Home

News

Interviews

Reviews

   Index
   DVD
   Magazines
   Books

Specials

Photo

Links

DME/Personal

Guestbook

Mail me

Re-issues Reviews

To the reviews index
SAILOR -
Traffic Jam
Angel Air 2008

A concise history of the most spectacular and un-rock rock bands of all time. All aboard!

That's quite an enigma, why in our times of ad predators hawking on any catchy piece of music there is don't lent their ears to the SAILOR songs which can gloriously accompany every image on Earth. The English band still ride the waves - the testimony to that lies in the DVD included in this "Sound And Vision" package - so it's never too late to seize the opportunity, and this compilation offers the map to the ensemble's journey. With their "alternative" history served on "Treasure Trove", it's not the straight anthology, still, as the chronologic principle can't be applied to the band so fully formed from the early '70s start, and all of the songs here sound as if they belonged to a single era. From the duo called KAJANUS / PICKETT's ringing "Changes" through the sparking live take on "Panama" to the quintessential SAILOR frivolity of "A Glass Of Champagne" and the Tchaikovsly-quoting anthemic "Perfect Time", the music is as modern as it gets. Blame it on the rich vocal harmonies, the enigmatic instrument that is Nickelodeon, or the catchy melodies but, as Georg Kajanus, Phil Pickett and their compadres would put it, it's your own soft spot the band just hit. And how one could go wrong with the "Girls Girls Girls" party call? Hey, PR gurus, all hands on deck!

*****
COLOSSEUM -
Reunion Concert 1994
Angel Air 2004-2008

The Magnificent Six gloriously move forward for a new lease of life - live.

Arguably, the most underrated British music institution on par with BLUES INCORPORATED and THE BLUESBREAKERS, the latter band's alumnus Jon Hiseman's COLOSSEUM had originally lasted a little more than three years and broke up in 1971 to be fondly remembered thanks the highest level of the individual musicians who, together, upped it unbelievably. No less unbelievable it felt that in 1994, when the sextet triumphantly came back, the magic was still there. Unfortunately, there's no CD-version of the Cologne concert in its entirety - it's split over two different albums - yet Angel Air's one has the best part, and this re-issue has a bonus DVD with the complete performance.

It starts with the optimistically rocking "Those About To Die" with Clem Clempson's guitar soaring over the solid bedrock of Dave Greenslade's organ rippled by Dick Heckstall-Smith's sax each taking a solo in turn before the jazzy vibe gets tucked away for Chris Farlowe's warble to stumble into the focus. The singer delivers his peculiar, meaty kind of blues in "Stormy Monday Blues" but this classic pales in comparison with "Skellington" driven with molten gold of Hiseman's drums and Mark Clarke's bass. Clarke and Clempson provide blistering vocal harmonies in the brass-shiny "Tanglewood '63", while Greenslade's vibraphone transforms Jack Bruce's "Rope Ladder To The Moon" into a crystally spaced-out anthem - for the boogie piano solo to take things back down to Earth for the jolly romp of "Walking In The Park".

Since then, sadly, Heckstall-Smith passed away, but COLOSSEUM are still in action, so salute the heroes and take part in this celebration.

*****
MO FOSTER -
Time To Think
Primrose Hill 2002
re-issue Angel Air 2008

Read the interview

You could call it 'new age', weren't it deeply rooted in the music of old.

Partly inspired by a visit to the Southern Hemisphere, "Time To Think" isn't hot and humid, but immensely warm as any great memories should be. And this music couldn't be recorded any other way than live - over two consecutive days in July 1999, at St. Michael's church in Oxford - and in the company of good friends with a collective CV reading like a rock encyclopedia, Mo himself the most renown of the bunch.

It's not the reverend bassist, though, who comes first to the fore in the opening "It's About That Time Of Day", yet Ray Russell weaving acoustic guitar over Simon Chamberlain's piano chords before the four-string bubble delicately breaks an almost classical lace into a breezy swing and then tastily leads a mighty, if relaxed, "Leo" - dedicated to Fender, of course. Two pieces in, everybody feels it's there that a listener belongs, no matter if he's not up for thinking of this effortlessness' complexity, especially when Iain Ballamy's sax, backed with a church organ, soars solemnly for "A Notional Anthem" or, coupled with Frank Ricotti's vibes, brings forth the sunrise of "Omapere Dawn".

But while "Waves II", the only solo bass workout on the album, is deceptively serene as the Pasific itself, there's enough grit in it as well: "Mangonui" jolts and jives lurching and careening like jovial WEATHER REPORT down on sedatives - framing the fire is an art, and cutting afresh a couple of tunes from the "Southern Comfort" album, too. With "Let's Go On Somewhere" a heartfelt call for an easy walk in unison, you'll hardly need much time to think before accepting the proposal.

