second side opens with "Japan", an attempt at traditional Japanese folk music that sounds surprisingly authentic, especially when considering that the band just used their usual instruments. "Clown" is a lightweight and whimsical tune, but catchy enough to be worthwhile, and Gordon's vocals has an unusual operatic twist here. One of the most best melodies on the record can be found in "Mystical Sounds", a ballad dominated by Hamlet's flute and Odell's voice. The title-track is a lengthy, mystical and atmospheric journey with lots of dreamy, wordless vocals from the two singers, and keyboardist Terry Mortimer also contributes with some spooky violin here. They changed their line-up drastically for the following album: instead of Mortimer, Gordon and Lee, the band hired Richard Joseph on acoustic guitar (and vocals), Steve Cook on bass and Leary Hasson on keyboards (Hasson came from MARSUPILAMI, which was also on Transatlantic label).Reinforced with new members, and a moderate shift in their sound (the presence of Mellotron and spacey synthesizers), the band released their second (and last) album titled 'Space Cabaret' in 1973. This effort was much more elaborate, complex and original. Line-up / Musicians Jim Gordon/vocals,guitar,keyboards Ian Hamlett/guitar Larraine Odell/vocals Leary Hasson/keyboards Richard Joseph/vocals,guitar Roger Odell/drums Ed Lee/bass Discography(Album) Open Spaces 1971
1.Henry 2.Voodoo Man 3.Slow & Lonesome Blues 4.Chanticleer 5.Japan 6.Clown 7.Mystical Sounds 8.Open Spaces
As The Parlour Band brothers Craig and Mark Anders (guitar and bass respectively) and singer/lead guitarist Jonathan 'Pix' Pickford recorded an interesting slightly progressive-feeling LP - 1972's "The Parlour Band Is a Friend." Following the band's breakup the Anders brothers and Pickford continued their musical collaboration with A Band Called O. Signed by Epic, 1975's "Oasis" was the band's sophomore album. Musically it found the group (now expanded to include drummer Duck Ballard and keyboardist Pete Filleul) teamed with producer Nicky Graham. Clearly interested in courting a larger audience, material like the funky 'Amovin'', 'Foolin' Round' and 'Fine White Wine' found the band working in a more commercial mid-1970s AOR genre. With all five members and producer Graham contributing to the writing chores, the set wasn't bad. Powered by some nice lead vocals from Pickford, the collection was tuneful and occasionally fun (check out 'Bird of Paradise'). Most of this stuff would have easily slotted into top-40 radio along side other mid-1970s AOR acts like Pablo Cruise, Head East, Journey, etc. Doubt that comment then listen to 'That's Up', or 'Some People'. Unfortunately the album seldom rose above that pedestrian level. Professional, but largely forgettable this was a pretty good example of music as product, rather than art. Not bad product, but product nevertheless. So was there anything that actually stood out? Powered by some jumpy synthesizers the group composition 'Take Your Time' showcased a mild progressive feel. Similarly. complete with a pretty melody and weird reggae mid-section 'Sleeping' offered up a nod to their progressive roots and was probably the most atypical of the ten songs. Line-up / Musicians Pix/Vocals,Guitar Craig Anders/Guitar Derek Ballard/Drums,Percussion Peter Filleul/Piano,Clavinet,Synthesizer,Vocals Mark Anders/Bass Discography(Album) Oasis 1975
1.Amovin' 2.Foolin' Round 3.Sleeping 4.Morrocan Roll 5.Fine White Wine 6.Take Your Time 7.Bird Of Paradise 8.Ice 9.That's Up 10.Some People
MAGNA CARTA is an English 'folk' band, formed in 1969 in London by Chris Simpson, Lyell Tranter, and Glen Stuart. They were part of the early progressive wave, but without really fully stepping into the progressive realm. Magna Carta's music is largely inspired and influenced by the folk of Simon & Garfunkel, focusing on soft and gentle acoustic music, often with a traditional feel, augmented with orchestral arrangement and good vocal harmonies. Influences and similar artist include the already mentioned Simon & Garfunkel, Fairport Convention, Kevin Ayers, Moody Blues, Amazing Blondel, Caravan, Al Stewart, the softer folk/singer songwriter genre and Canterbury genre.MAGNA CARTA has gone through numerous personnel changes over the years, with the only constant factor being Chris Simpson. Most notable members include Glen Stuart, an amazing vocalist with a great range, Lyell Tranter, who soon departed for Australia to be replaced by