The Facedancers were a progressive/jazz-rock band signed to Paramount Records in the 1970’s. They recorded one full length studio album with legendary producer Teo Macero (Miles Davis). Though the band and their album have built a cult following, The Facedancers remain a mysterious treasure in the hearts of progressive rock fans around the world.
The Philadelphia based band consisted of brothers Barry (bass, guitar) and Dale Armour (keyboard, flute, guitar, vocals), Warren Bloom (lead vocals, harmonica, percussion), Roger Kelly (guitar, vocals), and Michael Loy (drums). Originally a comedy-rock group called Lobotomy, they became the house band in the last year of the Second Fret Coffeehouse in Philadelphia. No longer strictly a comedy act, in 1971 they changed their name to The Facedancers just before making their self-titled album on Paramount Records in 1972.
The album was produced by jazz saxophonist and producer Teo Macero, at Blue Rock Studios in the Soho district of NYC in the summer of 1972, using 100 hours of studio time. Macero was concurrently producing Miles Davis' "Bitches Brew" for Columbia records, so this was a moonlighting job for him. In those days if someone insisted that the group label their music, they answered with "jazz-rock", though they didn't consider it jazz.
The group's musical influences were eclectic. Kelly and Bloom were lovers of rock'n'roll, R&B and blues (Bloom admired Smoky Robinson in particular). The Armours' father was a pianist who had played in swing bands, and taught the boys classical, stride and swing. They liked Bill Evans and Dave Brubeck. The brothers had also studied classical guitar, and Dale was self-taught on flute and sitar.
Development was intentionally somewhat musically isolated. Not many record albums were played at the band house - some Pink Floyd, David Bowie, Charlie Parker and Dizzie Gillespie, John Cage. There was still the overwhelming influence of the Beatles. There was no concern for "danceability", so they played with time signatures. When too hungry and obliged to take a dance gig, they covered the Rolling Stones for fun.
by Michelle Armour, Philadelphia
Tracks
1. Little Waterfall - 7:24
2. Dreamer's Lullabye - 5:47
3. Nightmare - 3:12
4. Jewels - 4:00
5. Let The Music Set You Free - 5:26
6. Children - 8:27
7. Beta - 6:08
The Flock has always had a different sound that should be approached with an open mind. The game is beautiful, and even if we can understand the aversion of some to singing, he is in agreement with the rest of the natural rhythmic structure of the songs. Overall, this album is not as good as the first album, but it's a good album overall.
The album begins with an ambient " Green Slice " which explores essentially the sound of the organ and tenor saxophone, continued with "Big Bird" in a relatively upbeat tempo complemented by the work of brass and violin influenced by the Country Music .The trumpet solo alternating with the violin is really impressive.
"Hornschmeyer's Island" continues with heavy elements of jazz in particular through a part of improvisation in the middle of the song where the violin performs his solos. Sections of brass, flute and guitar accentuates the beauty of the song.
It is quite unusual to hear that the group begins as "Lighthouse"a solo electric followed by full orchestration, bass lines are very obviously coupled with brass and guitar solo in a mood quite exhilarating. Part interlude where all the solos are performed compactly combines guitar, bass and brass is beautifully executed.
"Crabfoot" is a rock solid and optimistic, supplemented by the excellent work of the violin. The guitar solo reminds Terry Kath of Chicago and it is superb. The intermediate portion is energetic with a brass section inventive. The magic is evident in this song that cleverly blends the type of melody Blues "You do not love me" with the Soul "I Feel Good" by James Brown style.
"Mermaid" is a song with textures and styles compared to other songs. The melody and rhythm are weird, they seem a little wobbly, but they produce a unique sound. It is as if a song Psychedelic meet one intelligent Chamber Ensemble, with a flamboyant falsetto and harmony.
The last piece, "Uranian Sircus" is similar in style to the previous song. The nice job flute and solo violin made in shades of Jazz. It shows what really makes the Flock a truck driving well above most groups Prog known at the time, with a creative flair. In short, this album worth listening deeper to discover the shades and other niceties!
by Adamus67
Tracks
1. Green Slice - 2:02
2. Big Bird - 5:50
3. Hornschmeyer's Island - 7:25
4. Lighthouse (R. Canoff, F. Glickstein, J. Taylor, T. Webb) - 5:19
5. Crabfoot - 8:14
6. Mermaid - 4:53
7. Uranian Sircus - 7:11
All songs by Rick Canoff, Fred Glickstein, Tom Webb except where indicated.
