Friday, January 25, 2008

To Cry You A Song: A Collection Of Tull Tales (1996)

Tracks
01. Magelian / A Tull Tale 2'32''
02. Magelian / Aqualung 8'09''
03. Roy Harper /Up The 'Pool 3'01''
04. John Wetton / Nothing Is Easy 4'17''
05. Lief Sorbye / Mother Goose 4'23''
06. Robert Berry / Minstrel in the Gallery 5'22''
07. Echolyn / One Brown Mouse 3'15''
08. Charlie Musselwhite / Cat's Squirrel 5'52''
09. Glenn Hughes / To Cry You a Song 5'10''
10. Robby Steinhardt / New Day Yesterday 3'59''
11. Wolfstone / Teacher 3'58''
12. Keith Emerson / Living in the Past 3'21''
13. Tempest / Locomotive Breath 4'32''
14. Dave Pegg / Life's a Long Song 2'45''

Leslie West - Collection (2007)

Review by Jeff Tamarkin

The blues has informed Leslie West's work since the earliest days of Mountain, but Collection, which cherry-picks from his output for the Blues Bureau label (1993-2006), is the most concentrated assemblage yet of the guitarist's covers within the blues idiom. It's easy to imagine West putting plenty of muscle into classics like John Lee Hooker's "Boom Boom," Robert Johnson's "Crossroads," and Muddy Waters' "Baby Please Don't Go," and he does. The latter especially burns, with West unreeling a screaming solo and strangled vocals, ably abetted by drummer Aynsley Dunbar, bassist Tim Bogert, and rhythm guitarist Kevin Curry. But some of the most surprising moments occur where you'd least expect them. The album ends with two songs that couldn't be more opposite in tempo: a rowdy take on Procol Harum's "Whisky Train" and a "Summertime" that puts more soul into the George and Ira Gershwin standard than anyone has since Janis Joplin. And Ray Charles' "Hit the Road Jack," stripped down to a core of West's guitar and Brian Mitchell's piano, and devoid of its familiar jumping rhythm, recasts the song in a mournful mode befitting of its finality.

Credits
Tim Bogert / Bass
Randy Coven / Bass
Kevin Curry / Guitar (Acoustic), Guitar (Rhythm), Guitar Arrangements
Aynsley Dunbar / Drums
Timothy Fahey / Bass
Brian John Mitchell / Piano
Mike Onesko / Guitar (Rhythm)
Brad Russell / Bass
Leslie West Guitar, Guitar (Rhythm), Vocals, Slide Guitar
Todd Wolfe / Guitar (Rhythm)

Tracks
1 Boom Boom (Hooker) 4:31
2 Don't Start Me Talkin' (Williamson) 5:48
3 Crosscut Saw (Ford) 4:08
4 Blues Before Sunrise (Carr) 4:34
5 Hit the Road Jack (Mayfield) 3:44
6 Crossroads (Johnson) 3:55
7 House of the Rising Sun (Weinstein) 4:35
8 Baby Please Don't Go (Morganfield) 4:09
9 Sinner's Prayer (Fulson, Glenn) 6:32
10 Look at Little Sister (Ballard) 3:32
11 Whisky Train (Reid, Trower) 4:22
12 Summertime (Gershwin, Heyward) 7:08

Roy Harper - Biography

by Jason Ankeny
An idiosyncratic British singer/songwriter acclaimed for his deeply personal, poetic lyrics and unique guitar work, Roy Harper was born June 12, 1941, in Manchester, England. As a teen he tenured with De Boys, his brothers' skiffle band, before leaving home at the age of 15 to enter the Royal Air Force; he subsequently secured a discharge by claiming insanity, resulting in a long period marked by frequent stays in mental institutions (where he was the subject of ECT treatments) and prison. Harper later drifted throughout Europe, and by 1965 was a mainstay of London's Les Cousins folk club, performing alongside the likes of Paul Simon, Joni Mitchell, and Nick Drake.

In 1966 the tiny indie label Strike issued Harper's debut LP, The Sophisticated Beggar; the record brought him to the attention of Columbia, which released his sophomore effort, Come Out Fighting Genghis Smith, the following year. In 1968, Harper mounted a series of free concerts in London's Hyde Park, which greatly expanded his fan base in preparation for the release of 1969's Folkjokeopus, which included "McGoohan's Blues," the first of his many extended compositions.