Davey Johnstone on guitars (left Magna Carta to join Elton John as long time band member), and Linda Taylor who would later merry Chris Simpson.Between 1969 and 1975 MAGNA CARTA made some wonderful albums, with the beautiful "Seasons' and 'Lord Of The Ages' as absolute highlights. Also the live album "In Concert" recorded in 1971 in Amsterdam is not to be missed. With the leaving of Glen Stuart the magical beauty was lost, and for a while the band seemed to fall apart. Chris Simpson however managed to keep the band alive and MAGNA CARTA continued making nice highly enjoyable music. In 1983 Chris met Linda Taylor and they continued mostly as a duo keeping the MAGNA CARTA name alive. Studio albums became rare, but re-releases of studio albums, and new live recordings kept them performing throughout Europe until today (2006). Line-up / Musicians Chris Simpson/guitar,vocals Glenn Stuart/vocals Stan Gordon/guitar,vocals Guest musicians: Gordon Huntley/guitar Graham Smith/bass Danny Thompson/bass Gerry Conway/drums Discography(Album) Lord Of The Ages 1973
1.Wish It Was 2.Two Old Friends 3.Lord of the Ages 4.Isn't It Funny 5.Song of the Evening 6.Father John 7.That Was Yesterday 8.Falkland Grene
Crafting a musical skeleton that has as much in common with British folk as it does with West Coast jam bands, DARK wouldn't be unlike a lot of other psychedelic bands in the late sixties/early seventies. What made them different was one thing: a solid understanding of fuzzy guitar. Rather than merely using the fuzzbox to show off, DARK incorporated it into the build of their songs, laying it across moody, heavy tracks that approached sprawling.It all began in 1968, when guitarist Steve Giles grabbed other guitarist Martin Weaver, drummer Clive Thorneycroft and bassist Ronald Johnson, and formed Dark at a school in Northhampton. Local touring followed for several years, until, in 1972, the band only produced their first album, the not-quite-as-scary-as-you'd-think "Round the Edges" (occasionally featuring Colin Bush on bass. Go figure). Only about sixty copies were issued, and original albums remain a collector's item to this day, and has been hailed as the UK's most expensive album. Soon after the album was released, the band broke up, and its members were scattered to the four winds (aka other bands and failed solo projects). An effort was made at a revival in the early Nineties, which resulted in more local live shows; however, no new album was produced. Despite a couple of records of outtakes, the only true album by this intelligent jam band remains "Round the Edges". Line-up / Musicians Colin Bush/bass Steve Giles/guitar,vocals Clive Thorneycroft/drums Ronald Johnson/bass Martin Weaver/guitar Martin Moloney/organ,vocals Discography(Album) Round the Edges 1971
1.Darkside 2.Maypole 3.Live For Today 4.R.C.8 5.Cat 6.Zero Time
Formed in the fall of 68, Skin Alley turned professional when they signed to Clearwater Productions as managers (whom also handled High Tide, The Trees and a bit later Hawkwind), on word from an ex-member that was now in the firm. Gigging around regularly for free (concerts organized by their management firm) in order to find a following, this West-London quartet developed a different kind of rock that drew much from jazz and blues. Built around keyboardist Juskiewicz and part-time guitarist, but sax and flute player Bob James, Skin Alley had a distinctive sound, which made them stand out at the many free concerts they played. Having been spotted by the legendary John Peel, they recorded a BBC session for the Top Gear program, which in the short term landed them a recording contract with the English branch of CBS. Recorded in November of that year, it was released in March 70 coupled with a non-album single. The critical acclaim and encouraging sales lead CBS to allow Skin Alley (who suffered the departure of Crimble during the recording and was partly replaced by ex-Atomic Rooster bassist Nick Graham) to release a second album, From Pagham And Beyond, later that same year. For some reasons (the album was not as successful as the debut), CBS decided not to invest further in the band, and Skin Alley had to find another label, which took a while. It wasn't until early 72 that their third album was released on the small folk Transatlantic label (and amazingly enough, the soul Stax label in the US), but by that time Skin alley was a different band, drummer Pope had left the group, replaced by Tony Knight, and the SA had a much rockier approach aimed at the US, even enjoying some success with the track Skin Valley Serenade. Their third album Two Quid Deal offers much prog while they recorded the last album Skintight in Memphis, Tennessee (home of Stax Record), maybe a hint that they had axed everything towards America, because of its country rock flavours. They disbanded the following year and outside Graham, none were to make much waves in the music industry. Line-up / Musicians Thomas Crimble/bass,keyboards,vocals Bob James/guitar,saxophone Krzysztof Henryk Justkiewicz/keyboards Alvin Pope/drums Discography(Album) Skin Alley 1970