The Flock
*Jerry Goodman - Violin, Guitars, Vocals
*Fred Glickstein - Guitars, Lead Vocals, Hammond Organ
*Jerry Smith - Bass Guitar, Vocals
*Ron Karpman - Drums
*Rick Canoff - Tenor Saxophone, Vocals
*Frank Posa - Trumpet
*John Gerber - Alto And Tenor Saxophones, Flute, Banjo, Vocals
Dirty Tricks are four guys with similar backgrounds and tastes who've been struggling in semi-obscurity since 1965, working in almost all musical styles from soul to funk to punk rock to pop to heavy rock, to avant-garde, and even circus rock. Dirty Tricks are Johnny Fraser - on guitar, Kenny Stewart, vocals, Terry Horbory on bass and drummer John Lee.
The four have been together since May of this year and the three frcnt men have been rehearsing for five months prior to that. Kenny and Johnny admit that their inspiration came not so much from local music but from the records they heard on John Peel's Sunday afternoon show back in 1967. They both worked in various rock heavy soul groups in Stirling Scotland. In 1968 Kenny was in 'Cargo’ while Johnny was fronting the opposition band 'Susan Rams.' By 1970 they were both in 'Aegis’, one of those avante-garde bands that art students get excited about.
After a couple of years the band broke up and the two lads came down to London. While Johnny stayed at home digging Hendrix and Doobie Brothers records, Kenny joined a semi-pro group called 'Renia.' He stayed with them a year and a half, produced an album which quickly did nothing and looked round for more challenging work. Terry, who cones from Newark Nottinghamshire, formed his own band at 16, and did the rounds of local clubs, until his band were number one in the region. He cane to London in early 1974, and joined up 'The Goose Fayre Show’, a collection of miners, actors and other such wandering minstrels.
Kenny at this tine was auditioning for an up- and-coming blues rock band called San Apple Pie. He was accepted, and a week later, quite by chance Terry, who had left 'the circus', joined on bass. The band however was not too much to their liking, and they left to team up with Johnny, and Dave the drummer from 'Renia.' The unnamed band were hoping for a support gig on a German tour but nothing materialized. Undaunted they continued to rehearse, and left highly impressed.
A demo tape was cut and within a few weeks a record deal with Polydor was signed. Shortly afterwards Dave had to leave, and John Lee was brought in as a replacement, John who cones from Battersea had been playing the drums since he was 13, and was still playing when his family moved to Australia when he was 14. He joined one of Australia’s leading bands ‘Blackfeather' and 1972 joined 'Dingoes.' He stayed with then for several tours, two singles, and an album that was voted the best album of the year. A year later his contract expired but he chose not to renew it. He was immediately offered a job with two bands, a pop band, and the band Ariel, he accepted the latter's offer.
When Ariel came to Britain for what was an unsuccessful tour, John decided to leave the band and stay here. Within two days of being in London Paul Scott phoned hi*, and asked him to cone for an audition with 'Dirty Tricks.' "I couldn't believe my luck" says John, "I was out of work for exactly eight hours." The new look band went straight into the studios, and emerged with their album entitled "Dirty Tricks", and a single "Call Me Up For Love."
September 1975
Tracks
1. Wait Till Saturday - 5:18
2. Back Off Evil - 6:41
3. Sunshine Day - 4:11
4. If You Believe In Me - 2:25
5. Too Much Wine - 5:07
6. Call Me Up For Love - 2:51
7. Marcella - 3:59
8. High Life - 7:47
9. I'M Gonna Get Me A Gun (Bonus Track) - 2:56
10.Hire Car (Bonus Track) - 3:57
11.Back Off Evil (Live) (Bonus Track) - 7:33
12.Call Me Up For Love (Live) (Bonus Track) - 3:30
13.The High Life (Live) (Bonus Track) - 7:50
14.Play Dirty (Live) (Bonus Track) - 5:02
Dirty Tricks
*John Fraser Binnie - Guitar, Keyboards
*Terry Horbury - Bass
*John Lee - Drums
*Kenny Stewart - Vocals
This progressive album made against the background 10 commandments. English recorded only this one album, referring to the achievements of The Moody Blues (from the period of Days Of Future Passed) - a fairly mild prog-rock variety, based on the sound of organs Hammond,guitar and brass enriched orchestrations.
