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04-27-2013, 12:08 PM | #71 (permalink) | ||
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United States of America is a psychedelic electronica album that I don't remember that well anymore, all I know is that it was a great debut album (as most bands seemed to do at that time) and I gave it a high mark on my own album listings that I keep, but for some reason failed to put a comment which always helps me remember it better. Joe Byrd also put out another good album about a year later. Have seen that you've put Atomic Rooster up, will listen to this stuff and comment.
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04-29-2013, 02:29 PM | #72 (permalink) | |
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I'd never heard of this Atomic Rooster assortment before and initially thought it was a 'best of comp' created by yourself. I've listened to all the songs above and read your notes in great depth and picked up on quite a few tidbits of the band that I didn't know. The best four songs on the comp as far as I'm concerned are "Sleeping for Years" a really heavy and stellar track with some great touches "Death Walks Behind You" of course and "Break the Ice " which is a great track. Finally the "Decline and Fall" which as you say is to showcase the talent of Carl Palmer.
What's most interesting about the band here are the vocalists. It's clear that Nick Graham wasn't a leading vocalist and John Du Cann gave the band a lot more weight in the vocal department BUT the best vocalist on this comp was the one song performed by Peter French a very good vocalist in every aspect. As for the band leader Vincent Crane, he was very much the British answer to Ray Manzarek and was the anchor of the band. I've never listened to the 1980 Atomic Rooster album and you say it's punk inspired.......that's ironic considering that punk had really helped to destroy the glory days of progressive rock in the 1970s. I don't know if this makes sense, but the band have a real sense of romance about them.........I think this could come from the fact that most of its members had quite tragic endings! Best three albums I'd say in this order 1) Death Walks Behind You 2) Atomic Rooster 3) Made in England My favourite song by the band which wasn't on the comp and I'm sure you know it really well.
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Power Metal Pounding Decibels- A Hard and Heavy History Last edited by Unknown Soldier; 04-29-2013 at 04:14 PM. |
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04-30-2013, 01:13 PM | #73 (permalink) |
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Nick Graham was a member of Atomic Rooster mainly for his voice and bass playing, but he was really a multi-instrumentalist. He sings and plays flute on Winter. Parts of Two Quid Deal by Skin Alley sound a lot like Atomic Rooster.
One of my favourite tracks by Atomic Rooster, not on this compilation, is Breakthrough, with Pete French on lead vocals. Atomic Rooster - Breaktrough (1971) - YouTube Here is a version with the great Chris Farlowe and the performance is amazing: Atomic Rooster- Breakthrough - YouTube This is the Leaf Hound version with Pete French. It is quite heavy: Leaf Hound - Breakthrough - YouTube
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05-03-2013, 12:34 PM | #74 (permalink) | |
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Those are three good videos above. Strangely enough since re-listening to some of Atomic Rooster's discography I've changed my mind about two of the albums. The debut I don't think is that great anymore but I really think In Hearing of as one of their best albums and that's due to the vocals of Peter French and the material he has on that album is better than that on the Leaf Hound debut.
Btw I've listened to Atomic Rooster 1980 and it sounds like a Stranglers album and it's a good album and so far removed from their main discography. In fact I'd like to see how you'd rank the Atomic Rooster discoraphy in order of preference. Also you could add in Leaf Hound and Skin Alley as well.
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Power Metal Pounding Decibels- A Hard and Heavy History Last edited by Unknown Soldier; 05-04-2013 at 12:56 PM. |
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05-04-2013, 11:38 AM | #75 (permalink) |
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Atomic Rooster 1980 were marketed along with EMI's other bands, like Scorpions, Wild Horses, Riot and April Wine (who were Canadian), which ran parallel to their NWOBHM acts (Di'Anno-era Iron Maiden, Trespass, White Spirit, etc). The best known tracks were Do You Know Who's Looking For You?, probably because it was a single, and He Did it Again. The two songs were also recorded for BBC sessions, further to those by the earlier John DuCann lineup and the Chris Farlowe version of the band.
I had not thought of The Stranglers, but DuCann definitely affects a punk rock-style for his vocals. It was more creatively successful, in my view, than Yes's 'spirit of the times' album, Yes Tor-mato. When Pete French joined Cactus, they sounded a bit like Atomic Rooster (as did Skin Alley, when Nick Graham became a member).
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05-05-2013, 05:49 PM | #76 (permalink) | ||
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05-06-2013, 06:44 AM | #77 (permalink) |
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Tormato contains some good material, but is over produced and messy. The lengthy closing track, On the Silent Wings of Freedom, is worth a listen in my view.
On the Silent Wings of Freedom by Yes - YouTube I like that era of the Scorpions too, especially Love Drive.
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05-10-2013, 06:06 PM | #78 (permalink) | ||
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Lovedrive and Love at First Sting as far as I'm concerned are their two best albums.
