Inner Worlds

SKU: 4769052
Label:
Columbia/Legacy
Category:
Fusion/Jazz
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With Jean Luc Ponty out and Stu Goldberg replacing Gayle Moran, McLaughlin came up with the weakest lineup and album to carry the Mahavishnu moniker. Universally hated.

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  • Hot fusion album recorded by this legendary British guitarist probably more known for his session work than anything else although he did have some great bands like The Running Man and Mouse. Cuneiform Records signed Russell for his long awaited new solo album and here is what they had to say: "Like contemporaries Sonny Sharrock and Terje Rypdal, Russell makes it sound as if the guitar is not enough, as if he's reaching for something wilder, something that can't be contained within the 6 string cage"-Jim O'Rourke. Guitarist Ray Russell has been a professional musician since he was 15 and he joined the John Barry Seven (famous for their James Bond soundtracks). Not hugely known to the general public, for over four decades he has worked with artists as diverse as Nucleus, Gil Evans, Van Morrison, Cat Stevens, Bill Fay, Jack Bruce, Michael Gibbs, Tina Turner, Bryan Ferry and many, many others. His wide-ranging solo career got into gear during the late 60s and can be viewed as a simultaneous and wilder variant of the same path towards electric jazz that Miles Davis and others took during this time, releasing a number of very collectable and ahead of their time albums, and becoming one of the earliest truly 'out' guitarists of the late 60s in the process. Goodbye Svengali is influenced by and dedicated to visionary jazz arranger Gil Evans, and includes one of Gil's final recordings. It is an album that mixes dark fusion, lyrical guitar pieces and icy soundscapes. Ray's playing style can be compared to such great players as Sonny and Terje, as Jim noted, but also to John McLaughlin, John Abercrombie and Jeff Beck! Includes performances by noted U.K. fusion/rock players such as Mo Foster, Gary Husband, Tony Hymas, Simon Phillips and others." HUZZAH!!
    $13.00
  • Fifth album from this incendiary Estonian ensemble.  Phlox play a hybrid of Canterbury influenced prog and fusion.  While this is a live album, 5 of the 7 tracks are new and the other 2 are revamped.  Pearu Helenurm keyboards have an overdriven sound that evokes Dave Stewart at his raunchiest.  Guitarist Kristo Roots is a bit more laid back this time but when he unleashes the fury - watch out!
    $16.00
  • The madcap French jazz metal trio return with their sixth album.  Morglbl consists of guitarist Christope Godin, bassist Ivan Rougny, and drummer  Aurelian Ouzoulias.  The band has toured extensively around the world – USA, Europe, Russia and even China!  They have shared the stage with Liquid Tension Experiment, Bumblefoot, and Umphrey’s McGee among others.These three virtuosos are also well endorsed clinicians and have developed a following individually but when they come together the fireworks really start.  Tea Time For Punks doesn’t deviate from the tried and true Morglbl formula.  Take equal parts fusion and crushing metal power chords, then inject a healthy dose of tongue in cheek humor and you’ve got the perfect Morglbl album. The band is often described as Primus meets Steve Vai and Allan Holdsworth, with flavors of Frank Zappa! 
    $13.00
  • New reunion live set (same at the DVD) but features a new 14 minute studio track as a bonus.
    $19.00
  • First album from this excellent quartet consisting of Bill Bruford, Tony Levin, David Torn, and (and the time unknown) Chris Botti. A mixture of prog rock and fusion - a bit like David Torn's Clouds About Mercury project.