This is a band whose concept album is based on the Ten Commandments. Each track deals with a different commandment. The album, which was produced by Miki Dallon, was dominated by Bob Leaper's orchestral arrangements, but there are also some good melodies, strong vocals and organ work and powerful drumming. The best tracks are those where the orchestral arrangements are more discreet: "He Is My God", on which the melody sounds like King Crimson in places; "Images", which features strong vocals, good drumming and organ work; the mellow and melodic "People" and "False Witness", a good progressive piece with some fine guitar leads and powerful organ.
Salamander's "Ten Commandments" is a most interesting album. Produced in 1971 (but released on CD by The Laser's Edge and Progressive Line), it has all the markings of a post-60's progressive release. Its sound is heavy on the Hammond organ and the album is fully orchestrated. Ken Golden from The Laser's Edge compares the organist to Jon Lord which is not accurate, as Alister Benson lacks the technique of Lord. I would compare Salamander more directly to Rare Bird's sound, with the addition of orchestration. The lyrics are at times direct, and at times vague. (Should we get philosophical on the issue of adultery? The Bible is clear on this topic.) However, it is well worth a listen if you like this early 70's type of sound.
Prelude Incorp. He Is My God' - This is a very impressive and memorable opener which starts appropriately enough with a devotional chapel organ before leading into the main theme arranged for full orchestra and overlaid with an exotic 'quivering' guitar lead.
'Images' - Nice Leslie speaker 'siren' effects on this and more than a trace of 'Hush' by Deep Purple in the rhythm employed but not overtly derivative as the tune is truly memorable and original. Titley displays what a wide range of vocal timbres he has command of with a rasping blues inflection (or is it someone else singing and the reviewer is too dumb to refer to the sleeve notes ?) One of those nice 'false ending' devices is exploited towards the end to good effect.
'People' - Although the production is horribly dated, that has never been an obstacle to a strong melody and sympathetic harmonic support eg the Beatles 'Yesterday' would still be a damn fine song even if rendered by a flat footed Bolivian nostril flute marching band. (think I'm drinking too much coffee) This is beautiful (Full stop)
'God's Day' - Things take a downward turn here with a paean to the Sabbath that sounds just a bit too cheerful for its own good. The melody is decent and well sung but is spoiled by some 'Trumpton Fire Brigade Brass Band' horn writing.
'Honour Thy Father and Thy Mother' - Simple and brief instrumental modest in its scope that carries an echo of Leo Sayer's 'When I Need You' (hardly an unqualified endorsement certainly, but so much of what we remember we profess to dismiss, without acknowledging its durability)
'Kill' - Reference points might include the organ sound and feel of Bob Dylan and the Band plus the arrangements of Van Dyke Parks heard on the more credible work by Brian Wilson. Unfortunately a good song is rather undermined by the adolescent 'gravitas' of a spoken narrative that drags us down into the twee realms of a school production of 'Joseph and the less than Amazing Monochrome Dreamcoat'.
'Thou Shalt Not Commit Adultery' - If Giles, Giles & Fripp had been god fearing souls with a better grasp of pop songcraft, they may have delivered something like this. Beautiful flute weaves its way throughout a finely woven tapestry of harmonized strands of melody. Brilliantly sung and enhanced by some restrained strings and subtle hand drum percussion. The best hippy camp fire song ever written to put out the flames of passion.
'Steal' - Bit of a no brainer in the moral lexicon really ? but an exquisite Hammond sound and a nagging riff that lives long in the memory afterwards. This may be the best song on the album as the electric band and the orchestral instruments are perfectly balanced with the latter injecting a thrilling little strings glissando at periodic intervals. Great tune and topped off with Benson's Vincent Crane impersonation on an economical solo which is interrupted by a startlingly ethereal strings dissonance. Very spooky.