1.Living In Sin 2.Tell Me 3.Mother Please Help Your Child 4.Marsha 5.Country Aire 6.All Alone 7.Night Time 8.Concerto Grosso (Take Heed) 9.(Going Down This) Highway
Originally a trio comprising Jim Cregan (b. James Cregan, 9 March 1946, Yeovil, Somerset, England; guitar/vocals), Charlie McCracken (b. Richard McCracken; bass) and John Wilson (drums), Stud formed from the ashes of Taste, a band that included both McCracken and Wilson in its ranks. Wilson had also been a member of Them, while McCracken had previously played in Blossom Toes and Julian Covey And Machine. This central trio was quickly supplemented by the addition of former Family guitarist and vocalist John Weider (b. 21 April 1947, Shepherd’s Bush, London, England) after the release of their debut album, a self-titled effort released in 1971 on Deram Records. This set, which secured significant press acclaim, established jazz rock as the band’s métier. Although in retrospect the songwriting did not equal their obvious instrumental skill, it was enough to earn the band a strong following in Germany. Both their subsequent albums were released in that country alone as part of a contract with BASF Records, a situation owing in no small part to their manager Eddie Kennedy’s ructions with Deram. However, German sales alone were not enough to support the band, and soon after the release of 1973’s Goodbye Live At Command Cregan left to join Family, Weider moving on to Moonrider, and McCracken joining a re-formed version of the Spencer Davis Group. Wilson, the final remaining member, attempted to resurrect the band name by recruiting Andy Sneddon (bass, ex-East Of Eden) and Snowie White (guitar), but this line-up never recorded. Line-up / Musicians Jim Cregan/guitar,vocals John Weider/violin,piano,guitar,vocals John Wilson/drums Richard "Charlie" McCracken/bass Discography(Album) Stud 1971
1.Sail On 2.Turn Over the Pages 3.1112235 4.Harpo's Head 5.Horizon 6.Song
This band started life as a trio from Northern Ireland called Method, changing their name to Andwella's Dream after moving to London in 1968. After the first LP they were known simply as Andwella.Love And Poetry is a highly-rated psychedelic album, which featured guest artist Bob Downes playing sax, flute etc. All the songs were written by Dave Lewis. The highlights are the opening track, The Days Grew Longer For Love, which like most tracks is slow and melodic but with killer guitar leads; the heavier psychedelic number Sunday and Cocaine and Shades Of Grey, two tracks which veer towards progressive rock with plenty of organ and jazzy guitar. CBS released three singles from the album including two non-album sides: Missus Man and Mister Sunshine. Of these, Sunday is a superb slice of psychedelic rock with some Hendrix-influenced guitar work.In 1970 they switched to Reflection for whom they recorded two albums, neither of which matched their first effort and two 45s. The World's End album was also comprised entirely of Dave Lewis compositions, but most of the tracks were more mainstream with string orchestrations, brass arrangements and background vocals. The best tracks are the mid-tempo R&B influenced I Got A Woman with flute solo, jazzy piano and guitar; two tracks (Reason For Living and Shadow Of The Night), which sound similar to Traffic and the slow instrumental Michael Fitzhenry which featured some good guitar work and flute. On the down side Back On The Road was pale imitation of The Band's The Weight. The flip side of their first 45 was an instrumental credited to Andwella. A Mike Fitzhenry appears on the credits of the first album as one of the recording engineers. Line-up / Musicians David Lewis/vocals,guitar,keyboards Nigel Smith/bass,vocals Gordon Barton/drums Dave McDougall/keyboards Dave Struthers/bass,vocals Discography(Album) World's End 1970
