Embryo – “No Place To Go” (1973)

Band : Embryo (Musical collective from Munich, Germany, founded in 1969 by Christian Burchard and Edgar Hofmann)

Country Of Origin : Germany

Members :

Christian Burchard (vibraphone, hammer dulcimer, percussion, vocals, marimba, drums, 1969-2018), Edgar Hofmann (saxophone, flute, violin, 1969-79, 1985-89), Lothar Meid (bass, 1971), Jimmy Jackson(organ, 1971), Ralph Fischer (bass, 1969-73), Dieter Miekautsch (piano, clavinet, 1972-75), Dieter Serfas (drums, percussion, 1986-present), Wolfgang Paap (drums, 1971), Ingo Schmidt (saxophone, 1971), John Kelly (guitar, 1969-72), Charlie Mariano (soprano saxophone, alto saxophone, flute, bamboo flute, nagasuram, 1972-77), Roman Bunka (guitar, saz, vocals, percussion, bass, oud, 1972-80, 1988-96), Hans Fischer (flute, percussion, vocals, 1971), Jörg Evers (bass, 1971-72), Dave King (bass, 1972-73), Uwe Müllrich (bass, 1974-80), Maria Archer (vocals, percussion, 1975), Michael Wehmeyer(percussion, vocals, keyboards, 1983-84, 2002-present), Butze Fischer (drums, percussion, 1977-?), Friedemann Josch (flute, 1983-84), Julius Golombeck (guitar, percussion, oud, vocals, 1985-96), Gerald Luciano (bass, 1985), Lamidi Ayankunle (drums, vocals, 1986-?), Rabiu Ayandokun (drums, 1986-?), Marque Lowenthal (piano, 1988), Paolo Cardoso (bass, 1988), Paramashivam Pilai (vocals, tavil, 1988-?), Nie Xizhi (erhu, muyü, sheng, gaohu, 1995-present), Chris Karrer (oud, 1995-present), Lothar Stahl (drums, marimba), Jens Pollheide, Mik Quantius

Related Artists :

Amon Düül II, Checkpoint Charlie, Dissidenten, Mikrokosmos, Missus Beastly, Moira, Sadja

Track : “No Place To Go” (A1, written by Charlie Mariano, Christian Burchard, Dieter Miekautsch, Roman Bunka)

Album : “We Keep On” (Band’s sixth studio album)

Label : BASF (20 21865-1)

Date/Year Of Release : 1973

Category/Music Genres : Jazz Rock, Krautrock, Progressive Rock, Germany, 1970s (Tracks)

Embryo – “No Place To Go”

Video on YouTube

The track is included on the album “We Keep On”, 1973 (A1, opening track)

“We Keep On” album (LP BASF Systems BC 21865 / CD Disconforme Records 1936 (1999) includes two lengthy bonus tracks “Ticket to India” and “Flute, Saz and Marimba” with different order of the tracks).

Embryo – “We Keep On” Full Album Video on YouTube 

Embryo – “We Keep On” Full Album Audio Playlist on Spotify

Album cover photo (front)

Album photo (A’ Side)

Image result for embryo we keep on basf

Track-list

01. Abdul Malek (Roman Bunka, Christian Burchard) – 3:15
02. Don’t Come Tomorrow (Christian Burchard) – 3:48
03. Ehna, Ehna, Abu Lele (Roman Bunka, Christian Burchard) – 8:43
04. Hackbrett-Dance (Charlie Mariano, Christian Burchard) – 3:54
05. No Place To Go (Christian Burchard) – 12:27
06. Flute And Saz (Roman Bunka, Charlie Mariano, Christian Burchard) – 5:57
Total Time: 38:09
Bonuses:
07. Ticket To India (Christian Burchard) – 15:49
08. Flute, Saz And Marimba (Christian Burchard) – 8:35

Line-up 

– Roman Bunka / guitar, saxophone, vocals, percussion, bass (6)
– Christian Burchard / drums, vocals, percussion, marimba, vibes, hackbrett, Mellotron
– Charlie Mariano / alto & soprano saxes, flute, nagasuram, bamboo flute
– Dieter Miekautsch / acoustic & electric pianos, bass piano on the clavinet

Credits

Design – Holger Matthies

Lacquer Cut By – PF

Liner Notes – Rainer Blome

Liner Notes [Translation] – Mary McGlory

Producer – Embryo (3)

Producer, Photography By [Portraits] – Othmar Schreckeneder

Written-By – Mariano (tracks: A1 to B2, B4), Burchard, Miekautsch (tracks: A1, B1, B4), Bunka (tracks: A1 to B1, B3, B4)

Information about the band

Musical collective from Munich (Germany), founded in 1969 by Christian Burchard and Edgar Hofmann. Considered as one of the most important German jazz-rock bands during the 1970s.
In 1981, Uve Müllrich and Michael Wehmeyer left Embryo to form “Embryo’s Dissidenten” who soon became Dissidenten.
Embryo have continued for over 40 years with Christian Burchard always in charge and an ever changing international cast of musicians including talents from North Africa, India, China, etc., as well as occasionally featuring top jazz names like Mal Waldron and Charlie Mariano and luminaries of the Krautrock scene (source : “Discogs”).

EMBRYO (not to be confused with Italian and Swedish death metal bands of the same name) are a musical collective from Munich who, lead by former R&B and jazz organist Christian Burchard, boast the participation of some 400+ musicians since their beginnings in 1970. Over the years, the band went from classic space rock to jazz fusion, then Burchard soon started travelling the world and recording LPs with African bands and Middle Eastern musicians. They are still going strong and their 30 or so albums cover a wide spectrum of styles, but the constant remains a blend of Krautrock, fusion and ethnic music.

Of particular interest to progsters are four of their earlier albums: “Rache” (heavy, JETHRO TULL inspired), “Steig Aus” (for some warmer, jazzy prog), “Father, Son and Holy Ghost” (lots of ethnic influences) and “We Keep On” (a convincing blend of rock, ethnic and jazz). For fans who have already acquired the taste, “Zack Glück” (’80) is pleasantly quirky and more focussed than the rest of their repertoire; “Reise” (’79) is noteworthy for some interesting Indian fusion tracks; and “Opal” (’70), their very first, is considered their psychedelic masterpiece. For some samplers of more recent material, the album “Ni Hau” (’96), featuring music from China and Mongolia, and the double live cd “Istanboul-Casablanca – Tour 98” are particularly recommended.

If you’re into Krautrock and are a wee bit curious to see what a jazzy FAUST, AMON DÜÜL II or GURU GURU sounds like, you could start with any of the first four albums mentioned above (source : “Progarchives”).

One of the most original and innovative Krautrock bands, Embryo fused traditional ethnic music with their own jazzy space rock style. Over an existence spanning decades, during which Christian Burchard became the only consistent member, the group traveled the world, playing with hundreds of different musicians and releasing over 20 records.

Originally a jazzy space rock band, Embryo were formed in 1969 in Munich, Germany, by former R&B and jazz organist Christian Burchard (vibraphone, hammer dulcimer, percussion, marimba), Edgar Hofmann (saxophone), Lothar Meid (bass), Jimmy Jackson (organ), Dieter Serfas (drums, percussion), Wolfgang Paap (drums), Ingo Schmidt(saxophone), and John Kelly (guitar). However, the lineup was already different by the time sessions for their debut album began. The resulting record, Opal (1970), is considered Embryo’s masterpiece of their early, more psychedelic sound. By the time of Embryo’s Rache (1971), the group was already adding ethnic touches to its music.

In 1972, the same year they played at the Olympic Games in Munich, Embryo were invited by the Goethe Institute to tour Northern Africa and Portugal. In Morocco, the band was fascinated by the different tonal scales used by Moroccan musicians, profoundly shaping the group’s music to come. In 1973, the band was joined by saxophonist Charlie Mariano and guitarist Roman Bunka, who were both influential in moving Embryo toward their genre-blending mixture of space rock and ethnic sounds. We Keep On, released in 1973, was the most successful album in the group’s career.

