VIOLET DISTRICT were a band coming from Freising near Munich. They were founded in 1988 with the name INCUBUS and released only one CD, the self financed debut "Terminal breath" (1992) which got great reviews in the european prog scene. Now the german label TEMPUS FUGIT releases a beautifully packaged remaster of "Terminal breath". The dutch SI magazine wrote 1992: "One of the best symphonic albums out of Germany ... the band continues where Marillion have stopped in 1985". And what else can I say. This concept album offers symphonic neoprog somewhere between IQ, Marillion's "Clutching at straws" and 90ies Pink Floyd. Great vocals, smooth compositions, symphonic arrangements, deep emotions, sensitive use of guitar soli ... Simply great stuff ! It's a shame that this band split in 1997, but some of the members have founded a new band called RPWL, which will release their first album in summer 2000.
Mick Ronson is one of those quiet legends of rock & roll, important and influential not for any single thing but rather for everything. Ronson was a talented guitarist, but no six-string wizard. He was an better-than-average songwriter with a flair for drama, but a perfunctory vocalist. As a producer and session pro, Ronson offered a light hand tempered by experience and knowledge. It was the total package, however, including Mick's enormous charisma and his innate ability to bring something valuable to the work of some of the biggest creative egos in the biz, that made the man a capital 'R' Rock & Roll Star. Ronson died of cancer in 1993, feverishly working to create this last album, Heaven And Hull. As a creative swan-song, few artists have accomplished so much. Heaven And Hull, named after Ronson's hometown of Hull, England, is an excellent showcase of pure, unadulterated rock & roll spirit. Many of Ronson's old mates showed up to contribute, including David Bowie, John Mellencamp, Crissie Hynde and Martin Chambers of the Pretenders, Ian Hunter, Brian May of Queen and others. The music created is no mere tedious superstar collaboration but rather timeless, bright and shining rock & roll. Cuts such as Like A Rolling Stone, All The Young Dudes or Life's A River are classics in any era, performed here with great tenderness and sincerity by the various assembled artists. Through all the cuts runs a singular thread, however, that of Ronson's guitar and indomitable presence. Ronson worked on Heaven And Hull right up until the time of his death. Although it's only his third solo album, Ronson's influence and legacy has been built by the work he did under other artist's names, whether it be on albums he produced for artists as diverse as Morrissey, David Johansen or Mott The Hoople, or albums by David Bowie, Lou Reed or John Mellencamp on which he graced us with his instrumental skills. No better final memory could be created than Heaven And Hull. Mick, we'll miss you. (Epic Records)
01 - Out Of Time 3:23
02 - Don't Lie To Me 2:02
03 - Some Things Just Stick In Your Mind 2:27
04 - Each And Everyday Of The Year 2:49
05 - Heart Of Stone 3:48
06 - I'd Much Rather Be With The Boys 2:13
07 - (Walkin' Thru The) Sleepy City 2:52
08 - We're Wastin' Time 2:44
09 - Try A Little Harder 2:20
10 - I Don't Know Why 3:03
11 - If You Let Me 3:19
12 - Jiving Sister Fanny 3:25
13 - Downtown Suzie 3:53
14 - Family 4:06
15 - Memo From Turner 2:47
16 - I'm Going Down
genre: pop country: us quality : mp3 (320k) time: 29`54" size: 67 mb
Wiki: Roe was raised in Atlanta where he attended Brown High School.[2] Influenced by the sounds of the late Buddy Holly, Roe developed a unique style that, combined with his All-American clean-cut image, made him a popular musical performer throughout the 1960s. His first break came when, like Bobby Vee, he was asked to stand in on a date which Buddy Holly had been booked for, and a year later Roe recorded and released "Sheila" on the tiny Judd Records label in Atlanta.[3] The record failed to attract any interest, but within two years Roe had signed a recording contract with ABC-Paramount Records who re-recorded and re-released the song.[3] Roe then had a Billboard #1 hit record in the United States and Australia in 1962 with the track. A build up of global sales of "Sheila" meant that the R.I.A.A. did not present the gold record until 1969. The following year scored a Top 10 hit with "Everybody", which reached #3, and the critically acclaimed "The Folk Singer" (#4 UK[4]) written by Merle Kilgore was also popular. However in March 1963, the UK music magazine, NME reported that Roe and Chris Montez had been upstaged by both The Beatles and their fans on their 21 day long UK tour.[5] The Beatles appeared in Northampton on 27 March 1963.[6]. Montez commented "Who are these guys The Beatles? I try to keep up with the British scene, but I don't know their work." Following a more successful tour of the United Kingdom by his friend Roy Orbison, Roe toured there and then moved to England where he lived for several years. In 1965, he and Jerry Lee Lewis combined with Orbison to create an album for the Pickwick International label. During the 1960s, he had several more Top 40 hits, including 1966's #6 hit "Hooray for Hazel" (#2 Canada), and #8 hit "Sweet Pea" (#1 Canada). "Sweet Pea" was another self-penned success, with consistent sales over 16 weeks in the U.S. charts.[2] Subsequent sales made this track his second million seller, with a belated gold disc award by R.I.A.A. in March 1969.[2] In 1969, his song "Dizzy" went to No. 1 on the UK Singles Chart,[4] #1 in Canada, as well as to Billboard's #1 in the U.S. This transatlantic chart-topper sold two million copies by mid-April 1969, giving Roe his third gold disc award. His final Top 10 single, the co-penned track with Freddy Weller, "Jam Up and Jelly Tight", was released in November 1969, and peaked at #8 in the U.S. with 14 weeks in the best-sellers.[2] It also reached #5 in Canada. A big hit for the bubblegum devotees it sold a million copies by January 1970, generating another gold record awarded by the R.I.A.A. A resident of Beverly Hills, California, Roe is married to Josette Banzet, an actress from France who won a Best Supporting Actress Golden Globe Award for her performance in the 1976 television mini-series, Rich Man, Poor Man. In 1986, Roe was inducted into the Georgia Music Hall of Fame and his pioneering contribution to the genre has been recognized by the Rockabilly Hall of Fame. Although his style of music declined in popularity with the 1970s mass market, Roe maintained a following and continued to perform at a variety of concert venues, sometimes with 1960s nostalgia rock and rollers such as Freddy Cannon and Bobby Vee.