1.Hold On To Your Mind 2.Lady Love 3.Michael Fitzhenry 4.I'm Just Happy to See You Get Her 5.Just How Long 6.World's End (Part One) 7.World's End (Part Two) 8.Back on the Road 9.I Got a Woman 10.Reason for Leaving 11.Shadow of the Night
British session musicians Jon Mark (vocals, guitar, drums) and John Almond (vocals, woodwinds, vibes, percussion) met while playing together in John Mayall's Bluesbreakers and left in 1970 to form Mark-Almond, sometimes referred to as the Mark-Almond Band. Prior to his career with Mayall, Mark and Mick Jagger co-produced Marianne Faithfull's early albums, with Mark later writing material for her and touring with her. He also toured with folksinger Alun Davies, and the two formed an ill-fated band called Sweet Thursday. Almond, meanwhile, had played in Zoot Money's Big Roll Band, the Alan Price Set, and Johnny Almond's Music Machine. Both joined the Bluesbreakers in 1969 and appeared on the albums Turning Point and Empty Rooms; they left in 1970 and recruited bassist Rodger Sutton and keyboardist Tommy Eyre. Mark-Almond built something of a following through touring, with their live shows often featuring lengthy instrumental jams. Their roster grew to seven members by 1973 before they disbanded that year. Mark, despite losing a finger in an accident, recorded the solo album Songs for a Friend in 1975. He and Almond reunited that year and released To the Heart in 1976; they got a deal with A&M in 1978 and released Other People's Rooms, but neither LP was successful and the duo broke up for good. Line-up / Musicians Jon Mark/guitar,bass,percussion,vocals Johnny Almond/saxophone,vibraphone,vocals,percussion,flute Tommy Eyre/keyboards,flute,percussion,guitar,vocals Rodger Sutton/bass,percussion,vocals Discography(Album) Mark-Almond 1970
1.The Ghetto 2.The City 3.The Tramp and the Young Girl 4.Love 5.Song for You
Hannibal came together, from a band called Bakerloo around Birmingham that featured a guitarist called Clem Clemson, Clem Clemson was a brilliant young musician who went on to work with John Highsman in Coliseum and became a big session guitarist, with his manager Jim Simpson from Birmingham, Jim had funded an album for Bakerloo and shortly after, virtually at the same time, Clem Clemson left to do other things so Jim Simpson had got this album that he wanted promoting in Germany so they actually did a tour of Germany under that name - Bakerloo, before changed the name to Hannibal.With some member changes the band found the spot to record an album that was based around the guitarist Adrian Ingram, who -before Hannibal- had a three piece blues band that were known locally, a fantastic guitarist and although he hadn’t got any education or musical qualifications then, but did get a load, and went on Guitar Chair at the Leeds School of Music for Jazz he's a brilliant jazz guitarist, he does Jazz gigs now over here and the states and has written books on Wes Montgomery and various guitarists so a very accomplished musician, Adrian Ingram was the main feature of the band, all the tracks were written by him. Their horn player and keyboardist Bill Hunt was a member of Breakthrou and later joined Jeff Lynne’s Move. As a seminal and jazzy prog-rock band from the late '60s, Hannibal shared stages with Free, Black Sabbath, Pato, ELO and Johnny Winter. Their album is jam packed with early cutting-edge examples of Jazz-rock fusion guitar playing together with Adrian Ingram's quirky Zappaesque compositions. Hannibal was ahead of its time and eventually became a much sought-after prog, collector’s item. Line-up / Musicians Alex Boyce/vocals Jack Griffiths/bass Bill Hunt/keyboards Adrian Ingram/guitar John Parkes/drums Discography(Album) Hannibal 1970
1.Look Upon Me 2.Winds of Change 3.Bend for a Friend 4.1066 5.Wet Legs 6.Winter
ARCADIUM were a late 60's psychedelic band fronted by songwriter, 12-string guitarist and lead vocalist Miguel Sergides. Arcadium's 'Breathe Awhile' is one of the few albums that truly deserve the 'lost classic' tag bestowed upon so many underachieving progressive-and-psychedelic rock releases from the 1960's and 1970's. Now a highly-prized collectors item - both on CD and even more so on vinyl - 'Breathe Awhile' is a genuinely innovative mixture of lysergic psych-rock, skilful prog and intricate, bluesy Vanilla Fudge-style hard rock that resonates with a wonderfully tripped-out intensity that reminds one of the scarred cerebral landscapes of a particularly memorable bad-trip. Led by the enigmatic multi-instrumentalist, vocalist and composer Miguel Sergides, Arcadium unleashed 'Breathe Awhile' upon an unsuspecting world in 1969. Evidently, the music-buying public weren't quite ready for Sergide's brand of uncompromising acid-rock, even in the era of LSD and Timothy Leary, and the album proved a commercial failure that consigned the group to the decade-straddling netherworld of rock obscurity. And it's a real shame. 