However, after Surfin’ (1974) and Bad Heads & Bad Cats (1975), Burchard decided Embryo were moving in too commercial a direction and led them on an eight-month excursion to India, where they met local musicians. Shobha Gurtu, an Indian singer the bandmembers met during their travels, would later record an album with them, 1979’s Apo Calypso. Embryo also set up their own record label, Schneeball, with the rock band Checkpoint Charlie during this time, releasing such albums as 1979’s Embryo’s Reise and 1982’s La Blama Sparozzi – Zwischenzonen on the imprint. Embryo also took off on a two-year journey through the Middle East, India, Pakistan, and Afghanistan, during which the band’s bus broke down in Tehran near the end of the Iranian Revolution in 1981; this musical expedition was captured by the documentary film Vagabunden-Karawane. After touring Asia, the Middle East, and Egypt during the early ’80s, Embryo released their first studio album in seven years, Zack Gluck, in 1984. The band then toured Africa and became involved with Nigeria’s Yoruba Dun Dun Ensemble.

However, after internal conflicts, Embryo split up. Burchard continued under the Embryo name with new musicians while a new group, Embryo’s Dissidenten, was formed. Embryo continued to release both new and archival recordings into the 21st century, including 2006’s Embryonnck, a collaboration with the No-Neck Blues Band. However, Burchard suffered a stroke in 2016, which effectively ended his career as a musician, and his daughter Marja took over leadership of the group. Christian Burcharddied in January 2018 at the age of 71 (source : “All Music”).

Embryo is a musical collective from Munich which has been active since 1969, although its story started in the mid-1950s in Hof where Christian Burchard and Dieter Serfas met for the first time at the age of 10. It was one of the most important German jazz-rock bands during the 1970s and has also been described as “the most eclectic of the Krautrock bands.”

History

In 1969 the band was founded by multi instrumentalist Christian Burchard (drums, vibraphone, santur, keyboard) and Edgar Hofmann (saxophone, flutes). To date more than 400 musicians have played with the collective, some, such as Charlie Mariano, Trilok Gurtu, Ramesh Shotham, Marty Cook, Yuri Parfenov, Allan Praskin, X.Nie, Nick McCarthy, Monty Waters and Mal Waldron, have played on multiple occasions. Longtime members are Edgar Hofmann (sax, violin), Dieter Serfas (drums), Roman Bunka (guitar, oud), Uve Müllrich (bass), Michael Wehmeyer (keyboard), Chris Karrer (guitar, oud, violin, sax), Lothar Stahl (marimba, drums), and Jens Polheide (bass, flute).

With Ton Steine Scherben, they were founders of the first German independent label Schneeball in 1976.

In 1979 the band started a nine-month tour to India by bus which is documented in the movie “Vagabunden Karawane”. Embryo developed from jazzy Krautrock to a world music band which is able to merge different styles and trends. Many of their albums originated during collective journeys on 4 continents. The band played many festivals around the globe: in India (Mumbai Jazz 1979), England (Reading 1973), Nigeria (Port Harcourt Jazz 1987), Japan (Wakayama 1991) to name a few. In July 2008, Embryo was awarded the German World Music Award RUTH 2008 at the TFF Rudolstadt Festival.

In 1981, Müllrich and Wehmeyer left Embryo to form “Embryo’s Dissidenten” who soon became Dissidenten.

On the road to Marokko in March 2016 Christian Burchard had a stroke. Since then Marja Burchard (drums, vibraphone, vocals, trombone, keyboard), daughter of Christian Burchard, who grew up with the band, is leading Embryo.

On January 17, 2018 Christian Burchard passed away in Munich. He was 71 years old (source : “Revolvy”/”Wikipedia”).

Discography 

Discography

1970: Opal (Ohr)

1971: Embryo’s Rache (United Artists)

1972: Father Son and Holy Ghosts (United Artists)

1972: Steig aus (Brain, a.k.a. This Is Embryo), featuring Mal Waldron

1973: Rocksession (Brain), featuring Mal Waldron

1973: We Keep On (BASF), featuring Charlie Mariano

1975: Surfin (Buk), featuring Charlie Mariano

1976: Bad Heads and Bad Cats (April), featuring Charlie Mariano

1977: Live (April), featuring Charlie Mariano

1977: Apo Calypso (April), featuring Trilok Gurtu and Shobha Gurtu on one track

1979: Embryo’s Reise (Schneeball/Indigo)

1980: Embryo / Karnataka College of Percussion / Charlie Mariano – Life (Schneeball)

1980: Anthology (Materiali Sonori, compilation reissued on CD as Every Day Is Okay in1992)

1982: La blama sparozzi / Zwischenzonen (Schneeball)

1984: Zack Glück (Materiali Sonori)

1985: Embryo & Yoruba Dun Dun Orchestra Feat. Muraina Oyelami (Schneeball)

1985: Africa (Materiali Sonori)

1989: Turn Peace (Schneeball), featuring Mal Waldron

1994: Ibn Battuta (Schneeball/Indigo), featuring Marty Cook on one track

1996: Ni Hau (Schneeball/Indigo), featuring Xizhi Nie

1998: Live in Berlin (Schneeball)

1999: Istanbul–Casablanca Tour 1998 (Schneeball/Indigo), featuring Alan Praskin

1999: Invisible Documents (Disconforme)

2000: One Night in Barcelona (Recorded at the Joan Miró Foundation) (Disconforme),featuring Yuri Parfenov

2001: Live 2000, Vol. 1 (Schneeball)

2001: Live 2001, Vol. 2 (Schneeball)

2003: Bremen 1971 (Garden of Delights)

2003: Hallo Mik (Schneeball/Indigo, live recordings)

2006: Embryonnck with the No-Neck Blues Band(Schneeball/Staubgold/Sound@One)

2006: News (Ultimate)

2007: Live im Wendland (Schneeball), anti-nuclear solidarity concert 2005 in Gorleben

2007: For Eva , 1967 recording featuring Mal Waldron

2008: Freedom in Music , featuring X. Nie

2008: Live at Burg Herzberg Festival 2007 (Trip in Time)

2008: Wiesbaden 1972 (Garden of Delights)

2010: Embryo 40 (Trikont/Indigo, compilation)

2011: Memory Lane, Vols. 1-3 (Download only), featuring Mal Waldron

2016: It Do (Trikont/Indigo, compilation)

External links 

Embryo Band’s Homepage

Embryo Band’s Page on Facebook

Embryo Band’s Page on Spotify

Embryo Band’s Page on Last Fm

Charlie Mariano Tribute Page

Embryo Album Reviews on Gnosis2000.Net

Embryo Band’s Documentary on IMDb

Embryo – “We Keep On” Full Album Download Link on Rock & Roll Archives

Embryo – “We Keep On” Full Album Download Link on 7Digital

Embryo – “We Keep On” Full Album on Google Play

Embryo – “We Keep On” Full Albun on Apple Music

 

 

 

Brian Eno – “An Ending Ascent” (1983)

Artist : Brian Eno (Brian Peter George St John le Baptiste de la Salle Eno, born  on 15th May 1948, in Woodbridge, Suffolk, U.K.)

Country Of Origin : U.K. 

Track : “An Ending Ascent” (A5 track, instrumental, written by Brian Eno)

Album ” Apollo – Atmospheres And Soundtracks” (Apollo: Atmospheres and Soundtracks is the ninth solo studio album by British ambient musician Brian Eno, released in 1983. It was written, produced, and performed by Brian Eno, his brother Roger and Daniel Lanois. Music from the album appeared in the films 28 Days LaterTraffic, and Trainspotting, whose soundtrack sold approximately four million copies. Two of the songs from the album, “Silver Morning” and “Deep Blue Day”, were issued as a 7″ single on EG Records).