*****
STONE THE CROWS -
Live Crows 1972-1973
Angel Air 2002-2008

Perhaps, the last document of the band at their peak, recorded weeks before Les Harvey was dead.

Montreux Festival has always been a place for many a great performance, and this one is no exclusion, having caught this magnificient British quintet at their deliciously rawest. Nobody knew then that by May Leslie Harvey, whose thick guitar slices drive this concert on, would be gone for ever. If not for the fatal electrocution, he may well have turned into a player of much large calibre. Harvey's mastery of the instrument shines in "Love", the band opting for the set comprised of material from the "Ode To John Law" album, more familiar to the audience than songs from the current "Teenage Licks".

The set kicks off with highly jazzy "Friends", an understandable gesture towards the venue and a great warm-up for the grooving combo and especially Maggie Bell, at first singing restrained to go thunderball as the tune develops. And when she breaks into "Penicillin Blues", a stage highlight still to be recorded in a studio, on the wave of Ronnie Leahey's roaring organ, there's no question as to why American folks presumed the Scottish singer was black: a potion of soul in her delivery is immense, a cover of Curtis Mayfield's "Danger Zone" the best testament to this, the group spreading their spell far beyond the blues base with Steve Thompson economical bass and Colin Allen's thoughtful drumming. And then, in unprecedented manner, yet so fit for the event, the five delve into Dylan's "Ballad of Hollis Brown", a 21-minute sort of a tribal jam taking them to the limit of their strengths and poising on the verge of greatness which, sadly, wasn't to be.

Previously released by Angel Air as "Live In Montreux 1972", now it's coupled with DVD with the next line-up's show from 1973.

****1/3
CARL PALMER's PM -
1PM
1980
re-issue Store For Music 2008

One of the world's greatest drummer pretending to be a drum machine: nice, if pointless, attempt.

Don't be misguided by the current photo on the cover, as inside is not a new Carl Palmer's album but the one he recorded with a new band after the sad demise of ELP. For a drummer who always hits the right notes he went AWOL opting for a sharp pop music even though Palmer's partners in crime were guitarist John Nitzinger and the former AUTOMATIC MAN singer Todd Cochran.

While opening "Dynamite" and closing "Children Of The Air" have a pleasant progressive ring to it, the problem is there's virtually no Carl who keeps the simpliest of beats drowned in the overall plastic sound. Nothing wrong with it - "Dreamers" deserves to have been a Top 10 fodder and "You're Got Me Rockin'" with its classy piano solo rocks indeed - yet it's not what's expected from the master drummer. There was no future for PM: still, the band's direction goes a long way to explain how Carl Palmer ended up in ASIA where he'd be shining anew. On its own, it's a precious curio - just.

***
OLIVER-DAWSON SAXON -
Re-Landed..Plus
2001
re-issue Angel Air 2008

The original double-engine all revved up - with nowhere to go.

Once upon a time, guitarist Graham Oliver and bassist Steve "Dobby" Dawson welcomed singer Biff Byford onboard, thus SAXON came to be, but later on the former two jumped the good ship that still is afloat, to drift apart and then join forces again in the SAXON of their own. Of course, this band play the songs they co-wrote which made them famous - and have all the rights to do so. And it's the strength of the songs such as "747 (Strangers In The Night)" or "The Power And The Glory" and the sheer energy of the delivery that catch the ear on this collection of live recordings - just watch the companion DVD - even though John Ward's vocals are too strained to convince he means it. That's why smashes like "The Eagle Has Landed" and "Strong Arm Of The Law" fail to compete with their erstwhile selves. "Past The Point", originally laid down by the ensemble's previous incarnation, SON OF A BITCH, fare much better as well as three new studio cuts. It's the edgy hitters "Nursery Crimes" and "One Sour Krout" that take this band into the new century with all the power and the glory and make this SAXON the entity of their own.

**1/2
RAY RUSSELL -
A Table Near The Band
Last Chance 1990,
Angel Air 2008

The British one-man jazz guitar institution goes for a candle-lit night out with friends.

1988 was a great year in the life of Ray Russell: having recorded with Gil Evans, the guitarist returned to the Montreux Jazz Festival stage that he graced five years earlier, again with Mo Foster on bass and Simon Phillips on drums, but with Tommy Eyre and Tony Hymas in Evans' place. Later in the year, all these came into the studio to produce this, a great collection of the live-tested tunes.

