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There And Back

SKU: EK35684
Label:
Epic
Category:
Fusion
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After touring with The Jan Hammer Group, Beck went back into the studio to record with Simon Philips and Tony Hymas. Typical Jeff Beck greatness is the result.

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  • New studio album from Roye Albrighton and Ron Howden carrying on with the Nektar name.  Since the band reformed last decade, their studio output hasn't lived up to the reputation of the classic 70s era.  This album appears to stop the skid.  Keyboardist Klaus Henatsch has been with the band for some time now.  His keyboard arsenal has that old school sound utilizing Hammond organ at every turn.  Fill-in bassist to the stars Billy Sherwood rounds out the quartet and he also handled production.  While no two Nektar albums sounded exactly alike there was an overriding sound - once you heard a song you immediately were able to identify it as Nektar.  A lot of that had to do with Albrighton's vocals and guitar work.  Time Machine is just that - a trip back in time to the sound of Nektar in the early 70s.  I'm not going to tell you that is will supplant Remember The Future as their magnum opus, but I have to say that this isn't half bad at all and pretty closely approximates the Nektar sound that we all know and loved.  Surprising and satisfying.
    $16.00
  • Look what turned up in someone's attic! Archival live recording from Nottingham University on 1/24/76. Nothing unusual about the set but its a fine recording and a good representation of the band at their peak."Well, it is 2006 and here we have a new release by Renaissance, a band central to the first wave of Prog music in the 1970s with their classically orientated arrangements, distinctive orchestrated sound, and of course, the unmistakeable vocal talents of Annie Haslam. This single CD is from a recording made on Saturday 24th January 1976 by Realsound Mobile at a concert in the University of Nottingham, England and features just 6 of their best known songs played by the prime 70s line-up.It should be noted that this gig was played just seven months after their triumphant 3 night stint at the Carnegie Hall, complete with orchestra, which resulted in the highly respected 2CD set 'Live At Carnegie Hall' - all of these 6 tracks are also on that Carnegie Hall set, but this time they are played without an orchestra. This is what makes this CD so interesting - to hear how the same songs sound within a contemporary timeframe but without the orchestral arrangements.The origin of this recording has not been divulged other than what I have already mentioned. Clearly these are tapes that have been lying around for 30 years, but we are not told whether this CD has been mixed from original professionally recorded multi-track tapes or some other source. I suspect the latter, because the sound quality isn't great, specifically it has a stereo sound stage compressed toward the centre, something which would have been fixed had it been mixed from multi-track. The sound isn't bad - I have heard much much worse - but it could be a lot better, and it doesn't approach the clarity of the Carnegie Hall set. While the mid and upper registers are clear enough with good separation though somewhat subject to acoustic echo (especially some 'double hits' on snare drum), the lower frequencies wallow around in a muddiness that tends to swamp any intricate delicacies of bass guitar and drum kit when playing in ensemble. [I am reminded of a bootleg - a very high quality one maybe - but the sound and ambience is reminiscent of an audience recording, except there is not the usual amount of audience noise you would expect with a bootleg.]The quality of recording is excellent: there is no distortion; no drop-outs or glitches; noise (hiss) is only apparent during the very quietest passages; and all the instruments and voices sound solid. Audience noise is kept to a minimum with just the usual respectful applause: the exception being during a couple of very quiet moments when you can hear some distant chatter (maybe at the bar?), but this is not enough to interfere in any way. Generally, the mix is good, though in addition to the already mentioned problems, the piano (the main lead instrument) is a little too forward for my liking (and in any case sounds a bit odd) while the guitar and drumkit are often lost in the murk. Compared to the lush professional smoothness of the Carnegie set this album feels much more rough and raw, a more intimate recording from a smaller venue.The performers do their jobs well as always. Annie sounds wonderful, with just a little processing to give her voice more presence. She certainly hits all those high notes easily - I wouldn't have liked to stand next to her when belting out that final ear-shattering note near the end of Ashes Are Burning! John Tout on keyboards is the lead instrumentallist here, mainly on piano which works well where the part was created for piano (eg Prologue) but falls a little flat otherwise (eg Ashes Are Burning). He copes with the Song Of Scheherazade surprisingly well - by which I mean he does a good job of persuading the listener that you don't really miss the full orchestra backing! Jon Camp is an important and often overlooked ingredient in the classic Renaissance sound, and sadly he doesn't get enough opportunities to shine, but his bass playing is as faultless as always. Terry Sullivan's drumming and percussion is too often swamped in the mud, but he seems to be as much of a rock as usual. Michael Dunford tends to come and go: his delicate acoustic guitar is all too often swamped during the louder sections, which is a pity, but it is nice to hear his voice so clearly, both while singing solo and in harmony with Annie.The performances are what you might expect - imagine these songs on the Carnegie set but in an intimate setting without orchestra and you won't go far wrong as they are performed much the same, but with Tout filling in some of the empty spaces with synth washes and pads. Playing this album in isolation gives a great deal of pleasure and the songs sound natural and right in this environment. Even the Song Of Scheherazade, their orchestrated magnum opus, comes across very well indeed as the band pull together to generate a moving experience ........ that is, until you then hear the same song in all its orchestrated glory from Carnegie Hall (or, indeed, the original studio version) and suddenly you get the goose-bumps and realise there is no comparison! Good as this album is, it will inevitably be fated to be compared unfavourably to the Carnegie Hall performances. A particular example is the final track - Ashes Are Burning. The Carnegie Hall version is sublime and has me writhing is ecstacy - sadly this new version only has me writhing in .... well, almost boredom actually. From the mid-song instrumental jam onwards it is uninspired with a bit of bass, some synth and piano noodling, and, what is worse, there is no Hammond on this version! I am a sucker for that 3-note descending motif but without the Hammond it sounds quite ordinary, and Tout seems to have run out of ideas.This is not to say that this is a bad album. Far from it, it is a welcome and enjoyable addition to the collection of the Renaissance afficianado which gives a different slant on the material, and in much better quality than some of the extremely rough unauthorised recordings I have heard from this period. But neither is it essential, especially for those new to the band.One final point: it is nice to report that, for once, the record company - Major League Productions - have done a good job with the packaging. The inner booklet contains lots of photos of the band and tour memorabilia, proper credits, and some notes by Annie in which she reminisces on 'the old days' (eg how they used to stop off at a 'greasy spoon' motorway cafe in the middle of the night and she would always eat egg and chips etc)." - ProgArchives
    $8.00
  • "Nefertiti, the fourth album by Miles Davis' second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes -- but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes. This music anticipates the free-fall, impressionistic work of In a Silent Way, yet it remains rooted in hard bop, particularly when the tempo is a bit sprightly, as on "Hand Jive." Yet even when the instrumentalists and soloists are placed in the foreground -- such as Miles' extended opening solo on "Madness" or Hancock's long solo toward the end of the piece -- this never feels like showcases for virtuosity, the way some showboating hard bop can, though each player shines. What's impressive, like on all of this quintet's sessions, is the interplay, how the musicians follow an unpredictable path as a unit, turning in music that is always searching, always provocative, and never boring. Perhaps Nefertiti's charms are a little more subtle than those of its predecessors, but that makes it intriguing. Besides, this album so clearly points the way to fusion, while remaining acoustic, that it may force listeners on either side of the fence into another direction." - All Music Guide
    $7.50
  • Budget priced 5CD set in a slimline case featuring the following albums:ManDo You Like It Here Now, Are You Settling In?Be Good To Yourself At Least Once A DayRhinos, Winos & LunaticsSlow Motion
    $20.00
  • "While their records were entertaining and full of skillful pop, it wasn't until At Budokan that Cheap Trick's vision truly gelled. Many of these songs, like "I Want You to Want Me" and "Big Eyes," were pleasant in their original form, but seemed more like sketches compared to the roaring versions on this album. With their ear-shatteringly loud guitars and sweet melodies, Cheap Trick unwittingly paved the way for much of the hard rock of the next decade, as well as a surprising amount of alternative rock of the 1990s, and it was At Budokan that captured the band in all of its power."- All music
    $7.50
  • Remastered edition of the second album from the greatest hard rock band to come from Long Island.Comes with 4 bonus tracks and a price you can live with.
    $7.50
  • "One of the great things about Jeff Beck is his utter unpredictability. It's also one of the most maddening things about him, too, since it's as likely to lead to flights of genius as it is to weird detours like Beck, Bogert & Appice. It's hard to tell what exactly attracted Beck to the rhythm section of Vanilla Fudge and Cactus -- perhaps he just wanted to rock really loud and really hard, beating Led Zeppelin at their own game. Whatever the motivation, the end result was the same -- a leaden album, with occasional interesting guitar work smothered by heavy riffs and rhythms that don't succeed on a visceral level. It's a loud, lumbering record that may be of interest for Beck archivists, provided they want to hear absolutely everything he did." - All Music Guide
    $7.50
  • "Considered to be the some of their finest work since Agents of Fortune , this flight of dark fantasy, which includes the Top 40 hit, Burnin' for You , will satisfy the souls of Cult fans everywhere!"
    $7.50
  • Remastered edition of the 1991 album comes with two bonus tracks.  You also get a second disc that contains the live California Brainstorm album which if I recall was a particularly hot set.