Label : EG Records (EGLP 53), Polydor Records (813 535-1)

Date/Year Of Release : July 1983 (recorded Grant Avenue Studio, Hamilton, Ontario, Canada 1981-1982)

Category/Music Genres : Ambient, Electronic, Experimental, Soundtracks, Space Ambient U.K. 1980s (Tracks)

Brian Eno

Artist’s photo

Image result for BRIAN ENO

Brian Eno “An Ending Ascent”

Video on YouTube

Brian Eno “An Ending Ascent”

Video on Vimeo

The track is included on the album “Apollo – Atmospheres And Soundtracks” (A5 track)

“Apollo – Atmospheres And Soundtracks” Album (released in 1983)

Brian Eno – “Apollo – Atmospheres And Soundtracks” Full Album Audio Playlist on Spotify

Album cover photo (front)

Album photo (A’ Side)

Image result for eno apollo

Tracks 

1. “Under Stars” (Brian Eno, Daniel Lanois) (4:25)
2. “The Secret Place” (Daniel Lanois, arranged Brian Eno) (3:27)
3. “Matta” (Brian Eno) (4:14)
4. “Signals” (Brian Eno, Daniel Lanois) (2:44)
5. “An Ending (Ascent)” (Brian Eno) (4:18)
6. “Under Stars II” (Brian Eno, Daniel Lanois) (3:15)
7. “Drift” (Roger Eno, Brian Eno) (3:03)
8. “Silver Morning” (Daniel Lanois) (2:35)
9. “Deep Blue Day” (Brian Eno, Daniel Lanois, Roger Eno) (3:53)
10. “Weightless” (Brian Eno, Daniel Lanois, Roger Eno) (4:28)
11. “Always Returning” (Brian Eno, Roger Eno) (3:49)
12. “Stars” (Brian Eno, Daniel Lanois) (7:57)

Line-up

Musicians: Brian Eno, Daniel Lanois, Roger Eno

Credits 

Cover Art : Russel Mills
Mastered by Greg Calbi, at Sterling Sound

Co-producer – Brian Eno, Daniel Lanois

Information about the artist 

Brian Eno, in full Brian Peter George St. John le Baptiste de la Salle Eno, (born May 15, 1948, Woodbridge, Suffolk, England), British producer, composer, keyboardist, and singer who helped define and reinvent the sound of some of the most popular bands of the 1980s and ’90s and who created the genre of ambient music.

While an art student in the late 1960s, Eno began experimenting with electronic music, and in 1971 he joined the fledgling band Roxy Music as keyboardist and technical adviser. A rivalry with singer Bryan Ferry led Eno to leave the group in 1973, whereupon he launched a solo career. No Pussyfooting (1973), a collaboration with guitarist Robert Fripp from King Crimson, used tape-echo and tape-delay techniques to create new sounds and reached the Top 30 in Britain. Eno’s next album, Here Come the Warm Jets (1973), was soon followed by the proto-punk single “Seven Deadly Finns.” In the mid-1970s Eno began developing his theory of ambient music, creating subtle instrumentals to affect mood through sound. Albums such as Discrete Music (1975), Music for Films (1978), and Music for Airports(1979) exemplified this approach.

During this period Eno also began producing albums for other artists, and his experimental approach to music making was well suited to such alternative performers as Devo, Ultravox, and David Bowie(especially on Bowie’s trilogy of albums recorded primarily in Berlin). Although Eno’s work was influential, it was not until his collaborations with Talking Heads and U2 that mainstream listeners became familiar with his sound, most notably on Talking Heads’ Top 20 album Remain in Light (1980) and U2’s chart-topping albums Unforgettable Fire (1984), The Joshua Tree (1987), and Achtung Baby(1991).

Throughout the 1990s, Eno joined a number of visual artists to provide sound tracks to installation pieces, and in 1995 he worked with Laurie Anderson on Self Storage, a series of installations housed in individual lockers at a London storage facility. Anderson provided the vocals for a track on Eno’s electronic album Drawn from Life (2000), and Eno followed with a rare vocal album of his own, Another Day on Earth (2005). He returned to the producer’s chair for Paul Simon’s critically lauded Surprise (2006) and Coldplay’s multi-platinum Viva la Vida (2008).

In 2008 Eno teamed with former Talking Heads frontman David Byrne for their first collaborative effort in nearly three decades. Adopting the self-publishing model popularized by Radiohead, Byrne and Eno released Everything That Happens Will Happen Today on the Internet, where listeners could stream the entire album for free or purchase physical or digital copies directly from the artists. Also in 2008 Eno and Peter Chilvers debuted the first of several smartphone apps that allowed the user to create generative music. Eno later collaborated with Karl Hyde of the British electronic band Underworld for the Afrobeat-inspired Someday World and the more accessible High Life (both in 2014) and with pianist Tom Rogerson on Finding Shore (2017). Among Eno’s own albums, the four-track The Ship (2016) meditated on the sinking of the Titanic and on World War I. In 2018 he released a box set of music commissioned for art pieces, Music for Installations (source : encyclopedia “Britannica”).

Information about the album/track

The track, along with the rest of the album, was composed for the film For All Mankind, a documentary on the early years of NASA. The film wasn’t completed until 1989.
Aside from those that feature country & western guitar, “An Ending (Ascent)” stands out from Brian Eno’s other ambient tracks due to its clear use of discernible (yet slow-moving) melody.
The track has appeared in a number of media uses, including in the TV series JamTop Gear and Nip/Tuck; films Traffic28 Days Later and Drive; and David Firth’s animation Salad Fingers.
Frou Frou sampled the track in their song “Hear Me Out” in 2002, as did Burial in 2006 for “Forgive” (source : “Songfacts”).

This music was originally recorded in 1983 for a feature-length documentary movie called “Apollo” later retitled For All Mankind, directed by Al Reinert. The original version of the film had no narration, and simply featured 35mm footage of the Apollo moon missions collected together roughly chronologically, and set to Eno’s music as it appears on the album. Although the film had some limited theatrical runs at art house cinemas in some cities, audience response was lukewarm. The filmmakers still felt the film could do better if it reached a wider audience, and so they re-edited the film, added commentaries from the Apollo astronauts themselves, re-structured the music, and re-titled the film in the process. Various edits of the film were shown to test audiences for further refining. As all this was going on, the film’s release was delayed until 1989. By that time several tracks on the album were omitted from the soundtrack and replaced by other pieces by Eno and other artists.

The tracks from the album that remain on the final edit of the film are:

  • “Always Returning”
  • “Drift”
  • “Silver Morning”
  • “Stars”
  • “Under Stars”
  • “The Secret Place”
  • “An Ending (Ascent)”

The newer tracks from the film that are not on the album (but appear on Music for Films III) are:

  • “Sirens” (Brian Eno, Daniel Lanois)
  • “Theme for ‘Opera'” (Brian Eno, Roger Eno)
  • “Fleeting Smile” Roger Eno)
  • “Tension Block” (Daniel Lanois)
  • “Asian River” (Brian Eno)
  • “Quixote” (Roger Eno)
  • “4-Minute Warning” (John Paul Jones)
  • “For Her Atoms” (Lydia Kavina (Theremin), Misha Malin)

In the liner notes, Eno relates that when he watched the Apollo 11 landing in 1969 he felt that the strangeness of that event was compromised by the low quality of the television transmission and an excess of journalistic discussion, and that he wished to avoid the melodramatic and uptempo way it was presented. That philosophy dominated when For All Mankind (“Apollo”) was originally released as a non-narrative collection of NASA stock footage from the Apollo program. The non-narrative version of the film with the Eno soundtrack was released on VHS video in 1990 by the National Geographic Society. An alternative version was also released by NASA featuring audio interviews but omitting the Brian Eno soundtrack.

The album contains a variety of styles. “Under Stars”, “The Secret Place”, “Matta”, “Signals”, “Under Stars II”, and “Stars” are all dark, complicated textures similar to those on Eno’s previous album Ambient 4/On Land. “An Ending (Ascent)”, “Drift”, and “Always Returning” are smoother electronic pieces. “Silver Morning”, “Deep Blue Day”, and “Weightless” are country and western inspired ambient pieces featuring Daniel Lanois on guitar.

Country music, which Eno listened to as a child in Woodbridge on American armed forces radio, was used to “give the impression of weightless space.” 

“Under Stars” is a recurring theme in the album, first appearing as an ambient electronic bed behind a treated guitar. “Under Stars II” is the same composition, but with different effects and treatments. “Stars” is the pure background texture without the guitar.

The track “An Ending (Ascent)” was sampled in the song “Hear Me Out” by the group Frou Frou, in “Forgive” by British producer Burial, additionally in “Ascent” by Michael Dow, a London electronic music producer, and has been used in several films such as Traffic and 28 Days Later, and in the London Olympiad opening (the memorial wall section).

Many of the tracks on the album were recorded with soft “attacks” of each note, then played backwards, with multiple heavy echoes and reverb added in both directions to merge the notes into one long flowing sound with each note greatly overlapping each adjacent note, producing the “floating” effects that Eno desired.