    $17.00
  • Ridiculously great and reverential recording by the Mahavishnu Project - Gregg Bendian's slavish recreation of Mahavishnu Orchestra. Here is what Cuneiform Records has to say: "To hear you guys playing those tunes in such an unbelievable way is quite amazing. Great job! Keep up the good work." - John McLaughlin. Founded in 2001 by drummer and composer Gregg Bendian, The Mahavishnu Project is dedicated to reviving and bringing to today's audiences the excitement and the transcendent experience of visceral intensity of the early days of jazz/rock in general and the music of the Mahavishnu Orchestra specifically. The band was formed by Gregg to perpetuate the spirit of live performance in which this music was created by performing this great music live! Return to the Emerald Beyond features a 11 piece band interpreting The Mahavishnu Orchestra’s Visions of the Emerald Beyond, one of the most explosive albums in the fusion genre. This is not a sound-alike project; Gregg and the band do not try to recreate the solos of the original players. What they do do is capture the amazing intensity and fire that the Mahavishnu Orchestra exuded, add their own selves to it and allow people to experience it first hand in concert and now on record. The band just slay the material and play it with conviction, belief, excellent musicianship and creative interpretation of the material! "What is primary to me is they are all great musicians. Everyone has to be a good improviser. It's not enough to transcribe the tunes themselves. You have to be able to take them to another place.... These guys can get there." - Jan Hammer. "...they grab the bar the original Mahavishnu set diring its 1971 - '74 peak and raise it a notch. There's a truly amazing level of musicianship at play here, balancing focus, intensity and freedom..." - The Boston Phoenix
    $19.00
  • "SBB, a legendary progressive rock/jazz band from Poland, return with a brand new studio album simply entitled “SBB”. The band, comprised of the phenomenal composer and multi-instrumentalist Józef Skrzek and the excellent guitarist Apostolis Anthimos, present a new sound - fresh, mature yet spontaneous and full of youthful energy. The new album includes 16 new tracks which bring freshness and lots of new ideas. The album title is a reference to the band’s history – their past and current story. Each song relates to the important events and situations related to the history of the band, but also to the people who played an important role in SBB’s life. The new music is colorful, subtle and at the same time dynamic, sonically different in terms of the used instruments. The album was recorded in studio Wojkowice (Upper Silesia). The cover artwork was created by the well-known Polish architect Tomasz Konior."
    $16.00
  • Second album from this excellent, but overlooked, Dutch prog band. The Mountain Queen seems to emphasize guitar just a touch more but there is still plenty of flute/sax and keyboard firepower on display. Really a well balanced musical palette that touches on Canterbury style prog as well as symphonic rock. This gets the typical great Esoteric treatment.
    $18.00
  • Fifth album from this German instrumental psych/stoner band is a real mind crusher.  You like My Brother The Wind?  You need to hear this.  If Samsara Blues Experiment recorded an instrumental album it might sound something like this.  The album is interspersed with quieter introspective interludes that just seem to made the heavier parts heavier and the spacier parts trippier.  If you like your psych served up hard you can't pass it up.  Devastating stuff.  BUY OR DIE!BTW - the angry metal guy tells it way better than I can:"It was difficult for me to turn down a promo so intertwined with one of the subjects of my recently-completed dissertation. Aldous Huxley‘s migration to Eastern philosophy, influenced by both Taoism and Buddhism, is well documented in his final novel, Island. The inhabitants of the idyllic island practice such spiritual, philosophical models, culminating in the consumption of so-called “Moksha-medicine,” a hallucinogen which permits heightened awareness and understanding. The band which explores similarly Zen and reflective topics is one to catch my eye and I excitedly embarked on this quest for internal liberation.Moksha is the fifth full-length by Germany’s My Sleeping Karma, succeeding their previous release Soma (also a reference to Eastern spirituality and prominently interpreted in Huxley’s Brave New World). It accordingly incorporates Eastern instrumentation in a groovy, psychedelic exploration of exactly how mellow one can be while the music can still be interpreted as metal. Though it could be described as relaxing mood music, the distorted guitars and surprising technical proficiency of the band grounds Moksha in the space between rock and metal (and also qualifies it for AMG, you goddamned haters).If Kraut or psychedelic rock is your jam then you will assuredly find plenty to enjoy here. The minimalist approach with sparingly-used instruments and catchy but repetitive leads will worm its way into your skull. There aren’t multiple riffs throughout each song; rather, a core motif which gradually progresses and develops throughout, lending a charming coherency to the album – see opener “Prithvi” for this. Occasional synths and piano keys afford an ethereal air too. However, it’s the points at which more overt Eastern instrumentation is used that the material really stands out. The five “Interlude”s which split each of the main songs strongly evoke My Brother The Wind, with groovy bass-lines and the interesting use of monk’s chants and hand-operated drums. The album’s concept is thus drawn into the music and it creates a quite captivating effect. The sudden and disturbing emanation of pop shite from one of my housemates’s bedrooms drew me from my trance and alerted me to how involving the material is.Despite the repetitive and seemingly improvised nature of the music, its technicality is another boon. As the songs progress and layer, the guitars and drums can become quite intense despite the over-arching serenity (I’m aware this