'False Witness' - These guys were obviously big fans of 'The Crazy World of Arthur Brown' and early 'Deep Purple' as this has that sort of vibe but it fails to really go anywhere after a promising start. Ultimately it serves as a vehicle for an excellent short guitar solo from Titley, who otherwise contents himself with brushing up on a very convincing Dave Davies of the Kinks impersonation.
'Possessions' - Flecks of 'Cream' are visible on a decent tune but the specter of our old unvanquished foe 'James Last' hovers like a white bearded bird of prey over the arrangement.
Behind him were a couple of charming acoustic albums in London Conversation and The Tumbler; ahead of him was his '70s purple patch of Bless The Weather, Solid Air, Sunday's Child and One World. These find him in transitional mode, working with his new wife, the folk singer Beverley Kutner (the Posh and Becks of the late'6os jazz/folk scene). The results are lovely enough cocktails of gentle hippydom that will have you reaching for your kaftan and joss-sticks, but neither rank among his greatest works.
That said, there are three good reasons why you should buy them in their new format. Stormbringer, marginally the weaker of the two albums, now has Mr and Mrs Martyn's original demo added to it. This contains a previously unreleased track: One Of Those Days, which is just Beverley singing over John's guitar, completely pared down, completely gorgeous. Well worth the price of admission alone.
The most important of all- because John Martyn is nothing short of a national treasure, who is finally getting the sort of recognition he deserves. Buying a copy is a worthwhile contribution to the John Martyn benevolent fund. Give generously.
by Simon Waldman
Tracks
1. Go Out And Get It - 3:09
2. Can't Get The One I Want (Beverley Martyn) - 2:55
3. Stormbringer! - 4:18
4. Sweet Honesty (Beverley Martyn) - 8:03
5. Woodstock - 1:44
6. John The Baptist - 3:13
7. The Ocean - 3:41
8. Traffic-Light Lady - 3:19
9. Tomorrow Time (Beverley Martyn) - 3:50
10.Would You Believe Me? - 5:22
11.One Of Those Days - 5:43
12.I Don΄T Know - 3:53
13.John The Baptist - 2:56
14.Traffic-Light Lady - 3:01
All tracks by John Martyn except where noted. Bonus tracks 11-14 Chelsea demos 16-4-1969
Though African-American and raised in the predominantly Black 105th Superior area of Cleveland, Purple Image played rock -- psychedelic, mind-bending, pass-the-bong, strobe-light, posters-on-the-wall head music.
This obscure album recorded on Map Records has risen to the status of cult because of its scarcity and the musical orientation of Warren Adams (vocals, piano, organ), Kenneth Roberts (vocals, rhythm), William Adams (vocals, conga), Frank Smith (lead guitar), Del Moran (bass), Richard Payne (drums), and lone female Diane Dunlap (vocals); Edward Snodgrass, a non-member, augmented P.I. on sax.
Purple Image wrote everything except the LP's masterpiece, the 15-minute, 24-second rendition of Bob Craig's "Marching to a Different Drummer." As with all six selections, Purple Image sounds better when the volume is cranked. "Drummer" is an energetic, powerful blend of acid rock and fusion; Snodgrass blows a frantic Coltrane-ish sax, and Dunlap wails like she slammed her hand in a door.
"We Got to Pull Together" is an airy, charming, socially significant ballad that urges us to become color-blind, forget the past, and get along. Snodgrass plays a tender horn while a male does a convincing lead wallpapered by some arresting, swooping harmonies. On "Living In the Ghetto," they sing about the woes of poverty; if you like heavy metal, this and "Why" will tickle your fancy. "Lady" features Dunlap and a male on an upbeat rock-blues number.
The back cover pictures P.I. posing under the now-defunct Liberty Theater marquee in mod-type clothing. The front cover features a slim, pretty, Afro-wearing Black woman with three arms holding three globes surrounded by clouds.
Tracks
1. Living In The Ghetto - 6:32
2. Why - 4:37
3. Lady - 3:37
4. We Got To Pull Together (Frank Smith) - 3:35
5. Whey You Do To Me - 3:32
6. Marching To A Different Drummer - 15:24
All songs by Purple Image unless as else written.