The Yamaha DX7 was used extensively by Eno on the album. “…so many processings and reprocessings – it’s a bit like making soup from the leftovers of the day before, which in turn was made from leftovers…” (making the album) Eno said, “…. Well, I love that music anyway …. what I find impressive about that music is that it’s very concerned with space in a funny way. Its sound is the sound of a mythical space, the mythical American frontier space that doesn’t really exist anymore. That’s why on Apollo I thought it very appropriate, because it’s very much like “space music” — it has all the connotations of pioneering, of the American myth of the brave individual.

n the summer of 2009 a live version of the album was performed at two concerts in the IMAX cinema of London’s Science Museum and in an arrangement by South Korean composer Woojun Lee for the ensemble Icebreaker with featured artist B J Cole on pedal steel guitar. The album was performed in its entirety, with the tracks in a different order, to a silent and edited version of For All Mankind, closer to the original conception than the released version of the film. A revised version was performed twice at the 2010 Brighton Festival, where Eno was guest artistic director, before subsequent touring in the UK, Ireland and mainland Europe.

Due to the heavily processed nature of the studio-based sound on the original tracks, an exact reproduction would have been impossible to reproduce in a live context, so Woojun Lee chose to apply a free interpretation of the sound world and to make an impression of the original tracks through use of Icebreaker’s instrumental resources.

The performances from Brighton were recorded and an album of the live interpretation was released in June 2012 (source : “Wikipedia”).

External Links 

Brian Eno – “Apollo – Atmospheres And Soundtracks” Full Album Video Playlist on YouTube

Brian Eno – “Apollo – Atmospheres And Soundtracks” Full Album Audio Playlist on Spotify

Brian Eno – “An Ending Ascent” Audio/Video file on Last Fm

Brian Eno Artist’s Homepage

Brian Eno Artist’s Page on Facebook

Brian Eno Artist’s Page on Twitter

Brian Eno – Full Albums Download Links on Lágrima Psicodélica

 

Live Performances Blues Rock U.K. 1960s (Tracks) John Mayall – “The Laws Must Change”

John Mayall – “The Laws Must Change” Video on YouTube

Category/Music Genres :

Live Performances Blues Rock U.K. 1960s (Tracks)

Artist :

John Mayall (Macclesfield, Cheshire, U.K.)

“Track”

“The Laws Must Change” (written by John Mayall) A1 track (opening track) included on the live album “Turning Point”

Album :

“Turning Point”  released on Polydor Records (583571) in October 1969

The Turning Point is a live album by John Mayall, featuring British blues music recorded at a concert at Bill Graham’s Fillmore East on 12 July 1969.

Originally released with a lyric insert.

The album was produced by John Mayall, who also designed the packaging and was the album’s art director. The recording engineer was Eddie Kramer, who had engineered Jimi Hendrix and Led Zeppelin, among others.

Line-up/Credits :

Line-up :

John Almond – flute, saxophone, alto saxophone, tenor saxophone, mouth percussion

Jon Mark – acoustic guitar

John Mayall – guitar, harmonica, keyboards, tambourine, vocals, slide guitar, mouth percussion

Steve Thompson – bass guitar

The performers on the album were Mayall on vocals, harmonica, a slide and a Fender Telecaster guitar, a tambourine, and mouth percussion, Jon Mark on acoustic guitar, Steve Thompson on bass, and Johnny Almond on tenor and alto saxophones, flutes, and mouth percussion. All the songs on the album were written or co-written by John Mayall. Thompson co-wrote CaliforniaThoughts About Roxanne and Don’t Waste My Time.Another track, “I’m Gonna Fight For You, J.B.,” is a tribute to the American blues guitarist J. B. Lenoir who died in 1967 and who had a deep influence on Mayall (this was Mayall’s second such tribute to the musician; “The Death of J.B. Lenoir” appeared on his earlier Crusade album). Two concerts took place, on 11 and 12 July. All tracks are from the second gig.

Credits :

Bob Gordon – photography

Suha Gur – mastering

Eddie Kramer – engineer, audio engineer

Bill Levenson – reissue producer

John Mayall – liner notes, artwork, art direction, design, photography, audio production, telecaster

Monique McGuffin – production coordination

Neil Slaven – liner notes

Tapani Tapanainen – photography

Larry La Fond – photography

Chris Welch – liner notes

Barry Wentzell – photography

Zill – photography

Companies : 

Manufactured By – Polydor Records Ltd.

Phonographic Copyright (p) – Polydor Ltd.

Made By – MacNeill Press Ltd.

Printed By – MacNeill Press Ltd.

Published By – St. George Music

Recorded At – Fillmore East

Lacquer Cut At – Phonodisc Ltd.

Label: Made in England, St. George Music, ® 1969

Track-list :

01. The Laws Must Change – 7:21
02. Saw Mill Gulch Road – 4:39
03. I’m Gonna Fight For You J.B. – 5:27
04. So Hard To Share – 7:05
05. California – 9:30
06. Thoughts About Roxanne  – 8:20
07. Room To Move – 5:03

Bonus tracks (2001 reissue) :

  1. “Sleeping By Her Side” – 5.10
  2. “Don’t Waste My Time” (Mayall, Thompson) – 4.54
  3. “Can’t Sleep This Night” – 6.19

JOHN MAYALL TRACKLIST 1 (2)

Lyrics :

The time must surely come
For the laws to fit the times
The time must surely come
For the laws to fit the times
But while the law is standing
You gotta open up your minds
It seems to be the fashion
To say you’re right and they are wrong
It seems to be the fashion
To say you’re right and they are wrong
But you gotta see both sides
You’ll find yourself in jail ‘fore long
You’re screamin’ at policemen
But they’re only doin’ a gig
You’re screamin’ at policemen
But they are only doin’ a gig
Gotta try and take the time
To figure out how the issue got that big
Lenny Bruce was trying to tell you
Many things before he died
Lenny Bruce was trying to tell you
Many things before he died
Don’t throw rocks at policemen
But get the knots of law untied
Every time you’re holdin’
You are guilty of a crime
Every time you’re holdin’
You are guilty of a crime
The laws must change one day
But it’s goin’ to take some time
Songwriters: John Mayall
Information related to the album/artist/track :
“All Music”
As the elder statesman of British blues, it is John Mayall’s lot to be more renowned as a bandleader and mentor than as a performer in his own right. Throughout the ’60s, his band the Bluesbreakers acted as a finishing school for the leading British blues-rock musicians of the era. Guitarists Eric Clapton, Peter Green, and Mick Taylor joined his band in a remarkable succession in the mid-’60s, honing their chops with Mayall before going on to join Cream, Fleetwood Mac, and the Rolling Stones, respectively. John McVie and Mick Fleetwood, Jack Bruce, Aynsley Dunbar, Dick Heckstall-Smith, Andy Fraser (of Free), John Almond, and Jon Mark also played and recorded with Mayall for varying lengths of times in the ’60s.

Mayall’s personnel has tended to overshadow his own considerable abilities. The multi-instrumentalist was adept in bringing out the best in his younger charges (Mayall was in his thirties by the time the Bluesbreakers began to make a name for themselves). Doing his best to provide a context in which they could play Chicago-style electric blues, Mayall was never complacent, writing most of his own material revamping his lineup with unnerving regularity, and constantly experimenting and stretching with the basic blues form on groundbreaking recordings such as 1967’s The Blues Alone, on which he played all instruments save for percussion — provided by Keef Hartley — and 1969’s best-selling The Turning Point, a stellar, drum-less unplugged helping of acoustic blues that netted him his biggest hit, the single “Room to Move.” Likewise, 1972’s Jazz Blues Fusion moved the other direction, as it featured Mayall in the company of trumpeter Blue Mitchell, saxophonist Clifford Solomon, guitarist Freddy Robinson, and bassist Larry Taylor. Mayall’s output has been prolific. He has introduced dozens of instrumentalists to the music-listening public including guitarists Coco Montoya and Harvey Mandel, and violinist Don “Sugarcane” Harris. When Clapton joined the Bluesbreakers in 1965, Mayall had already been recording for a year, and performing professionally long before that. Originally based in Manchester, Mayall moved to London in 1963 on the advice of British blues godfather Alexis Korner, who thought a living could be made playing the blues in the bigger city. Tracing a path through his various lineups of the ’60s is a daunting task. At least 15 different editions of the Bluesbreakers were in existence from January 1963 through mid-1970. Some notable musicians (like guitarist Davy Graham, Mick Fleetwood, and Jack Bruce) passed through for little more than a cup of coffee; Mayall’s longest-running employee, bassist John McVie, lasted about four years. The Bluesbreakers, like Fairport Convention or the Fall, were more a concept than an ongoing core. Mayall, too, had the reputation of being a difficult and demanding employer, willing to give musicians their walking papers as his music evolved, although he also imparted invaluable schooling to them while the associations lasted.Mayall recorded his debut single in early 1964; he made his first album, a live affair, near the end of the year. At this point the Bluesbreakers had a more pronounced R&B influence than would be exhibited on their most famous recordings, somewhat in the mold of younger combos like the Animals and Rolling Stones, but the Bluesbreakers would take a turn for the purer with the recruitment of Eric Clapton in the spring of 1965. Clapton had left the Yardbirds in order to play straight blues, and the Bluesbreakers allowed him that freedom (or stuck to well-defined restrictions, depending upon your viewpoint). Clapton began to inspire reverent acclaim as one of Britain’s top virtuosos, as reflected in the famous “Clapton is God” graffiti that appeared in London in the mid-’60s.