'Breathe Awhile' is a bravura creation, a highly-conceptual collection of songs exploring pathos, shame and adultery with utter conviction, displaying Sergide's penchant for darkly-wrought lyrical poetry and an intense, almost hallucinatory musical style quite unlike any other group of the time. Most of the tracks on offer feature a fast, bruising pace with screeching guitars, wailing lyrics, quicksilver drumming and discordant keyboards, creating a hysterical yet utterly-controlled brew of scorched epics. 'Woman Of A Thousand Years', 'Change Me' and 'It Takes A Woman' are particularly impressive, though the rest of the album is also highly recommended. Trying to find a comparison is difficult, as Arcadium sport a highly-refined sound that is completely their own, but elements of Iron Butterfly, Rare Bird, 21st century San Francisco psych-rockers Wooden Shjips and King Crimson are apparent. Thoroughly exhilarating, 'Breath Awhile' is a a brutal tour-de-force of an album that should please those in love with the freakier side of psychedelic madness. Line-up / Musicians Graham Best/bass,vocals Allan Ellwood/organ,vocals John Albert Parker/drums Robert Ellwood/guitar,vocals Miguel Sergides/guitar,vocals Discography(Album) Breathe Awhile 1969
1.I'm on my way 2.Poor lady 3.Walk on the bad side 4.Woman of a thousand years 5.Change me 6.It takes a woman 7.Birth, life and death
As one of the two most important bands to blend traditional British folk music and rock - the other being the legendary Fairport Convention - STEELEYE SPAN represented both the revival of this music in Britain and its ventures into contemporary times. Completely authentic but with a modern spark their peers never quite matched, the ensemble's development was one of the most evolving in popular music. By 1969, an electrically charged Folk scene had fully emerged in England. That year after a road accident in which their drummer was killed, singer Sandy DENNY and FAIRPORT CONVENTION recorded 'Liege and Lief', a project led by bassist Ashley HUTCHINGS and Richard THOMPSON's startling electric guitar. The album would influence an entire movement though the group was divided about this direction and split, FC proceeding without HUTCHINGS or DENNY. Ashley HUTCHINGS carried on and after a good first rehearsal with established Folk duo Maddy PRIOR & Tim HART and husband and wife team Terry & Gay WOODS, a first incarnation recorded STEELEYE SPAN's the group's name is taken from a character in Lincolnshire ballad 'Horkstow Grange' debut in 1970, 'Hark! The Village Wait'. Comprised of trad. Folk with the added dimension of HUTCHINGS's bass and guest drummers Gerry CONWAY and Dave MATTACKS, the album is also noted for the dual female vocals of PRIOR and WOODS. Terry and Gay WOODS were replaced that year by veteran guitarist/singer Martin CARTHY and violinist Peter KNIGHT. This line-up recorded 'Please to See the King' (1971) and 'Ten Man Mop, or Mr. Reservoir Butler Rides Again' (1972), LPs unique in their use of hard rock colors. By late 1972, CARTHY and founder HUTCHINGS left to pursue more purist Folk avenues. Guitarist Bob JOHNSON and bassist Rick KEMP were brought in and provided an expanded hard-blues sound to Steeleye, and the group secured a new contract with Chrysalis which released their fourth, 'Below the Salt' in late '72. Further cultivating electric blues but always showcasing traditional Celtic and folk, some numbers dating back over a hundred years, 1973's 'Parcel of Rogues' was released and later that year the band drafted rock drummer Nigel PEGRUM [GNIDROLOG,URIAH HEEP,SMALL FACES]. Having supported fellow Chrysalis act JETHRO TULL several times, it was fitting that Ian ANDERSON helped produce Span's sixth LP 'Now We Are Six' (1974) which included an appearance by David BOWIE on saxophone. After 1975's 'Commoner's Crown' (featuring Peter SELLARS on ukulele for one cut), STEELEYE SPAN's next record 'All Around My Hat' would yield their biggest chart success with the title song reaching #5 in the U.K. Their eighth studio effort 'Rocket Cottage' was released in 1976 and by '77 Bob JOHNSON and Peter