sounds like a contradiction but it’s a testament to the subtle song-writing). The nifty transition at 2:30 of “Akasha” foregrounds a sound very similar to mid-era Anathema, and the transition at 4:00 demonstrates the talent of the bassist and drummer, leading into an appropriately-climatic harmony. This is just one song, but jazzy drum fills and strong bass work permeate the entirety of the release. The Floydian jam on “Interlude 5” is compelling too.I would argue that Moksha effectively achieves its goal and nails the style it strives for. However, I do feel that it may be too niche for some listeners – it’s easy for me to concertedly listen for the technical accomplishments as a reviewer, but the music can slip to the background into the realms of mood music. Though a pleasant listen it may be, one could argue it’s a little safe and it certainly doesn’t arouse my passions sufficiently to push my score to excellent. Furthermore, each of the main tracks can sound quite similar if not explicitly listening – that said, the interludes split up the record nicely so this effect is mitigated. I’m also part of the niche rock and metal market that appreciates the spiritual subject matter, if only on an academic level.Turning my gaze to the empirical and away from the spiritual, the solid dynamics certainly aid affairs. The principle tracks hit a DR score of 8, with the “Interlude”s varying between 10 and 14. There is good breathing room for each instrument and each is clean without being over-produced. A holistic sound is achieved which envelops the listener well.I imagine there is quite a specific demographic that this music hits so it may not be for everyone, but I’m enjoying my journey to the geographic heights of Nepal, the enigmatic Sadhus of India and through the tenets of Yin Yang. The ultimate dearth of diversity and Moksha‘s intrinsic tranquility limits my true passion for the record, but it’s a worthwhile investment nonetheless. Aldous would be proud." - The Angry Metal Guy
    $13.00
  • "Reportedly released as an effort to undercut bootleggers following a world tour, Traffic: On the Road was the band's second live album in three years. The album chronicled a late edition of the band in which original members Steve Winwood, Jim Capaldi, and Chris Wood were augmented not only by percussionist Reebop Kwaku Baah, but also by a trio of session musicians from the famed Muscle Shoals studio, Roger Hawkins, David Hood, and Barry Beckett. The studio pros lent a tightness and proficiency to their characteristic free-form jams, and though they sometimes sounded like they couldn't wait to get the songs over with, the tunes went on and on, four clocking in at over ten minutes. That might have been okay if the choice of material had been more balanced across the band's career, but 1971's Welcome to the Canteen had treated earlier efforts, and the 1973 tour was promoting Shoot out at the Fantasy Factory, from which three of the six selections were drawn. Unfortunately, that album was not one of Traffic's best, and the live versions of its songs were no more impressive than the studio ones had been. Traffic: On the Road featured plenty of room for soloing by some good musicians, but it was the logical extreme of the band's forays into extended performance, with single tunes taking up entire sides on the original LPs. It's not surprising that, after this, Traffic shrunk in size and returned to shorter songs. " - Allmusic Guide
    $9.00
  • "The first Mahavishnu Orchestra's original very slim catalog was padded out somewhat by this live album (recorded in New York's Central Park) on which the five jazz/rock virtuosos can be heard stretching out at greater length than in the studio. There are only three selections on the disc, all of which were to have been on the group's then-unissued third album -- two of them, guitarist John McLaughlin's "Trilogy: Sunlit Path/La Merede la Mer" and keyboardist Jan Hammer's "Sister Andrea," are proportioned roughly as they were in their studio renditions, while the third, McLaughlin's "Dream," is stretched to nearly double its 11-minute studio length. Each develops organically through a number of sections, and there are fewer lockstep unison passages than on the earlier recordings. McLaughlin is as flashy and noisy as ever on double-necked electric guitar, and Hammer and violinist Jerry Goodman are a match for him in the speed department, with drummer Billy Cobham displaying a compelling, raw power and dexterity to his work as well, especially on the CD edition, which also gives bassist Rich Laird a showcase for his slightly subtler work. Yet for all of the superb playing, one really doesn't hear much music on this album; electricity and competitive empathy are clearly not enough, particularly on the 21-minute "Dream," which left a lot of fans feeling let down at the end of its side-two-filling run on the LP. In the decades since this album was released, the studio versions of these three pieces, along with other tracks being worked up for their third album, have appeared as The Lost Trident Sessions -- dating from May and June of 1973 -- thus giving fans a means of comparing this repertory to what the band had worked out (or not worked out) in the studio; and Between Nothingness and Eternity has come up a bit in estimation as a result, benefiting as it does from the spontaneity and energy of a live performance, though even that can only carry this work so far -- beyond the personality conflicts that broke up the band, they seem to have been approaching, though not quite reaching, a musical dead end as well." - Allmusic
    $5.00
  • Second studio album from what may be the ultimate chops band.  Guthrie Govan (guitars), Bryan Beller (bass), and Marco Minnemann (drums) turn it up an notch further.  Everything is set to 11 on this one. Lots of notes flying around and different styles as well - on "Louisville Stomp: I'm hearing some cool country style pickin' from Guthrie Govan that is welcome and unexpected.  He sounds like the second coming of Danny Gatton.  Other tracks are a non-stop shredfest - that's what the Aristocrats are all about.  Highly recommended.