In professional terms, though, 1965 wasn’t the best of times for the group, which had been dropped by Decca. Clapton even left the group for a few months for an odd trip to Greece, leaving Mayall to straggle on with various fill-ins, including Peter Green. Clapton did return in late 1965, around the time an excellent blues-rock single, “I’m Your Witchdoctor” (with searing sustain-laden guitar riffs), was issued on Immediate. By early 1966, the band was back on Decca, and recorded its landmark Bluesbreakers LP. This was the album that, with its clean, loud, authoritative licks, firmly established Clapton as a guitar hero, on both reverent covers of tunes by the likes of Otis Rush and Freddie King and decent originals by Mayall himself. The record was also an unexpected commercial success, making the Top Ten in Britain. From that point on, in fact, Mayall became one of the first rock musicians to depend primarily upon the LP market; he recorded plenty of singles throughout the ’60s, but none of them came close to becoming a hit.

Clapton left the Bluesbreakers in mid-1966 to form Cream with Jack Bruce, who had played with Mayall briefly in late 1965. Mayall turned quickly to Peter Green, who managed the difficult feat of stepping into Clapton’s shoes and gaining respect as a player of roughly equal imagination and virtuosity, although his style was quite distinctly his own. Green recorded one LP with Mayall, A Hard Road, and several singles, sometimes writing material and taking some respectable lead vocals. Green’s talents, like those of Clapton, were too large to be confined by sideman status, and in mid-1967 he left to form a successful band of his own, Fleetwood Mac.

Mayall then enlisted 19-year-old Mick Taylor; remarkably, despite the consecutive departures of two star guitarists, Mayall maintained a high level of popularity. The late ’60s were also a time of considerable experimentation for the Bluesbreakers, who moved into a form of blues-jazz-rock fusion with the addition of a horn section, and then retreated into mellower, acoustic-oriented music. Mick Taylor, the last of the famous triumvirate of Mayall-bred guitar heroes, left in mid-1969 to join the Rolling Stones. Yet in a way Mayall was thriving more than ever, as the U.S. market, which had been barely aware of him in the Clapton era, was beginning to open up for his music. In fact, at the end of the ’60s, Mayall moved to Los Angeles. Released in 1969, The Turning Point, a live, all-acoustic affair, was a commercial and artistic high point.

In America at least, Mayall continued to be pretty popular in the early ’70s. His band was as unstable as ever; at various points some American musicians flitted in and out of the Bluesbreakers, including Harvey Mandel, Canned Heatbassist Larry Taylor, and Don “Sugarcane” Harris. Although he’s released numerous albums since, and remains a prodigiously busy and reasonably popular live act, his post-1970 output generally hasn’t matched the quality of his ’60s work. Following collaborations with an unholy number of guest celebrities, in the early ’80s he re-teamed with a couple of his more renowned vets, John McVie and Mick Taylor, for a tour, which was chronicled by Great American Music’s Blues Express, released in 2010. The ’60s albums are what you want, though over the past decades, there’s little doubt that Mayall has done a great deal to popularize the blues all over the globe. Continuing to record and tour into his eighties, Mayall released A Special Life, recorded at Entourage Studios in North Hollywood and featuring a guest spot by singer and accordion player C.J. Chenier, in 2014. The album was universally celebrated as one of his best.

A live archival recording of the Green, McVie, Fleetwood-era Bluesbreakers was released in April as Live in 1967. Meanwhile, the bandleader, his co-producer Eric Corne, and his seven-year old group — Rocky Athas, guitar; Greg Rzab, bass; Jay Davenport, drums — were in the studio. They emerged with Find a Way to Care, a set that showcased Mayall’s highly underrated keyboard playing on a set of originals and vintage covers including Percy Mayfield’s “The River’s Invitation.” The album was released in the late summer of 2015. Talk About That, Mayall’s second album for Forty Below, arrived in late 2017.

In the spring of 2018, at the age of 85, Mayall had to cancel a U.S. tour due to a nasty bout with pneumonia. That summer, sufficiently recovered, he hit the recording studio and emerged with the full-length Nobody Told Me in the late fall. Its first single, “Distant Lonesome Train,” was co-written with Joe Bonamassa (who also played guitar on it and another track). Other guests included Steve Van Zandt, Todd Rundgren, Alex Lifeson, Larry McCray, and Carolyn Wonderland. Mayall, ever the road warrior, embarked on a world tour after the album’s release that continued into 2019.

Photos related to the album/track :

John Mayall – “Turning Point” Album cover photo (front)

John Mayall – “Turning Point” Album photo (A’ Side)

John Mayall – “Turning Point” Album Artwork photo

John Mayall – “Turning Point” Album Artwork photo 

Photos related to the artist :

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Image result for JOHN MAYALL

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JOHN MAYALL 2 (2)

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JOHN MAYALL 1 (2)

John Mayall Recording Saturday Cub at the BBC Theater 1969, Mini Poster

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Links related to the album/track :

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Hard Rock/Heavy Rock and Roll/Proto Punk Rock U.S.A. (Tracks) 1970s MC5 – “Sister Anne”

MC5 – “Sister Anne” Video on YouTube

MC5 – “High Time” Full Album Playlist on Spotify

Category/Music Genres :

Hard Rock/Heavy Rock and Roll/Proto Punk Rock U.S.A. 1970s

Band :

MC5 (Detroit, Michigan, U.S.A.)

MC5 Band’s Photo

Members :
Wayne Kramer (guitar), Fred “Sonic” Smith (guitar, vocals, bass, 1963-92), Leo LeDuc (drums, 1963-64), Billy Vargo (guitar, 1963-64), Bob Gaspar (drums, 1964–65), Rob Tyner (vocals, bass, 1964, 1965-72), Patrick Burrows (bass, 1964–65), Michael Davis (bass, 1965-72, 1992-2012), Dennis Thompson(drums, 1965-72, 1992-2012), Steve Moorhouse (bass, 1972), Derek Hughes (bass, 1972), Ray Craig (bass, 1972), Ritchie Dharma (drums, 1972), Handsome Dick Manitoba (vocals, 2005-12)
Related Artists :
Ascension
Also known as :
Motor City Five, MC/5, DKT/MC5, MC5 – DKT, Bounty Hunters [1963-64]

Track :

“Sister Anne” A1 (written by Fred Sonic Smith), (opening track) included on the album “High Time”

Album :

“High Time”, released on Atlantic Records (SD 8285) in 1971

Album’s cover photo

MC5 HIGH TIME 2 (2)

High Time is the second studio album (and third album overall) by the American rock band MC5, released in 1971 by Atlantic Records.