KNIGHT had left. For 'Storm Force Ten' earlier member Martin CARTHY rejoined on guitar and after this period, members tended toward other projects, solo outings or different ventures entirely.Since their glory years the band has reformed several times; 2002 saw the classic line-up gather to release 'Present', a 2-disc set of new re-recordings, and 'They Called Her Babylon' was released in 2004 which featured a return of Maddy PRIOR. In 2008 there was a UK tour and a new album in 2009 to commemorate STEELEYE SPAN's forty years making music. Line-up / Musicians Tim Hart/vocals,guitar Maddy Prior/vocals Peter Knight/violins,mandolin,banjo,piano Rick Kemp/bass Bob Johnson/guitar Discography(Album) Below The Salt 1972
1.Spotted Cow 2.Rose Bud In June 3.Jigs: The Bride's Favorite, Tansey's Fancy 4.Sheep-Crook And Black Dog 5.Royal Forester 6.King Henry 7.Gaudette 8.John Barleycorn 9.Saucy Sailor
Hungry Wolf's sole album is primarily instrumental pop-influenced soul jazz, with some splendid heavy Hammond organ courtesy of the Mohawks' Alan Hawkshaw. Loosely played electric guitar, simple rhythms, brass charts, and even some vocals which is fairly rare for an album like this. File alongside The Bigroup. The band is related to Rumpelstiltskin and Ugly Custard, the latter of which it is similar to musically.It's a nice little obscurity, rare as hens teeth in original form, though nothing really that special. Naturally, given its rarity, the album has been often pirated. It would seem that a label who specializes in film library music may pick up on this one - even if that's not the main purpose of the album. Line-up / Musicians Clem Cattini/drums John Edwards/trombone Tony Fisher/trumpet Herbie Flowers/bass Ken Gouldie/trombone Cliff Hardy/trombone Bobby Haughey/trumpet Alan Hawkshaw/keyboards Alan Parker/guitar Peter Lee Stirling/vocals Derek Watkins/trumpet Discography(Album) Hungry Wolf 1970
1.Melanie 2.Watching and waiting 3.Custards last stand 4.Country wild 5.Waiting for the morning sun 6.Like now 7.Hole in my shoe 8.Sleepy 9.The drifter 10.Revolution
Made up from members of Gilgamesh, Soft Machine and Caravan, Soft Heap were a complex, jazzy and, sadly, short-lived supergroup-of-sorts, who were active at the back-end of the seventies for a short while, producing this memorable studio album in 1978 as well as a live release called 'Al Dente' a year later. Featuring the supremely-talented Alan Gowen(keyboards) - who would die tragically at just 33 thanks to cancer - as well as Pip Pyle(drums), Elton Dean(sax), Hugh Hopper(bass) and Marc Charig(trombone), Soft Heap failed to generate any genuine commercial success in their truncated time together but did garner a cult following that has slowly grown over the years, thanks in part to progressive rock's rise in popularity since the early 1990's. Those familiar with either the 'Seven' or 'Bundles' albums by many of this group's former employers Soft Machine will find much to admire here, though, 'Soft Heap' does add an electronic glaze to the sophisticated jazz overalls that cultivates an identity of it's own. Alan Gowen is very much the lead player, showcasing his phenomenal keyboard abilities to full effect whilst never completely dominating proceedings and thus allowing each his of cohorts the space and time they need to develop their own individual ideas and themes. Loose and mellow jazz-prog, expertly delivered. Line-up / Musicians Hugh Hopper/bass Elton Dean/sax Alan Gowen/keyboards Pip Pyle/drums Mark Charig/cornet,trumpet Radu Malfatti/trombone Discography(Album) Soft Heap 1978
1.Circle Line 2.A.W.O.L. 3.Petit 3's 4.Terra Nova 5.Fara 6.Short Hand
ACCOLADE were a short-lived band (1969-1971) whose musical emphasis was on combining acoustic instrumentation and light jazz/fusion arrangements with bucolic British folk lyrics and sensibilities. They released just two albums and a single in their brief tenure, though managed to tour throughout most of their active existence. The original lineup consisted of woodwind player Brian Cresswell, singer/guitarist Gordon Giltrap, drummer Ian Hoyle and guitarist Don Partridge. The band's first album included their most lasting contribution to music in the form of a version of American bassist eden ahbez' (aka George Aberle aka Eden Abba) "Nature Boy", a languid and complex folk tale first recorded by NAT KING COLE in the 1940's, and since covered more than seventy times, including by MILES DAVIS, HARRY CONNICK JR, CELINE DION, JAMES BROWN, JOSE