The posthumous release of guitarist/vocalist/songwriter John Martyn's Heaven And Earth (Hole In The Rain, 2011)—the basic tracks extensively overdubbed, though not edited, by producers Garry Pollitt and Jim Tullio following Martyn's death in 2009—is welcome. Compositionally, it is not one of Martyn's greatest albums, but it contains enough gritty blues/rock guitar, and retentions of the spacey vocal style with which Martyn forged some of his reputation, to satisfy his longtime followers. More than anything though, Heaven And Earth serves to remind us of Martyn's multifaceted 40-year discography, and the above-average proportion of masterworks within it.
Key among those masterworks is 1970's The Road To Ruin. This was the second, and final, album Martyn made with his wife, vocalist/songwriter Beverley, and followed the duo's Stormbringer (Island), released earlier the same year. A more genuinely collaborative effort than Stormbringer, the nine tracks which made up the original LP release of The Road To Ruin include one written by Beverley ("Primrose Hill") and three others jointly composed by Beverley and John ("Auntie Aviator," "Sorry To Be So Long," "Say What You Can"), on all four of which Beverley takes lead vocals. It is these tracks, along with Paul Wheeler's "Give Us A Ring," written for singer/songwriter Nick Drake and the only track on the album not composed by the Martyns, which give the album so much of its affective power and historical resonance. About this, more in a moment.
Much of the horn work was added by producer (and folk/rock Svengali) Joe Boyd after the basic tracks were laid down. Pukwana, for instance, recorded a second solo on top of his extended primary solo on "Road To Ruin," consciously recreating a traditional African call and response pattern. Martyn later expressed reservations about this aspect of the album, saying the overdubs undermined the organic, in-the-moment feel he wanted. The criticism, however, was likely prompted by some other dispute Martyn was having with Boyd at the time, for The Road To Ruin, post-production and all, still sounds as in-the-moment as it gets. It reeks of atmosphere, one laden with incense, herbal aromas and a sense of community.
Which brings us to the historical resonance mentioned above. In commercial terms, The Road To Ruin was small fry: Martyn's breakthrough came a little later, with Bless The Weather (Island, 1971) and Solid Air (Island, 1973). But the album (with its pitch perfect Max Ernst front cover illustration) was common currency among London's counterculture, in no small part because of the Martyns' well known enjoyment of hash and weed, which seeps out of every groove and which is explicitly referenced in "Primrose Hill," "Auntie Aviator" and "Give Us A Ring." In its own, more pastoral way, "Auntie Aviator"—which starts unremarkably, but rapidly evolves into something mysterious and other, via the lyrics, Beverley's vocal delivery and John's theremin-like guitar lines—was in Britain as much of a psychedelic rallying cry as Grace Slick's "White Rabbit," from the Jefferson Airplane's album Surrealistic Pillow (RCA Victor, 1967), had been three years earlier. Martyn continued to enjoy dope for the rest of his life, and went through the statutory cocaine binge; the damage was done later by alcohol addiction.
But you don't have to have been there to enjoy it. The Road To Ruin, with all its historical baggage—societal and, informed as it so pervasively was by the Martyns' lifestyle, domestic—still sounds as exalted as it ever did.
by Chris May
Tracks
1. Primrose Hill (Beverley Martyn) - 2:53
2. Parcels - 3:24
3. Auntie Aviator (John And Beverley Martyn) - 6:00
4. New Day - 3:56
5. Give Us A Ring (Paul Wheeler) - 3:50
6. Sorry To Be So Long (John And Beverley Martyn) - 4:40
7. Tree Green - 3:08
8. Say What You Can (John And Beverley Martyn) - 3:02
9. Road To Ruin - 6:21
All tracks composed by John Martyn, except where indicated
There are some who say that this early 1966 masterpiece does Dylan's 'Highway 61' period better than the master himself, said Lenny Kaye of "A Public Execution" in the liner notes to the epochal Nuggets compilation album from 1972. In the small but fiercely contested kingdom of Dylan imitators Texas' Mouse 'n' The Traps stand tallest due to Execution.
It was only a medium-sized hit in the United States back in the 1960s but has become renowned the World over in the years since, as one of the best records of its kind. In truth, while Ronnie 'Mouse' Weiss and his gang of Texas buddies would never deny the influence of Dylan's classic folk-rock, A Public Execution - shaped into a Dylan cop more by the studio machinations of producer Robin Hood Brians than anything else - was merely one facet of a band that could cover all the bases.