Line-up/Credits :

MC5 :

Michael Davis – bass, vocals, ka (track 7), production

Wayne Kramer – guitar, vocals, piano (tracks 2 and 3), production

Fred “Sonic” Smith – guitar, vocals, harmonica (track 1), organ (track 1), sandpaper (track 2), production, cover concept (as Frederico Smithelini)

Dennis Thompson – drums, vocals (track 1), tambourine (track 1, 2 and 7), reen (tracks 2, 5), tamboes (track 4), acme scraper (track 5), percussion (track 8), production

Rob Tyner – vocals, harmonica (track 1), maracas (track 1), rockas (track 2), castanets (track 6), conga (track 8), production, cover cartoon illustration

Additional Personnel :

Pete Kelly – piano on “Sister Anne”

Dan Bullock – trombone on “Skunk”

Ellis Dee – percussion on “Skunk”

Lil’ Bobby Wayne Derminer – wizzer on “Future/Now”

Merlene Driscoll – vocals on “Sister Anne”

Rick Ferretti – trumpet on “Skunk”

Dave Heller – percussion on “Skunk”

Leon Henderson – tenor saxophone on “Skunk”

Joanne Hill – vocals on “Sister Anne”

Larry Horton – trombone on “Sister Anne”

Skip “Van Winkle” Knapé – organ on “Miss X”

Brenda Knight – vocals on “Sister Anne”

Kinki Le Pew – percussion on “Gotta Keep Movin”

Charles Moore – flugelhorn, vocals on “Sister Anne”, trumpet, horn arrangement on “Skunk”

Dr. Dave Morgan – percussion on “Skunk”

Scott Morgan – percussion on “Skunk” Butch O’Brien – bass drum on “Sister Anne”

David Oversteak – tuba on “Sister Ane”

Bob Seger – percussion on “Skunk

Technical :

Geoffrey Haslam – production, engineering

Mark Schulman – art direction

Francis Ing – cover photography

Written-By – Fred Smith

Credits :

Phonographic Copyright (p) – Atlantic Recording Corporation

Published By – Motor City Music

Published By – Cotillion Music

Manufactured By – Atlantic Recording Corporation

Recorded At – Artie Fields Studios

Pressed By – Presswell

Lacquer Cut At – Atlantic Studios

Art Direction – Mark Schulman (2)

Concept By – Frederico Smithelini

Cover, Photography By – Francis Ing

Design – MC5

Lacquer Cut By – George Piros

Producer – Geoffrey Haslam, MC5

Track-List :

1. Sister Anne (Fred Sonic Smith) – 7:23
2. Baby Won’t Ya (Fred Sonic Smith) – 5:32
3. Miss X (Wayne Kramer) – 5:08
4. Gotta Keep Movin’ (Dennis Thompson) – 3:24
5. Future/Now (Rob Tyner) – 6:21
6. Poison (Wayne Kramer) – 3:24
7. Over And Over (Fred Sonic Smith) – 5:13
8. Skunk (Sonicly Speaking) (Fred Sonic Smith) – 5:31

Lyrics :

Sister Anne don’t give a damn about evolution
She’s a liberated woman, she’s got her solution
Like a dinosaur, she’s going off the wall
She’s gonna make it her own crusade
She’s got a heart of gold
Gonna save a bitch’s soul
From goin’ down
Satan’s hot way
She can, I know she can
I know she can, she’s my sister Anne
Such truth, such beauty, such purity
She wears a halo around her head
She’s got the Ten Commandments tattooed on her arm
If she died she’d rise up from the dead
She’s every man savior and
Mama too
If you do it she said
She’ll save hell from you
She can, I know she can
I know she can, she’s my sister Anne
Sister, won’t you tell me where I went so wrong
I used to say my prayers baby, all night long
I’d listen to the Gospel ringing in my ears
Come on sister Anne, save me from my fears
If you can, I know you can
I know you can, you’re my sister Anne
Sister, won’t you tell me where I went so wrong
I used to say my prayers baby, all night long
I’d listen to the Gospel ringing in my ears
Come on sister Anne, save me from my fears
If you can, I know you can
I know you can, you’re my sister Anne
After Sunday school Mass she goes to see her man
She always does the best that she can
She never tries to tease, she always aims to please
She’s gonna squeeze you tight and make you feel alright
‘Cause she can, I know she can
I know she can, she’s my sister Anne
I know she can, she’s my sister Anne
I know she can, she’s my sister Anne
She’s my sister Anne
She’s my sister Anne
She’s my sister Anne
Songwriters: Fred Smith
Sister Anne lyrics © Warner/Chappell Music, Inc
Information about the album, band and track :
“All Music”

Alongside their Detroit-area brethren the Stooges, MC5 essentially laid the foundations for the emergence of punk; deafeningly loud and uncompromisingly intense, the group’s politics were ultimately as crucial as their music, their revolutionary sloganeering and anti-establishment outrage crystallizing the counterculture movement at its most volatile and threatening. Under the guidance of svengali John Sinclair (the infamous founder of the radical White Panther Party), MC5 celebrated the holy trinity of sex, drugs, and rock & roll, their incendiary live sets offering a defiantly bacchanalian counterpoint to the peace-and-love reveries of their hippie contemporaries. Although corporate censorship, label interference, and legal hassles combined to cripple the band’s hopes of mainstream notoriety, both their sound and their sensibility remain seminal influences on successive generations of artists.

The Motor City Five formed in Lincoln Park, MI, in late 1964 by vocalist Rob Tyner, guitarists Fred “Sonic” Smith and Wayne Kramer, bassist Pat Burrows, and drummer Bob Gaspar; at the time, its members were still in high school, appearing at local parties and teen hangouts while clad in matching stage uniforms. In time, however, Smith and Kramer began experimenting with feedback and distortion, a development that hastened the exits of Burrows and Gaspar during the fall of 1965; adding bassist Michael Davis and drummer Dennis Thompson a year later, MC5 landed a regular gig at the famed Detroit venue the Grande Ballroom, building a fanatical local fan base on the strength of their increasingly anarchic live appearances. Soon the band caught the attention of Sinclair, a former high school English teacher anointed the Motor City’s “King of the Hippies” after founding Trans Love Energies, the umbrella name applied to the many underground enterprises he operated, including his White Panther Party, a radical political faction espousing “total assault on the culture by any means necessary, including rock & roll, dope, and f*cking in the streets.”

In early 1967, Sinclair was named MC5’s manager; within months they issued their debut single, “I Can Only Give You Everything.” As the official house band of the White Panthers, they became musical conduits for the party’s political rhetoric, taking the stage draped in American flags and calling for a revolution; run-ins with the law became increasingly common, although in the wake of the Detroit riots of July 1967, the group relocated to the nearby college town of Ann Arbor. The following summer, MC5 appeared in Chicago at the Yippies’ Festival of Life, a rally mounted in opposition to the Democratic National Convention, and in the audience was Elektra Records A&R executive Danny Fields, who signed the band a few months later. Their debut album, the classic Kick Out the Jams, was recorded live at the Grande Ballroom on October 30 and 31, 1968; although the album reached the national Top 30, retailers, including the Hudson’s chain, refused to carry copies due to its inclusion of Tyner’s trademark battle cry of “Kick out the jams, motherf*ckers!” The controversy spurred MC5 to run advertisements in the underground press reading “F*ck Hudson’s!” Against the band’s wishes, Elektra also issued a censored version of the album, replacing the offending expletive with “brothers and sisters.”

When the dust settled, MC5 was dropped by Elektra; when Sinclair was subsequently jailed for possession of marijuana, the band was left without their manager and without a contract. They signed to Atlantic, where producer Jon Landau was installed to helm their second album, 1970’s Back in the U.S.A.; with Sinclair out of the picture, the music’s political stance vanished as well, with a newly stripped-down, razor-sharp sound replacing the feedback-driven fury of before. The record’s approach divided fans and critics, however, and when the 1971 follow-up High Time failed to even reach the charts, Atlantic released MC5 from their contract; in addition to filing for bankruptcy, the group was dogged by mounting drug problems and in early 1972, Davis was dismissed from the lineup as a result of heroin abuse. Bassist Steve Moorhouse stepped in as his replacement, but soon after, both Tyner and Thompson announced their retirement from active touring; on New Year’s Eve of 1972, the group played their final gig, appearing at the Grande Ballroom — the site of so many past glories — for just 500 dollars.

As the years went by, however, MC5’s influence expanded; punk, hard rock, and power pop all clearly reflected the band’s impact and by the 1990s, they were the subject of a steady stream of reissues and rarities packages. Following the band’s demise, its members pursued new projects: Tyner released several solo records and also earned acclaim for his photography before suffering a fatal heart attack on September 17, 1991. Smith, meanwhile, formed Sonic’s Rendezvous with fellow Detroit music legend Scott Morgan, issuing the underground classic “City Slang” in 1977 before leaving the group; in 1980 he wed Patti Smith, dying of heart failure on November 4, 1994. After spending much of the following decades battling drug addiction — including a two-year prison stint — Kramer resurfaced in 1995 with a blistering solo album, The Hard Stuff, the first of several new efforts for punk label Epitaph. Less successful were Davis, who seemingly disappeared from sight after a tenure with underground legends Destroy All Monsters (he died of liver failure on February 17, 2012 at the age of 68), and Thompson, whose solo ambitions went largely unrealized.