Save for the murky, bittersweet "London Is Revisited" permeated with Gil's brooding piano and Ray's traffic-whistle guitar, it's a cosmically light set introduced by the serene rumba of "Guadeloupe" where Russell's gliding lines dance around Hymas' synthesizers that give way to the transparent piano waltzing with Phillips' delicate percussion before Iain Ballamy's sax rips the bliss to speed it all up. "In Search Of Aliens", meanwhile, sees the Foster-driven groove take Eyre's jive into the progressive rock field for the main man to bounce off and burst into space and let his compadres soar free in pure jazz of "No Step". After this, the elegiac "Snow" from the film "Colorado", a Russell-Eyre duet, comes soothing, and the title track sees the candles sweet smoke settle down.

*****
DR. JOHN -
The Essential Recordings
Store For Music 2008

Mac Rebennack's early sessions: as fine as they are, not essential at all.

A quick glance at the tracklisting reveals the title is deceptive: no "Gilded Splinters", no "Iko Iko", no "Mama Roux". Still, there'd be none of this at all if not for what's gathered here - the Sixties tracks that made the gravel-voiced ivory-tinkler the New Orleans' finest. What with Dr. John's originality, it shines from the off, Professor Longhair's "Tipitina", where Mac's piano is buried in the brass-and-guitar gumbo, yet most of the cuts on offer just lack such an edge. The tracks like the proto-"Iko" "Just Like A Mirror" and "Go Ahead Go" only grate, and even the hazy "Zu Zu Man" and racous "New Orleans" feel just a bit more than a regular rhythm-and-blues fare. Fortunately, "A Little Closer To My Home" is a great late-night blues and "Did She Mention My Name" comes as an expected soul delight. All in all, good yet not necessarily listen.

***
GARY HUSBAND -
The Complete Diary
Of A Plastic Box
Angel Air 2008

Dedicating his debut to Sinatra, Davis and Zawinul, the great fusion drummer veers off to vistas open.

He knows how to kick a skin melodically be it with John McLaughlin, LEVEL 42 or Gary Moore but, as Jason Smith's recent live recording reminded, Gary Husband's as adept as a keyboard player, and his debut solo album is all about this. Recorded in 1989-1993 the bedroom way, with Korg M1 and the headphones, for 1998 release and now expanded to two discs to include all the material laid down around that time - now, sublime "Some Splintered Road Jazz" comes in all five parts - it shows the artist's gentle underbelly and the 360 degree horizon.

The likes of percussive "Nightclub 1989" and "Talking Traffic Light" may suggest there's a drummer somewhere behind the lines, while there's a shade of musique concrete spicing up the urban landscape of "View Through The Scaffold" which wouldn't sound out of place on Husband's friend Allan Holdsworth's LP, and coloring the "England Green" dawn delight. One hell of a trip welcomes the faux avant-garde that is "Neon" or "Flashback", the "Give Us This Day" solemn classicism, the "Deco" quirky lounge and the "Promises Promises" melancholy blues. There are much more sides to this wonderful box than just six.

****1/4
VARIOUS ARTISTS -
Guitar Idols
Store For Music 2008

Interesting idea horribly executed: all the singers got behind the axes.

At the first glance, the premise is good: to let great guitarists shine doing covers. The second look reveals the problem: the collection of tracks from various tribute albums lists only the six-stringers, not the rest of the rock elite who contributed their talents including - read, excluding - vocalists. The cover does mention Ronnie James Dio, and the veteran does stand out indeed on AEROSMITH's "Dream On", while nobody told his partner in crime, Yngwie Malmsteen, that a ballad hardly needs so many notes per second - Albert Lee's graciously more economical on "Back In The Saddle". Save for Johnny Ramone's rumbling instrumental rendition of "Viva Las Vegas", Pat Gilbert's version of "Children Of The Grave" and Steve Lukather's take on "Shine On You Crazy Diamond" and a few other tracks, showing off is a commonplace here, what with the '80s-'90s crop of players; that's why Mick Taylor sounds so cool with THIN LIZZY's "Jailbreak".

Of course, Michael Schenker, Rick Derringer and Pat Travers cut it nicely with their own "Doctor Doctor", "Rock 'n' Roll Hoochie Koo" and "Boom Boom (Out Go The Lights)", but why miss out on Roger Daltrey's name alongside Slash's on Alice Cooper's "No More Mr. Nice Guy"? More so, Santana's original recording of "Jingo" sticks out like a sore thumb here. Still, Ted Nugent rocks madly for "Tie Your Mother Down". With all the great talent on offer, for the most part there's nothing to idolise.

***1/3
Top