Along the way, they made some of the most enduring rock and pop records of the decade. If nothing else, they should be remembered for the raging follow-up 'Maid Of Sugar-Maid Of Spice', a record so violent that the grooves of the original 45 could barely contain it (hear it off master tape for the first time since release on The Fraternity Years, but remember, Big Beat Records accepts no liability for damage caused to your loudspeakers). The Traps formed in late 1965 from a pool of hot pickers and teenage musicians centred around Robin Hood's studio in Tyler, Texas.
With his strong voice and offbeat demeanour Mouse became the defacto leader of the band that cut Execution purely for fun, and then realised they had a regional hit on their hands. Ken Murray and David Stanley headed up the solid rhythm section, the underrated Buggs Henderson strangled the guitar and the Traps went through keyboard players like margaritas on a hot Tyler night.
The group toured all over the Southern midwest in the mid to late 1960s and had a considerable following, thanks to their wild act. Unfortunately, the Traps never succeeded in capitalising on their live popularity, despite a slew of excellent releases for the Fraternity label. Like I Know You Do, Promises Promises and Cryin' Inside were all state-of-the-art pop gems, as was Sometimes You Just Can't Win, an almost-but-not-quite smash with an expert arrangement.
Looking to broaden their commercial potential, the band even flirted with psychedelic pop, their Look At The Sun and I Satisfy being two fine examples of the genre. But it's gritty garage rock'n'roll that was the forte of Mouse & The Traps, as it should be for any Texan outfit worth their enchiladas. Hear 'em wail on previously unissued versions of I'm A Man and You Don't Love Me, as well as the oft-covered flip Lie Beg Borrow and Steal. "The Fraternity Years" collects together every worthwhile moment of Mouse & The Traps' glory years, with the usual Big Beat attention to detail, in one helluva rockin' package.
Tracks
1. A Public Execution (Knox Henderson, Ronnie Weiss) - 2:49
2. Maid Of Sugar, Maid Of Spice (Knox Henderson, Ronnie Weiss) - 2:40
3. Nobody Cares (Randy Fouts, Ronnie Weiss) - 2:44
4. Cryin' Inside (David Stanley, Ronnie Weiss) - 2:33
5. I'm A Man (McDaniel) - 2:25
6. Lie Beg Borrow And Steal (Ronnie Weiss) - 2:35
7. (as Chris St John) - I've Got Her Love (Mack Barton, Robin Hood Brians) - 2:15
8. I Am That One (Mack Barton, Robin Hood Brians) - 2:26
9. Like I Know You Do (Knox Henderson, Ronnie Weiss) - 2:25
10.Sometimes You Just Can't Win (Knox Henderson, Robin Hood Brians) - 2:57
11.All For You (Knox Henderson, Ronnie Weiss) - 2:47
12.Do The Best You Can (Robin Hood Brians) - 2:25
13.Look At The Sun (Tim Gillespie) - 2:41
14.You Don't Love Me (You Don't Care) (Willie Cobbs) - 2:09
15.Promises Promises (Dale Payne, Robin Hood Brians) - 2:24
16.I Satisfy (David Stanley, Ronnie Weiss) - 3:47
17.Requiem For Sarah (David Stanley, Ronnie Weiss) - 3:19
18.L.O.V.E. Love (Knox Henderson, Ronnie Weiss) - 2:31
19.Ya Ya (Clarence Lewis, Lee Dorsey, Morgan Robinson) - 1:57
20.Good Times (David Stanley, Ronnie Weiss) - 2:31
21.Hand In Hand (David Stanley) - 1:59
22.You Are My Sunshine (Charles Mitchell, Jimmie Davis) - 2:23
23. I Wonder Where The Birds Fly - 1:57
24.Mohair Sam (Dallas Frazier) - 2:14
25.(as Chris St John) - As Far As The Sea (Mack Barton, Robin Hood Brians) - 2:39
The second album called "Stalingrad" (in cyrillic letters) was recorded and released in 1977. in the mean time BACHDENKEL toured small venues through europe (mostly France). BACHDENKEL started as a Flower Power psychedelic rock band (Pink Floyd, Soft Machine, Beatles, Procol Harum), but developed towards a more symphonic/melodic progstyle for their second album. Their sound is dominated by guitar and drums, with great vocals and occasional keyboard passages.