“The Great Rock Bible”

A group known to “Kick Out The Jams” long before Detroit rivals The STOOGES and the East Coast’s truest proto-punks, NEW YORK DOLLS, MC5 (or the Motor City Five) defined the garage generation of the mid-to-late 60s. Overtly political and almost nihilistic and incendiary in their uncompromising, anti-hippie rock’n’roll, messrs Rob Tyner, Wayne Kramer, Fred “Sonic” Smith, Michael Davis and Dennis Thompson, blasted out their revolutionary molotov cocktails to any MF who gave them the time of day. Pioneers in the true sense of the word, the MC5 (together with IGGY & The STOOGES) were the first real punk bands – originators who were never bettered.
Formed late in 1964 while still at school in Lincoln Park, Michigan, the group drifted into the nearby Detroit scene when guitarists, Wayne Kramer and Fred “Sonic” Smith, combined forces from respective R&B combos, The Bounty Hunters and The Vibratones; left-wing activist, Rob Tyner, was drafted in as manager (then bassist), but his stage aura and gospel/soul vox was commanding enough to receive frontman upgrade. Rehearsing in Kramer’s mother’s basement proved futile for two of its embryonic alumni, and bassist Pat Burrows and drummer Bob Gaspar made way for Michael Davies and Dennis Thompson respectively.
The buzz for the band around Detroit was spreading like wildfire, relatively small 1000-capacity venues were quickly selling out with each successive gig; the name MC5 was soon bandied about in the same breath as CREAM and BIG BROTHER & THE HOLDING COMPANY, two outfits they duly supported. Meanwhile, maintaining their far left-wing independent approach, the hard-edged quintet delivered their debut platter in ’67, by way of a version of THEM’s `I Can Only Give You Everything’. A year on, pressings of their second 45, `Looking At You’ (b/w `Borderline’) went through the roof as 1000 limited copies went sevenfold.
Through Elektra Records A&R man, Danny Fields, who was initially only interested in taking in a show by rivals The STOOGES (through Kramer’s recommendation!), MC5 were also snapped up mid-’68. Boosted by the help of counter-cultural activist and DJ, John Sinclair (who also became the band’s manager), he influenced both their political extremism and warped takes on free-jazz improvisation. Reflecting the harsher geographical and economic climate of Detroit, the band espoused revolution and struggle as opposed to the love-and-peace ethos of the sun-kissed Californian flower children.
The riotous proto-punk of their legendary, acid-fuelled live show was captured on the controversial debut long-player, KICK OUT THE JAMS {*8}. Recorded at Detroit’s Grande Ballroom on Halloween ‘68, the record eventually hit the shops the following February and, while the original uncensored pressings contained the line “kick out the jams, motherfucker!” on the title track, the offending word was later supplanted with the milder “brothers and sisters”. Unfortunately, this wasn’t enough to prevent some record stores from refusing to stock it, and after the band explicitly aired their views on one of the aforementioned dealers in a local newspaper, they were duly given the boot by Elektra. Nevertheless, the album reached No.30 and, although it sounds a bit dated to modern ears, it was way radical for the time, remaining an inspiration to each new generation of noise-niks. As visceral and volatile as The WHO in their speaker-smashing heyday, the set opened with a smash ’n’ grab re-model of a C&W tune, `Ramblin’ Rose’. Complete with radical introductions, including a rap by “6th member” Brother J.C. Crawford on a re-vamp of SUN RA’s `Starship’, their relentless energy never subsided on the likes of `I Want You Right Now’, `Come Together’ and Al Smith’s initially uncredited, `Motor City Is Burning’.
After a split with Sinclair, MC5 hooked up with Atlantic Records and began to move away from the overtly subversive nature of their earlier material to a more straight-ahead rock approach, evidenced on their Jon Landau-produced follow-up album, BACK IN THE USA (1970) {*7}. Wired rock’n’roll of an impeccable degree, the record didn’t fare well in the laid-back, doped-up climate of the early 70s. Bookended by pedestrian cover versions of LITTLE RICHARD’s `Tutti Frutti’ and CHUCK BERRY’s `Back In The USA’, this set was more stuck in the past than the future, MC5 now emerging as prototype power-poppers rather than punks. Still, if one couldn’t get one’s mop-top head around unadulterated youth tunes as `Tonight’, `Teenage Lust’ and the NEIL DIAMOND-esque `Shakin’ Street’, then one could always look to The STOOGES – although they’d just split.
An ambitious Geoffrey Haslam-produced third album, HIGH TIME (1971) {*6}, featuring horns and even Salvation army musicians, failed to cut any commercial ice and the band split in 1972. The record itself was a long way from the politics of “Jams”, and it seemed their hard-rock boogie-ing took lineage from The VELVET UNDERGROUND (at least in a “Loaded” sense”). Smith’s lengthy opening piece, `Sister Anne’, was probably the most wigged-out piece on board, while his STOOGES-cloned `Baby Won’t Ya’ was also memorable; check it out too for Kramer’s first stab at `Poison’.
Kramer subsequently spent five years in jail for cocaine dealing before embarking on a low key solo career, while former manager, Sinclair, was sentenced to ten years in the early 70s for a minor dope charge, serving only two after appeal. Tragically, Rob Tyner died from a heart attack on September 17, 1991, aged only 46. Smith (hubby of PATTI SMITH) died of heart failure on November 4, 1994 – it seemed there was no way back for the group.
But like the aforementioned STOOGES, it was only a matter of time before MC5 got back in the saddle, Wayne Kramer (now with several solo sets behind him), Davis and Thompson enlisting former DICTATORS frontman, Handsome Dick Manitoba, to boost the live line-up from 2005 onwards; sadly, Michael Davis was next to let go his mortal coil when he died of liver failure on February 17, 2012.

“Financial Times”

You may have read this story before. Lord knows, I have: a person rises to prominence in a field, often a branch of entertainment. After considerable success, temptation enters in the form of substances that are suddenly affordable. Soon, they take over, precipitating a plummet. A struggle occurs and, after much effort, the person, often with the help of acknowledged others, emerges triumphant. In this case, the person is Wayne Kramer, a name not known to many, but revered by a select number, particularly around Detroit, because he was a member of the MC5, a band whose reputation far exceeded their record sales. Detroit in 1968 was an odd place: scarred by recent riots, it had a huge working class, powerful unions, a booming economy based on automobiles, and when its hippie revolutionaries appeared, there were a lot of sons and daughters of autoworkers among them. Their celebrity was John Sinclair, an older poet with tonnes of charisma, whose communal house, the Artists Workshop, was a centre for art and politics. Sinclair promoted black art, particularly avant-garde jazz, but saw no reason why a rock band couldn’t play like that. He was also eyeing the Black Panthers, and liked their programme of community involvement and self-determination. Enter the MC5, an emerging hard-rock band (the MC stood for Motor City) with fans, a lot of energy. They were local favourites right up there with the Stooges (fronted by Iggy Pop), the Rationals, and Bob Seger and the Last Heard, all of whom made music that was loud, abrasive. It was in distinct contrast to that other Detroit sound, the smooth pan-racial pop Berry Gordy strove to create for his Motown label. The MC5, unlike the others, were taken under Sinclair’s wing, adopted his politics — inspired by the Black Panthers, Sinclair had founded the White Panther party — and got a major record deal with Elektra Records. The resulting debacle — Sinclair going to jail for a small amount of marijuana, the MC5 getting kicked off their label months after their record came out, their struggle to stay together — is the foundation of their legend. Rock has a special place in its heart for the almost-made-its, and the MC5 is up there with the best. Their story has never been told from the inside, but I got suspicious when, early on, Kramer refers to the MC5 as “my band”. As any Detroiter who was there will tell you, the stars were Kramer, his partner in guitar Fred “Sonic” Smith, and vocalist Rob Tyner, whose gigantic white-boy Afro and deeply committed stage presence gave the noise coming through the amps its focus. (And noise it often was: not for nothing are they considered among the ancestors of punk.) You’ll learn a lot about the MC5 in this book, but only when Kramer’s the centre of attention.