FELICIANO, the GATHERING's Annie Haslam, and most recently by the Greek psych band WILL-O-THE WISP. The song has charted as a single five times in that period. Accolade's second album is well in the line of their debut album, despite Giltrap's departure from the band after a Sweden tour supporting Colosseum, but there are obvious progressions, primarily due to personnel change. A better-produced album than its predecessor, but sporting another collage artwork, this album didn't get a US release as its predecessor had, but the group's fairly different line-up also provide some change. Apart from a different bassist and Giltrap's lead guitar (replaced only partly by Wizz Jones), there are a few keyboards interventions as well.The songs have bluesier-folk spectrum than in the debut album, starting with the amusing and opening Transworld Blues so much of the Moody Blues feel of their debut is gone. The tracks are more like Gravy Train this time around, including the odd William Taplin and the closing Long Way To Go (with all too rare piano). But once again, it is the mammoth 11-mins, Cross Continental Pandemonium Theatre Company that grabs most of the proghead's attention with flutes, vibes, bowed bass. It's definitely not the album's only good track, though! Indeed Snakes In A Hole or Spyder To The Spy also good enough for a mention. Line-up / Musicians Malcolm Poole/contrabass,fiddle Ian Hoyle/drums Brian Cresswell/flute,saxophone Wizz Jones/vocals Mike Moran/piano Don Partridge/vocals,guitar,vibraphone Discography(Album) Accolade 2 1971
1.Transworld Blues 2.The Spider to The Spy 3.Baby, Take Your Rags Off 4.Cross Continental Pandemonium Theatre Company 5.Snakes In a Hole 6.The Time I´ve Wasted 7.Sector Five Nine 8.If Only I´d Known 9.William Taplin 10.Long Way to Go
Bob Downes was a well-known "studio rat" or a "session man" that played on many 60's records, from MANFRED MANN to ANDWELLA'S DREAM (and later on EGG); and his fantastic flute was second to JETHRO TULL's Ian Anderson only. By the turn of the decade, he had decided to try his own luck and 1970 was a particularly fruitful year for him: 2 full solo album and one collaboration. Released on the legendary Vertigo swirl label, Electric City was a strange album between avant-garde jazz and hard rock. The album failed to sell and by the time Bob Downes was ready to record his second album, Phillips had demoted him to their "normal" label (only GRACIOUS suffered the same treatment). Actually "Open Music" came out as his more successful release and has been a collector item for years, now. The same year, Bob Downes also released a wild album called "Deep Down Heavy" (and its spectacular artwork) with poet Robert Cockburn reading out his text, making another unusual record. None of the three albums sold enough for Downes to keep trying out his solo stint. Comes then a gap where he returned to studio sessions for the next couple of years, most likely appearing on avant-garde jazz albums. This in turn led him to be noticed by some Modern Artistic Dance companies and in 72, he was commissioned for two "dance" project. Forming his own trio OPEN MUSIC, named after his more successful album, "Diversion" proved an interesting release where jazz-rock alternated with free form music, while the catastrophic "Episodes At 4AM" (74), which was a Welsh project, filled with obtuse free-form music. The following year saw Downes release "Hell's Angels", then later "Dawn Dreams", "South American Journey" and "Inside Stonehenge", before taking a long break. Bob Downes moved to the continent in the late 80's and is now currently based in Germany, and continues to perform as a solo artiste, playing during the execution of paintings and art exhibitions running flute workshops and releasing the odd album now and then, such as 93's "Dreams of Nature" . Line-up / Musicians Don Faye/Baritone Saxophone Robin Jones/Congas Alan Rushton/Drums Clem Cattini/Drums Dennis Smith/Drums Bud Parks/Flugelhorn Harry Beckett/Flugelhorn Ian Carr/Flugelhorn Bob Downes/Flute,Vocals,Saxophone Ray Russell/Guitar Chris Spedding/Guitar Bud Parks/Trumpet Harry Beckett/Trumpet Ian Carr/Trumpet Kenny Wheeler/Trumpet Nigel Carter/Trumpet Daryl Runswick/Bass Harry Miller/Bass Herbie Flowers/Bass Discography(Album) Electric city 1970
1.No time like the present 2.Keep off the grass 3.Don't let tomorrow get you down 4.Dawn until dawn 5.Go find time 6.Walking on 7.Crush hour 8.West II 9.In your eyes 10.Piccadilly circles 11.Gonna take a journey