Tracks
1. The Whole World (Looking Over My Shoulder) (Kimberley, Beer) - 3:37
2. After The Fall (Swinburne, Beer) - 4:27
3. Seven Times Tomorrow (Swinburne, Beer) - 3:56
4. For You To Live With Me (Swinburne, Kimberley, Beer) - 3:23
5. The Tournament (Kimberley, Beer) - 2:52
6. (It's Always) Easy To Be Hard (Kimberley, Beer) - 4:46
7. Xenophon (Swinburne, Beer) - 4:51
8. Ctalingpad (Swinburne, Beer) - 3:30
9. Stalingrad (Kimberley, Swinburne) - 4:33
10. You Lied About Your Age (Unreleased Single) (Kimberley, Swinburne, Beer) - 3:11
11. Ring Of Truth (Unreleased Single) (Swinburne, Beer) - 2:55
12. Sirocco (Unreleased Single) (Swinburne, Kimberley) - 2:58
13. Ctalingrad (Studio Live) (Kimberley, Beer) - 3:23
14. After The Fall (Studio Live) (Swinburne, Beer) - 5:35
15. For You To Live With Me (Studio Live) (Kimberley, Beer) - 4:38
16. Seven Times Tomorrow (Studio Live) (Swinburne, Beer) - 6:50
17. Through The Eyes Of A Child (Archives) (Swinburne, Kimberley, Beer) - 4:01
18. An Appointment With The Master (Archives) (Kimberley, Beer) - 3:39
19. Bo Bo's Party (Live, Cannes '75, Extract) (Safka) - 6:11
Bachdenkel
*Colin Swinburne - Guitar, Organ, Piano
*Peter Kimberley - 6 String Bass, Piano
*Brian Smith - Drums With
*Karel Beer - Electric 12-String Guitar, Slide Guitar
*Irv Howray - Vocals
*Andy Scott - ARP Synthesizer
Bachdenkel started out life as the U NO Who. This late 60s group had been active on the Birmingham scene for some time and played psychedelic pop. They recorded a handful of respectable tracks which were pitched to the Beatles’ Apple label but no deal ever materialized. The U NO Who would go on to become Bachdenkel at the end of the decade. Bachdenkel’s lineup looked something like this: Colin Swinburne on vocals, guitar, piano, organ and harpsichord, Peter Kimberley on vocals, bass and piano, Brian Smith on drums, and Karel Beer on Organ.
Bachdenkel would relocate to France and record the great Lemmings album in 1970. Although the LP was completed by the summer of 1970, Phillips didn’t release Lemmings until 1973 - released throughout Europe but not in the UK. This really sealed this unique British group’s fate – unfairly so because they were very talented. I believe a UK reissue/rerelease appeared in the late 70s (maybe 1978) but by that time Bachdenkel had ceased to exist. The group released another solid progressive album titled Stalingrad (1975) and toured Europe in 1976 before breaking up.
And as for the Lemmings LP? It’s one of the best 70s progressive rock albums out there. The musicians here keep their egos in check and know when to end a song, unlike Yes or ELP. To me this is a much better (and more interesting) album than anything Yes or ELP would ever release. The ringing guitars dominate Bachdenkel’s sound but there are tasteful keyboards as well. Some people have linked Bachdenkel’s sound to Caravan, Abbey Road era Beatles, and King Crimson.
These are all valid comparisons – think of Bachdenkel as a missing link between the Beatles and the mighty Crimso, progressive guitar pop with a slight psychedelic hangover. “An Appointment With The Master”, the LP’s most popular song, is a lost classic that might be what the Beatles would have sounded like had they lasted into the progressive rock era. Crashing drums and superb psychedelic guitar work give this cut a fresh edge. “Translation” and “Equals” are also outstanding dark mood pieces that sound completely modern by today’s standards – this LP has not dated one bit.
All of Lemmings 7 tracks are excellent, whether it be the 11 minute epic “The Settlement Song” or the shorter, tuneful tracks like “Long Time Living” – every works beautifully. So…interesting arrangements that take chances (unique twists and turns), a dark aura, rock solid songwriting, Caravan-like vocals, and great musicianship unify this very special musical statement. Any fan of classic rock needs to own this essential masterpiece.