After meeting Pink Floyd manager Peter Jenner, Harper was signed to EMI's Harvest subsidiary, and in 1970 he issued Flat Baroque and Berserk, recorded with contributions from members of the Nice; that same year marked the appearance of Led Zeppelin III and its track "Hats Off to Harper," a tribute penned by longtime friend Jimmy Page. Upon relocating to the Big Sur area of California, Harper began writing 1971's Stormcock, regarded by many as his finest record; the following year he starred in the film Made, releasing the music he composed for the picture's soundtrack in 1973 under the title Lifemask.

Valentine, a collection of love songs, appeared in 1974, and was quickly followed by the live album Flashes from the Archives of Oblivion, featuring appearances by Page, Keith Moon, Ronnie Lane, and Ian Anderson. In 1975, Harper formed Trigger, a backing group including guitarist Chris Spedding and drummer Bill Bruford; however, after releasing just one LP, HQ, the unit disbanded. In 1975 Harper also took lead vocals on "Have a Cigar," a track on Pink Floyd's Wish You Were Here. Two years later he resurfaced with Bullinamingvase; the single "One of Those Days in England," with guest vocals from Paul and Linda McCartney, nearly even became a hit.

With the same group of musicians who recorded Bullinamingvase, Harper cut another LP, Commercial Break, but the album went unreleased. Due to financial problems, he did not issue another album until 1980's bleak The Unknown Soldier. Upon leaving EMI, Harper founded his own label, Public Records, releasing Work of Heart in 1982; despite the usual good press, the album failed to sell, and Public soon went under. After selling the limited-edition 1984 set Born in Captivity at gigs, the next year he released the album Whatever Happened to Jugula with Page.

Harper re-signed to EMI in 1986, recording the double live LP In Between Every Line. Descendants of Smith appeared two years later, and when the record stiffed he moved to the Awareness label, issuing Once in 1990. By 1991 his son Nick was performing with him regularly; upon the release of 1992's Death or Glory?, Awareness folded, again leaving Harper without label support. He soon founded his own company, Science Friction. The label issued the six-volume BBC Tapes in 1997. Resurgent was the label for 1998's The Dream Society, but lack of interest returned Harper to his cottage industry. His Science Friction label released 2001's The Green Man, and a month later Capitol released the oddball compilation Hats Off. Four years passed before the compilation Counter Culture appeared.

Roy Harper - Hats Off (2001)

Review by Richie Unterberger
"This CD is not a 'best of' record and does not attempt to be so," declares the first sentence of the liner notes. So, what do you call it, exactly, considering that its 14 songs span much of the 35-year period Harper had recorded during prior to its release? A 60th birthday commemoration, perhaps, or a reasonably listener-friendly introduction to Harper's quite variable output. The songs seem to have been selected with an eye to highlighting his collaborations with high-profile guests like Jimmy Page, Kate Bush, David Gilmour, Ian Anderson, and Paul McCartney, though it doesn't suffer for that. With a guy who's done about 30 records, a single-disc distillation is inevitably going to leave major gaps. But it does a fair job at assembling some of his more accessible tunes, all but four of them from the 1970s, though it does go as chronologically far as 1998. On the whole it's decent folk-influenced British rock that sounds less eccentric than many isolated Harper albums. The cuts on which Page plays are the most interesting, particularly "Same Old Rock" from 1971's Stormcock. Note, though, that several of the tracks are edited down from the original versions. These are sometimes minor and will not be noticed by neophytes, but in the case of "Me and My Woman," one of his finest songs (again from Stormcock), a track that originally took up most of an LP side has been whittled down to four minutes. In the liner notes, Harper contributes observations about the songs that are no less oblique than the lyrics he writes.
Tracks:
1 Death or Glory? Harper 5:05
2 Commune Harper 4:34
3 Me and My Woman Harper 3:52
Performed by: Harper, Bradford, David Orchestra
4 Male Chauvinist Pig Blues Harper 3:32
Performed by: Harper, Jimmy Page, Keith Moon, Ronnie Lane
5 Highway Blues Harper 6:32
Performed by: Harper, Jimmy Page
6 You Harper 4:33
Performed by: Harper, Kate Bush, David Gilmour
7 1948ish Harper 5:27
Performed by: Harper, Jimmy Page
8 Another Day [live] Harper 3:58
Performed by: Harper, Bedford, David Orchestra
9 Don't You Grieve Harper 2:33
10 Ten Years Ago Harper 3:21
11 These Fifty Years Harper 6:33
Performed by: Harper, Ian Anderson
12 One of Those Days in England, Pt. 1 Harper 3:24
Performed by: Harper, Paul McCartney, Linda McCartney
13 Same Old Rock Harper 11:36
Performed by: Harper, Jimmy Page
14 The Game Harper 6:55
Performed by: Harper, David Gilmour, Jones, John Paul