    $18.00
  • Deluxe digipak set from this amazing trio of Guthrie Govan, Marco Minnemann, and Bryan Beller.  It was filmed at Alvas Showroom in San Pedro, CA in June 2012.  The material is drawn from the Aristocrats studio album as well as the back catalog of the individual members.  Pro-shot DVD features a 5.1 surround mix courtesy of Steven Wilson.  The 2CDs feature the soundtrack to the set.  Oh yeah - the DVD is packed with live bonus material. 
    $27.00
  • This is the album that really broke the band in North America.  Hit after hit..."After years of writing hook-laden choruses and triumphantly buzzing riffs, this German band finally perfected the formula. A fine mix of poise and passion, Love at First Sting appeals to both angry metalheads and Top-40 aficionados." -- Jon Wiederhorn
    $7.50
  • Latest release from this German band still bears the sound of a David Gilmour project, betraying their origins as a Pink Floyd cover band.  This time around the band has come up with a concept album.  "Germany's outstanding art rock act RPWL was recently confronted with a rather difficult question: how do you follow up an epic and highly celebrated album as the Nietzsche-themed 'Beyond Man And Time'? Here's the answer: you tackle the really, really huge topic on your new record 'Wanted' - the ultimate liberation of the spirit.But... How does an idea like that spring to the minds of an art rock band in the first place?RPWL tell of the hero of two worlds, Giuseppe Garibaldi - who, being a tremendous admirer of the Greek antiquity, became aware of a scroll of Plato's in which he analyzes the work of Hippocrates. It can be read in Garibaldi s diaries that Hippocrates had in fact found the formula for a medicine that leads the spirit into a real and absolute world, free of all illusion and invisible ghost worlds. The question, however, that inevitably arises at that point is the following: is the human race ready for what Plato called the gift of absolute freedom ?On 'Wanted', RPWL bring the principle of the concept album to a new level. That is how this gigantic piece of art evolves into a true explosion of creativity. Furthermore, the intellectual firepower of the content is in every way matched by the artistic and emotional depth of the music. More than ever, a sharp artistic edge and the hunger for discovery is what drives this record forward. Despite more than fifteen years in the scene, Yogi Lang (vocals, keyboard), Kalle Wallner (guitar), Marc Turiaux (drums), Markus Jehle (keyboard, piano) and Werner Taus (bass) brilliantly avoid playing it safe."
    $15.00
  • 2006 release from this excellent Belgian quartet finds them shedding most of their earlier stoner/psych influences and going for a retro prog sound. Lots of Mellotron and winds evoke the feel of King Crimson circa ITCOTCK and Lizard. If you are a fan of Anekdoten's Vemod you need to hear this. Highly recommended.
    $10.00
  • Disc 1, “Machine de plaisir”: The original tape of had the working title "Meditation 2" and this long track was also recorded in 1993 for the "Guttemplers”, same as “The Music Box” in LVE 12. The feeling for time is so basic for Klaus' work. His beat is as alive as his breathing. His rhythm is both, continually attentive and exceptionally well integrated, as you can hear in large parts of this track. There is a feeling of unhurriedness in his work and yet there is intensity underneath and through it all.Disc 2: “Arthur Stanley Jefferson” was recorded in February 1993 in KS' studio. Originally, it was the third free tape for the "Guttemplers”. “Himmel und Erde”, recorded by Klaus in January 1993, was first released on a Russian limited edition CD sampler in the same year, and seven years later I put it among the “Lone Tracks”, the last of the fifty CDs of The Ultimate Edition. Also from1993, “Vas Insigne Electionis” was especially done for a planned sampler, but not used then. One year later it was given for free to the Dutch KLEM organisation, who did a limited edition CD sampler for their members. Six years later I also added it to the “Lone Tracks” of The Ultimate Edition. The very short track “Tag des offenen Denkmals” (Heritage Open Days) was done as tv trailer for a tv documentary on account of the European Heritage Days. Klaus recorded it on the 21st of July 1993. This small piece was first included in our Jubilee Edition set in 1997.Disc 3: ”Borrowed Time” was played and recorded by Klaus in 1993 and completed and mixed in April 1994 at his studio. The reason for doing this long music was because of the work on the soundtrack for the American-Hungarian movie "Living on Borrowed Time”. Just a few minutes of the music were actually used in the film (as well as some special - shorter - cuts, released as “Angry Young Moog” in Jubilee Edition). Normally, Klaus is not a man for short tracks, so for “Borrowed Time” he started to play, and as so often, he got lost, forgetting completely about the movie and its need for short pieces. Luckily he had not just played but also recorded the whole thing, and then he mixed and stored it... and three years after I could use it in Jubilee Edition.
    $21.00