The third and final of the original studio albums by the Chocolate Watchband, One Step Beyond is a bit misleading and contradictory. On the one hand, it's as close as any performing group called the Chocolate Watchband ever got to making a finished album of their own, which is reflected in the fact that all but one song here was an original by the bandmembers; but on the other hand, this is a different Watchband lineup, assembled by Sean Tolby and Bill Flores, including guitarist Mark Loomis and drummer Gary Andrijasevich (both of whom had left in 1967 to join the Tingle Guild), and original, Foothill College-era Chocolate Watchband member Danny Phay (who'd also been in the Tingle Guild). Missing is David Aguilar, the band's one-time lead singer and most visible songwriter up to that time — and the result is an album that has almost none of the influence of the Rolling Stones, and, instead, shows the greatest folk-rock influence in their history. The overall sound is brittle but melodic, reminiscent in some ways of the Quicksilver Messenger Service, the Charlatans, Moby Grape, and the Jefferson Airplane. Danny Phay isn't nearly as charismatic a singer as Aguilar, but he's not bad, either, and there are lots of interesting shared vocals. There's also quite a bit more guitar noodling here than on any previous Watchband recording — that's not necessarily a bad thing, though it does dilute some of the impact of the punkier moments. "Devil's Motorcycle" is also of special interest to fans of Moby Grape, as it features the Grape's Jerry Miller subbing for Loomis on lead guitar. They shined on Ashford & Simpson's "I Don't Need No Doctor" as well as the Loomis/Andrijasevich original "Uncle Morris," and "Flowers" was a beautiful piece of folk-based psychedelia, while Sean Tolby's "Fireface" recaptured some of the original band's thicker rock textures. Original Foothill College-era member Ned Torney was also present on the sessions playing keyboards, but his work was left out of the final mix of the album, which meant the guitars got even greater exposure than intended. The overall album, which clocks in at well under 25 minutes, is an interesting and well-played coda to the band's history, but is also a long way from the sound of the group's earlier releases.
genre: garage country: us quality : mp3 128k time: 51'19" size: 47 mb issue: live
01 - Blues Theme 3:21 02 - Gone and Passes By 5:07 03 - Don't Need Your Lovin' 3:25 04 - Are You Gonna Be There (At the Love-In) 3:47 05 - It's All over Now, Baby Blue 3:02 06 - I'm Not Like Everybody Else 4:15 07 - Sittin' There Standin' 3:34 08 - She Weaves a Tender Trap 4:09 09 - Misty Lane 3:07 10 - Sweet Young Thing 2:51 11 - Let's Talk About Girls 5:29 12 - I Just Want to Make Love to You 4:01 13 - I'm Movin' On 3:23 14 - An Inspirational Message 1:47
cd1: 01 - Let's Talk About Girls [#] 3:35 02 - Sweet Young Thing 2:57 03 - Baby Blue 3:55 04 - Blues' Theme 2:49 05 - Loose Lip Sync Ship 3:19 06 - Don't Need Your Lovin' 2:38 07 - Sitting There Standing 2:21 08 - Misty Lane 3:22 09 - She Weaves a Tender Trap 2:40 10 - Are You Gonna Be There (At the Love In) 2:26 11 - No Way Out 2:22 12 - In the Midnight Hour 3:30 13 - Come On 1:50 14 - Gone and Passes By 3:14 15 - I'm Not Like Everybody Else 3:43 16 - I Ain't No Miracle Worker 2:51 17 - Milk Cow Blues 2:58 18 - Medication [#] 3:06 19 - 'Til the End of the Day [#] 2:39 20 - Psychedelic Trip [Backing Track] 1:58
cd2: 01 - Let's Talk About Girls 2:46 02 - In the Midnight Hour 4:28 03 - Hot Dusty Roads 2:26 04 - Gossamer Wings 3:26 05 - Baby Blue [LP Mix] 3:13 06 - Medication 2:08 07 - Don't Let the Sun Catch You Crying 2:52 08 - Since You Broke My Heart 2:23 09 - Uncle Morris 3:12 10 - How Ya Been 3:12 11 - Devil's Motorcycle 3:02 12 - I Don't Need No Doctor 4:03 13 - Flowers 2:48 14 - Fireface 2:51 15 - And She's Lonely 4:18 16 - Dark Side of the Mushroom 2:36 17 - Expo 2000 2:41 18 - Voyage of the Trieste 3:40 19 - In the Past 3:08 20 - The Inner Mystique 5:37 21 - The Uncharted Sea (AKA the Voyage of the Trieste) [#] 3:25 22 - Let's Go, Let's Go, Let's Go [Backing Track][#] 2:39 23 - Let's Go, Let's Go, Let's Go 2:18
A New York band who recorded just one album. All the tracks were composed by group leader Barbour, who came originally from Canton, Ohio. Musically their album is soft, intricate psyche with a few more intense tracks also included. Most notable is Dr. Roots Garden, which has an early "Floydish" feel to it, whilst the album as a whole has a very strange sound that is exceptionally unique with beautiful clear female vocals.
It is thought that mono copies of the album were DJ only. Price guides tend to list these as worth less than stereo copies but in fact they are 20 times harder to locate!