    $15.00
  • Remastered edition."After two exemplary releases, Traffic released Shoot Out at the Fantasy Factory, which begins with the title track, based on a guitar riff reminiscent of the recent Deep Purple hit "Smoke on the Water," and continues through the lengthy "Roll Right Stones," the folkish ballad "Evening Blue," reed player Chris Wood's instrumental "Tragic Magic," and the uncertain self-help song "(Sometimes I Feel So) Uninspired." Lyricist Jim Capaldi was co-credited with Steve Winwood as the album's producer, and he may have contributed to the cleaner mix that made his words easier to understand. Meanwhile, the rhythm section had been replaced by Muscle Shoals studio aces David Hood and Roger Hawkins. Capaldi sings no songs here, and Wood's flute and saxophone, so often the flavoring of Traffic songs, are largely absent." - Allmusic Guide
    $5.00
  • "Death.Taxes.Ozric Tentacles.Since 1984 this loose collective have been releasing reliably great music from the mind of leader Ed Wynne. Their margin of error is enviably tiny – there is no such thing as a bad Ozrics album. Sure, some are better than others, but the body of work is as inescapably consistent as mortality and societal contributions. Technicians of the Sacred is their fifteenth studio album, second double album and the first release in this format since Erpland in 1990. It is also one of the best they have ever recorded.The blend of electronica and inner-space rock is instantly recognisable with ‘The High Pass’. World music and gently undulating synths take their time to ease us back into the required frame of cosmic consciousness. It takes almost 6 minutes for the secret weapon, Wynne’s signature lysergic lead guitar, to be deployed and that is the modus operandi of the whole album – nothing is rushed, each track unfolds lotus-like.‘Changa Masala’ distils all the band’s ingredients into a spicy side-dish. Sequencers, vocal samples and a reggae skank provide the base while acoustic guitar rips like a John McLaughlin solo, interjecting a nod to their past, a musical in-joke for the fans, which I won’t spoil for those who haven’t yet heard it.The Steve Hillage (Gong, System 7 and sometime Ozrics collaborator) influence is foregrounded in the first disc’s closer, ‘Switchback’. Tap-delay guitar slithers over a web of ambient keyboard washes. Portamento bass notes slide and glide their way through the patchouli-scented psychedelic haze.f the first disc was an aromatic treat, then the second is manna. ‘Epiphlioy’ recalls the classic ‘Saucers’. Its serpentine twelve-string acoustic riffs employ Eastern modes to evoke a scene that is paradoxically earthy and otherworldly. Staccato strings conjure Kashmir while a celestial orchestra of whooshing keyboard pads threatens to levitate us into the stratosphere and beyond. We are back in the bizarre bazaar, folks. Brandi Wynne pins down the ethereal mix with a heavy dub bassline. The track changes constantly. This is the most compositionally complex music the band has ever produced.While there are references to Ozric history and a more organic feel similar to early classics with the occasional use of non-electric instruments and ethnic voices, the album as a whole is a step forward. The painstakingly crafted symbiosis of synthesised sounds and rock instrumentation, coupled with a slick production, lend Technicians of the Sacred a holistic integrity not heard since Jurassic Shift (which incidentally entered the UK charts at a very respectable number 11 in 1993). The whole gels together and flows with the multi-layered sophistication of a symphony while retaining some of the jam-band aesthetic of the free festival days.‘Smiling Potion’ features interlocking sequences even Tangerine Dream would be proud of and a tribal metronome-sense beat straight out of Peter Gabriel’s soundtrack for The Last Temptation of Christ.As ‘Rubbing Shoulders With The Absolute’ throbs along on a blissed-out dub rhythm artificially generated voices ensure the weirdness meter is kept firmly in the red.Hungarian drummer Balázs Szende makes his first studio appearance and throughout the album he proves to be a superb addition to the group, whether approximating the tight programmed style of The Hidden Step era or, as on the closing track, ‘Zenlike Creature’, tackling elusive prog time signatures with ease and finesse. As Ed Wynne winds up a solo worthy of fusion maestros Mahavishnu Orchestra he introduces a shimmering Hillage-esque repeating motif that stays in the mind long after the music has stopped.Technicians of the Sacred, for all its dynamic shifts and intricacies, is a very chilled-out release, one for relaxing to and for transportation to the other, wherever that may be. There are no jarring wig-out rock guitar hero sections or all-out sonic attacks like ‘The Throbbe’. Rather this is Ozric Tentacles’ most cohesive and accomplished effort in almost 20 years and a highlight of a long and peerless career." - Echoes And Dust
    $13.00