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06-03-2013, 04:34 PM | #79 (permalink) | ||
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06-08-2013, 10:16 AM | #80 (permalink) |
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Ambosia by Ambrosia (20th Century 1975)
LA band serve the food of the gods Ambrosia Tracklist 1. Nice, Nice, Very Nice (with lyric by Kurt Vonnegut) 2. Time Waits for No-one 3. Hold On to Yesterday 4. World Leave Me Alone 5. Make Us All Aware 6. Lover Arrive 7. Mama Frog, inc. The Jabberwocky by Lewis Carroll 8. Drink of Water Ambrosia Lineup David Pack: Lead vocals, guitars, keyboards on Lover Arrive Christopher North: Keyboards, vocals Joe Puerta: Bass guitar, vocals Burleigh Drummond: Drums, percussion, vocals Produced by Freddie Piro Engineered by Alan Parsons In the seventies, I thought Ambrosia were a mushy AOR group, like REO Speedwagon, Chicago or Journey with Steve Perry, and on this basis I never gave them a second hearing . . . until now. In fairness, I know little about REO Speedwagon, while Chicago and Journey were exciting in the early days. American AOR of this mid-seventies period became early melodic rock, in the form of Boston, Toto and others, while a branch of the genre was blended with progressive elements, giving us Kansas, Styx and Ambrosia. Singer/guitarist David Pack, keyboardist Christopher North, bassist/vocalist Joe Puerta and drummer Burleigh Drummond joined forces to form Ambrosia in LA in 1970, remaining together for the first self-titled album through to the recording of the third album, Life Beyond LA, in 1977, when North departed. While Ambrosia had several hit singles in the nineteen-seventies, much of the material on their first five studio albums is firmly progressive in approach. Ambrosia (1975) was produced by studio owner Freddie Piro, engineered by Alan Parsons and released in 1975. It contained a hit single Holdin' On To Yesterday, which reached the top twenty in the US, as well as a minor hit in Nice, Nice, Very Nice. Parsons became producer for Ambrosia's second album, while all four band members played on the first Alan Parsons Project album, Tales of Mystery and Imagination (1976), shortly before recording the second Ambrosia album, Somewhere I've Never Travelled (1976). David Pack later appeared on the Alan Parsons album Try Anything Once (1993), co-writing, playing and providing vocals on three songs. It is unusual to open an album with a lyric from someone outside the band, but Ambrosia has Nice, Nice, Very Nice, written in collaboration with American author, Kurt Vonnegut (adapted from the Bokononist Hymn on the second page of his novel, Cat's Cradle, published in 1963). Like many list poems, it makes an effective lyric, with references to seemingly unconnected characters, such as the lion hunter, a Chinese dentist and the British Queen. The song has a vocal arrangement similar to the British and Californian psychedelia groups of the mid-to-late sixties, with flowing harmonies and a relaxed intonation. Lead singer David Pack uses a calypso delivery, with rolling consonants, in keeping with Vonnegut's novel, which is set on the fictional Caribbean island of San Lorenzo. The track itself starts with hi-hat and open chords, developing into the instrumentation of early Yes. There are Spanish guitar parts, guitar and keyboard solos reminiscent of Howe and Banks, and a Keith Emerson-style brass fanfare on synthesizer. According to Classics Rock, a website devoted to literary references in rock music, Vonnegut was pleased with the results and it certainly makes a sprightly opener. Time Waits for No-one also has a percussive intro, with more Spanish guitar - a trademark of the group. Punchy acoustic guitar creates a Groundhogs-type riff, while the band's own lyrics are sung in a less mannered but equally strong technique. David Pack is clearly a capable lead singer. Variety comes in the form of complex harmonies, touches of jazz guitar with piano, hand claps (Alan Parsons?) and whooping. Added to these is a guitar solo which sounds like Alan Parsons Project alumnus, Ian Bairnson. Hold On to Yesterday continues the Steely Dan jazz feel, before a lilting vocal over piano and organ, along with excellent harmonies, creates an atmosphere reminiscent of Pink Floyd's Dark Side of the Moon (that was also engineered by Alan Parsons). An instrumental passage combines guitar with strings, while there is another distinctive Ian Bairnson-sounding guitar solo. Overall, Hold On to Yesterday is a brilliantly constructed piece and is one of the best tracks on the album. It gives the impression that, although credited as engineer, Alan Parsons had a hand in the production. Hold On to Yesterday's influence extends to Celtic-inspired British rock bands such as Love & Money and Mostly Autumn. As the title suggests, World Leave Me Alone is a blues track with loud acoustic guitar and plenty of reverb. Pack provides a superb guitar solo and an unexpected phased vocal. The intro to Make Us All Aware makes good use of stereo and the production with grand piano and bass drum sounds like Rupert Holmes's for John Miles's Zaragon. Beach Boys harmonies give way to harpsichord psychedelia before segueing into clean synthesizers and piano. Ambrosia's token slow ballad is the short Lover Arrive, which sounds a bit like Simon and Garfunkel. In Mama Frog, the band has attempted to write a nonsense verse, along the lines of Lewis Carroll's The Jabberwocky, hence its inclusion as a reading, along with curious synthesizer and percussion effects, before the end of the track. Strangely, Mama Frog is a near perfect impersonation of Captain Beyond, in jazz mode, and would have been better if the song and poem were separate. Indeed, The Jabberwocky (’Twas brillig and the slithy toves did gyre And gimble in the wabe) serves little purpose other than to give attention to a great writer, carry the AP mark and fill a gap. If Hold On to Yesterday is a great track, Drink of Water is a minor masterpiece on which to close the album. It is a symphonic piece with plaintive voice and organ, big Fifth Dimension chorus, soaring guitar solo and melodic instrumental passage. The ending is pleasingly unpredictable and the group finish on a high point with their best track.
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