Barbour had at least one of his later songs recorded by Martha Velez. Dahaud Elias Shaar went on to play drums with Van Morrison first appearing on his His Band And The Street Choir album. He is also the drummer on the live It's Too Late To Stop Now and Veedon Fleece releases. Paul Album also played with Fear Itself.
(Stephane Rebeschini)(Ed Moulin / Vernon Joynson / Dennis McCurdy)
ProgArchives: CLARION's material is very close to new age, with just enough prog touches to warrant the band's inclusion here. The flute plays a defining role in their style which is warm, graceful and highly melodic. They consist of the same members as Italian folk-prog band ZAUBER, namely Paolo Clari on keyboards and synths, Gianni Cristiani on flute and ottavino, Liliana Bodini on vocals, Massimo Cavagliato on drums, Mauro Cavagliato on bass, electric Piano and metalophone, and Oscar Giordanino on electric piano. In addition to the lyrical flute passages, both their self-titled album "Clarion" (93) and the subsequent "Bourrée" (95) feature some strong bass, competent drums and a few ethereal and classy female vocals; the keyboards and guitars play a supporting role, here, but do step forward when called for. The eponymous "Clarion" also includes some classical prog tracks by BANCO, PFM and GENTLE GIANT as well as a genuine classical excerpt (SAINT-SAENS), all revisited by Cristiani's delicate flute. Fans of ZAUBER, LATTE E MIELE and easy-listening Italian prog in general should appreciate.
genre: folk country: us quality : mp3 320k, scans time: 43'13" size: 105 mb issue: 2002 collector's choice
oe: "Cnanges comes so quicly..." - the Byrds in the sky with the diamonds forever
Upon its release in 1974, Gene Clark's No Other was soundly reviled as an exercise in studio and financial excess, a critical and commercial failure -- it was pop music's Heaven's Gate. However, a scant year and a half later, Fleetwood Mac's self-titled album and its successor, Rumours, utilizing similar performance and production techniques, were adored by critics and the record-buying public, and have become cultural mainstays. The appearance of No Other on CD in America some 26 years after its release offers the opportunity to hear this record for what it was: a solidly visionary recording that decided to use every available means to illustrate Gene Clark's razor sharp songwriting that lent itself to open-ended performance and production -- often in the same song (one listen to the title track bears this out in spades). Clark and producer Thomas Jefferson Kaye entered Village Recorders in L.A. assembled a cast of players that included Clark veterans such as Michael Utley and Jesse Ed Davis, Allman Brothers' Butch Trucks, Lee Sklar, Russ Kunkel, Joe Lala, Chris Hillman, Danny "Kooch" Kortchmar, Howard Buzzy Feiten, and Stephen Bruton. Backing vocalists such as Clydie King, Venetta Field, and Shirley Matthews -- who would appear on Bob Dylan's Street Legal two years later -- and including Cindy Bullens, Carlena Williams, Ronnie Barron, Claudia Lennear, and the Eagles' Timothy B. Schmidt, were also in the house. What it adds up to is sprawling, ambitious work that brought elements of country, folk, jazzed-out gospel, blues, and trippy rock to bear on a song cycle that reflects the mid-'70s better than anything from that time, yet sounds hauntingly timely even now. There are no edges on No Other, even in its rockier tracks such as "Strength Of Strings," that echoes Neil Young's "Cowgirl In the Sand," melodically, but its bridge is pure mystic Eastern-harmony, complete with slide guitar wizardry. The shimmering dark textures of "Silver Raven," where Clark's falsetto vocal is kissed by synth and muted basslines, and extended by a chorus that could have come off CSNY's Déjà Vu, is one of the most heartbreakingly blissed-out country folk songs in recorded music history. "From A Silver Phial," as haunting and beautiful as it is, is one of the strangest songs Clark ever wrote, given its anti-drug references (especially considering this is one of the more coked out records to come from L.A. during the era). The final two cuts, "The True One," and "Lady of the North" (co-written with Doug Dillard) are the only two pieces on the disc that mirror back with accuracy where Clark had come from, but even these, as they wind around the listener, are far bigger than mere country rock tunes, and they offer glissando passages of pedal steel and ostinato piano that create narrative movement in the lyrics. This is one of those recordings, one that is being rediscovered for the masterpiece it is. The shortcoming of the CD presentation is that the rest of the session is not here -- it was originally cut as a double-album, but Asylum refused to release it that way. There are versions with alternate takes, but so far only the WEA International version has an additional track. But this is what we have,and as it stands it is a stunning, if completely misunderstood milestone, in Clark's oeuvre. ~Thom Jurek, All Music Guide
genre: fusion, jazz country: us quality : lossless (separate ape, without cue&log, scans) time: 39'31" size: 200 mb
Wiki: Codona was a free jazz and world fusion group which released three self-titled albums for Polygram Records/ECM Records in 1978, 1980 and 1982. The trio consisted of Don Cherry (plays on Escalator other the Hill), Collin Walcott, and Nana Vasconcelos
01 - Que Faser 7:11 02 - Godumaduma 1:58 03 - Malinye 12:43 04 - Drip-Dry 7:03 05 - Walking on Eggs 3:04 06 - Again and Again, Again 7:32
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