Roy Harper - The Green Man (2001)

Review by Skip Jansen
Following the somewhat disappointing The Dream Society, the astounding British singer/songwriter delivers his best album since 1974's Stormcock and gets his muse back on track. Always an extraordinary guitarist, his songs are still developed out of the folk techniques of his early albums and his lyrics are still as sublimely poetic and soaring. His beautiful voice hasn't sounded so impassioned since his great trilogy of albums: Flat Baroque and Berserk, Come out Fighting Ghengis Smith, and the aforementioned masterpiece Stormcock. For this session, Harper went into the studio alone and wrote, engineered, and mixed the entire collection himself. It's evident that the isolation brought his more introspective, deeply personal elements out in the songs. Here we have the Roy Harper who explored intimate love songs and literate themes on "Another Day" from Flat Baroque and Berserk and delicate folk simplicity on the album Valentine. Gone is the railing angst of "I Hate the White Man" or the hard rock of an album like When an Old Cricketer Leaves the Crease. Green Man is entirely acoustic, with the exception of Johnny Fitz's Fender Rhodes cameo on "The Monster"; subsequently, Harper sounds more comfortable not fighting with a rhythm section, adding Jeff Martin's mandolin on "Sexy Woman." "Midnight Sun," "Solar Wind Sculptures," and "The Green Man" are outstanding pieces of work — highlights that make the album yet another utterly inexhaustible album in the legacy of one of the U.K.'s most admired songwriters.

Tracks
1 The Green Man (Harper) 5:35
2 Wishing Well (Harper) 5:53
3 Sexy Woman (Harper) 6:30
4 The Apology (Harper, Martin) 2:58
5 Midnight Sun (Harper) 4:22
6 Glasto (Harper) 4:24
7 The Monster (Harper) 8:22
8 New England (Harper) 4:42
9 Solar Wind Sculptures (Harper) 3:36
10 Rushing Camelot (Harper) 8:46
11 All in All (Harper) 4:50

Roy Harper - Death Or Glory (1992)

Review by Brian Downing
Roy Harper was spurred into making one of his best albums only after his wife abruptly left him in 1992, thrusting him into a deep despair. The rawness of Death or Glory?, and the fact that it was conceived after the bitter dissolution of a decade-long relationship, makes it the emotional, if not artistic, heir of John Lennon/Plastic Ono Band. The album shuns Harper's penchant for over-production in lieu of his more traditional acoustic sound. "The Tallest Tree" is a winning tribute to Chico Mendes with spiraling guitar work by Nick Harper. Harper is also positive in the winsome "Evening Star," which finds him finally recreating his classic early-'70s sound. Harper wrote the song for Robert Plant's daughter on her wedding, and even nicked the first line of "Stairway to Heaven" as a wink to his old mate from Led Zeppelin. Perhaps the album's finest moment is the mostly instrumental tribute to Miles Davis, "Miles Remains," which is not jazzy, but sounds instead like a more guitar-oriented Clannad. But the majority of the album is very pensive and bleak, including the bizarre, weepy spoken word piece that ends the record. The album was remixed in 1999 when Harper deleted some of the more gratuitous pieces in an attempt to make the album less depressing. In any form, Death or Glory? remains one of Harper's most satisfying works, and is his only release from the '90s that most casual fans will want to own.

Credits
Steve Barnard Drums, Remixing
Tony Franklin Bass, Keyboards
Roy Harper Guitar, Vocals

Tracks
1 Death or Glory (Harper) 5:05
2 The War Came Home Tonight (Harper) 4:22
3 Duty (Harper) 1:26
4 Waiting for Godot Part Zed (Harper) 3:29
5 Next to Me (Harper) 3:17
6 The Methane Zone (Harper) 3:35
7 The Tallest Tree (Harper) 4:52
8 Miles Remains (Harper) 8:52
9 The Fourth World (Harper) 7:22
10 Why? (Harper) :44
11 Evening Star (Harper) 6:04
12 Cardboard City (Harper) 3:24
13 One More Tomorrow (Harper) 5:22
14 On Summer Day (Harper) 5:40