Tapestry of Delights:
Formed in Birmingham in 1961, The Rockin' Berries spent much of the next two years in Germany, where they added two saxophonists to their ranks. As their name implied musically they took their inspiration from rock'n'rollers like Chuck Berry.
When they returned to England they signed to Decca in 1963, though their first two singles flopped and there was a lapse of almost a year before they tried again, this time with Pye's Piccadilly label. Their label debut, I Didn't Mean To Hurt You, was a minor hit, but their big breakthrough came after they met Hollywood producer Kim Fowley who played them a song called He's In Town by an American band, The Tokens. Realising that this was a much more commercial offering they rushed out a cover version, which climbed to No 3 in the UK Charts, but at the same time halted the progress of their debut release. Turton's falsetto vocal style on this disc soon became the group's trademark. The Ivy League wrote them Funny How Love Can Be, which was an ideal follow-up for Turton's vocals but for some bizarre reason Piccadilly vetoed this idea in favour of a revival of Jack Scott's 1960 hit, What In The World's Come Over You. That was an OK song which gave the band a minor hit, though ironically the Ivy League took Funny How Love Can Be into the Top Ten themselves.
From Prognosis :
This in my opinion is one of the better Renaissance releases from the 1970’s but their catalog is so full of classic music that to single out Turn Of The Cards seems rather silly. Still, it’s one that I play quite often and John Tout’s beautiful piano intro to Running Hard and the song itself with Haslam’s stunning vocals start the proceedings off wonderfully. I ask, in the field of popular music, was their a female vocalist that came close to the voice of Haslam? I can think of very few-just an amazing talent and how lucky we are she chose Renaissance as a vehicle for her career. I Think of You of you is a nice ballad, but more interesting is the jazzy Things I Don’t Understand followed by the hauntingly beautiful Black Flame adding to the occult mysticism of the albums cover art. Love the harpsichord work here. The closing Mother Russia is classic Renaissance with a melody and images that stick in your head of that great Nations rich and sometimes bloody history. A superb album.
Tapestry Of Delights:
A progressive rock band whose albums in particular are now very rare and sought-after. Mike Fletcher had earlier been in Steam and Cliff Harewood later joined from Welcome, but neither of these bands made it onto vinyl. Some members were later in Shoot and Dave Green was in Deep Feeling.
The 'A' side of their eponymous album includes three strong, long tracks: Time And Illusion, which had a long instrumental break and vibraphone on leading role; I'd Be Delighted, which featured strong vocals, good flute and sax work and Fighting Cock, which builds in strength after a mellow beginning. The 'B' side is not so good, although the finale, Destruction Of America, is a poetry recitation with unidentified orchestral backing. Time Is Rare is better, with good progressive pieces based on heavy guitar and sax riffs or sax riffs and keyboard chords. Ice Queen includes frozen wind sounds and a slightly discordant flute solo. Its most sophisticated composition is Empty Houses, which has some inspired melodies and strong vocals. Insolent Lady has a slow, mellow beginning with acoustic guitar and flute. This gives way to a piano break which in turn evolves into progressive rock with guitar and sax riffs, although this becomes so repetitious as to be boring near the end. Miracle Worker is mainly based on Dave Brubeck's Take Five rhythm. Religion is based around more sax and guitar riffs. Finally, Sun God has some mellow, melodic moments with acoustic guitar, flute and electric guitar reminiscent of early Pink Floyd; a short heavy rock break and an instrumental part with some guitar leads in a more psychedelic vein. Overall a good but not a great album. ~ (VJ/CA).
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