It’s obvious from the title that heroin, which swept through Detroit at the end of the decade, numbered the band, and Kramer, among its victims. The entire second half of the text, though, is about Kramer’s up-and-down relationship with the drug, his incarceration at the Federal Correctional Institute in Lexington, Kentucky (a place whose list of former inmates would read like the greatest jam session ever held), and his continuing inability to stay clean. He finally makes it, and thrives, doing prison outreach with the Jail Guitar Doors initiative, marrying a strong woman, and even gathering the surviving members of the band for several international tours. By this time, though, both Tyner and Smith were dead, meaning that now it really was Kramer’s band. I found it significant that he briefly mentions Smith’s death, but does not mention that at the time, he was long retired, living in Detroit with his very famous wife, Patti Smith, who does not even merit a name-check. Also unmentioned is his long campaign to shut down a documentary film, MC5: A True Testimonial, which took two fans more than seven years to compile. They eventually prevailed, but were unable to afford the music rights after a long lawsuit.
For a man who so readily admits his faults, it would have been nice to learn why he so vehemently fought its release, but I suspect that if you have paid attention to The Hard Stuff until the end, you will make an educated guess.
“Musician Biographies”

Members included Michael Davis (born June 5, 1943; attended Wayne State University), bass; Wayne Kramer (born Wayne Kambes, April 30, 1948, in Detroit, MI), guitar; Fred Smith (born August 14, 1948, in West Virginia), guitar; Dennis Thompson (born Dennis Tomich, September 7, 1948), drums; and Rob Tyner (born Rob Derminer, December 12, 1944; died of heart failure, September 17, 1991), vocals.

The mid-1960s was a turbulent time for Detroit, and the music of the Motor City Five–or MC5, as they would become known–stood as an aural reflection of events like the Cass Corridor race riots and area youth protests. Although rock music has become synonymous with censorship issues and the confrontation of authority, the MC5, vocalist Rob Tyner, guitarists Wayne Kramer and Fred “Sonic” Smith, bassist Michael Davis, and drummer Dennis Thompson, were one of the first bands to stand up for freedom of speech and expression in performance. In explaining the band’s enormous influence, Village Voice contributor Mike Rubin asserted in 1991 that the MC5’s aggressive approach “lives on in any heavy metal band from Motley Crue to Metallica, and their antiestablishment posture was at a least as big an influence on punk rock.”

The MC5 did not start out as the innovative bad boys they would later become. The band formed in the winter of 1964 from the ashes of Smith and Kramer’s junior high rhythm and blues band, the Bountyhunters. Initially, the Five were a pedestrian rock and roll outfit whose concert repertoire relied primarily on the material of other, more-famous performers. The band quickly earned a reputation with concert promoters, however, for showing up late–if at all–playing too loudly, and often not playing long enough to satisfy concertgoers. Not yet quite “bad,” the MC5 were at this point merely irresponsible.

As if their unreliable reputation was not enough to hamper their progress, the MC5 soon found themselves in competition with the Motown sound. While Motown Records and its rhythm and blues acts were putting the Detroit music scene on the map, they were also creating a formidable shadow from which young rock and roll acts found it difficult to escape. Vocalist Tyner commented on this predicament in Motorbooty magazine, stating, “To be a white singer in Detroit at that time, you simply were the wrong man for the job; I did not feel comfortable as a performer until I could pull off James Brown material without flaw.”

As luck would have it, the MC5 found a patron of sorts in John Sinclair. Sinclair was a poet and musician, known around Detroit’s Wayne State University as the “king of the beatniks.” He was a fan of the Five and after witnessing their state of affairs–the band’s equipment was being repossessed due to nonpayment–offered his services as manager. Along with his managerial approach, Sinclair instilled in the band his political beliefs, which leaned toward socialism. He viewed the group as a tool for the promotion of an ideology that he and the band developed in emulation of 1960s political agitators the Black Panthers. They dubbed their dogma the White Panther Ten-Point Plan; its most infamous tenets were “dope, guns, and f—ing in the streets.” Essentially, the plan called for freedom from everything and the abolition of money. In Guitar Army, Sinclair’s book chronicling his life with the MC5, the poet-provocateur summed up the spirit of the time: “We were totally committed to carrying out our program. We breathed revolution. We were LSD-driven total maniacs in the universe. We would do anything we could to drive people out of their heads and into their bodies. Rock and roll was the spearhead of our attack because it was so effective and so much fun.”

While Sinclair’s guidance put the MC5 on a more professional path, difficulties with club owners continued; at one concert at Detroit’s Grande Ballroom the Five burned an American flag onstage and raised in its place a banner with the word “Freak” emblazoned across it. At the end of the show, a nude fan climbed onstage and began to meditate. Club owner Gabe Glantz was none too amused. In Guitar Army Sinclair elaborated on the incident, recalling, “Glantz started ranting at Tyner and me about ‘committing crimes’ and ‘obscenity’ and ‘Is that what you think of your country?,’ threatening us with eternal expulsion from the Grande.” The group was, in fact, temporarily banned from the venue. The exile did not last because the group attracted significantly large crowds to their concerts.

In August of 1968 the MC5 were invited to perform at the Youth International Party’s “Festival of Life” in Chicago’s Lincoln Park. Although not officially labeled a protest of the Democratic National Convention, the “Yippie” festival was mounted simultaneously with the convention to show, as Sinclair put it in Guitar Army,“a sharp contrast to the way of death epitomized by the Democratic Death Convention.” Securing their place in history, the MC5’s appearance at the festival helped spark the 1968 Chicago riot. In Motorbooty, bassist Michael Davis recounted the event: “We were doing the show and everything was going okay when all of a sudden from over a hill came a huge line of policemen in riot gear charging toward the crowd. We packed up our gear as fast as we could and barely made it out before complete chaos ensued.”

Events like the Chicago riot and the political reservations of concert promoters began to wear on the nerves of the band and created a rift between them and Sinclair. The division of the band’s income became a major concern. Tyner commented in Zig Zag magazine, “I invested a lot of trust in John Sinclair, and he just kept bleeding us for money, we never knew where the money was going.” Tyner elaborated in Motorbooty, stating, “[Sinclair’s] politics were so out to lunch, [but] we were the ones getting our heads busted open onstage every night and he was the one getting the money.”

The band’s first LP, Kick Out the Jams, released by Elektra Records, was recorded live at the Grande Ballroom in October of 1968. Zig Zag called it “a quasi-political holocaust of white noise and skin-deep [jazz saxophonist John] Coltrane.” While that comment was meant as a compliment, Rolling Stone compared the release unfavorably to the San Francisco band Blue Cheer and criticized the album’s raw production values. Still, though the recording’s quality perhaps failed to showcase the musical abilities of the MC5, it amply succeeded in capturing the energy, power, innovation, and political sloganeering of the Detroit group. Songs like “Come Together” called for the unification of youth, while “Starship” was a free acid-jazz odyssey featuring the band at their most experimental. Obscene lyrics in the title track caused such an uproar that Elektra was forced to terminate the MC5’s recording contract.

Back in the U.S.A., the group’s second LP, was released by Atlantic Records in 1970. While not as overtly political as the band’s previous effort, it did showcase the developing songwriting and musicianship of the performers. Owing largely to production values brought to the project by rock critic Jon Landau, the second LP was much more of a pop record than Kick Out the Jams, as was intimated by the selection of rock and roll pioneer Chuck Berry’s song as the release’s title track. Cowabunga magazine concluded that the Five were “rediscovering their roots” and that Back in the U.S.A. was primarily a work about “life as a teenager.” The mood of the record was light, evidenced by the inclusion of 1950s shouter Little Richard’s “Tutti-Frutti.” Also featured on the record was the soulful ballad “Let Me Try.” The Detroit publication Big Fat criticized the band’s new direction, commenting, “Superficially it was fair rock and roll, best in its tightness and [conciseness] worst in its shallowness and lack of invention.”

The MC5’s third and last LP, High Time, attempted to combine the energy and inventiveness of Kick Out the Jams with the studio technology, control, and coherence of Back in the U.S.A. Unlike the first two LPs, High Time contained all original compositions, from the Kick Out the Jams -styled “Skunk” to the Back in the U.S.A. -reminiscent “Sister Anne.” Though critically acclaimed in some circles, High Time suffered the most dismal sales figures of the band’s three releases.

Interest in the MC5 has remained constant since their demise in 1972. Indeed, their spirit lives on in the many “alternative” and mainstream bands who emulate their style and rebelliousness. The Seattle “grunge” revolution of the early 1990s owed much to Detroit’s pioneering noisemakers, and the purveyors of that sound were not shy about disclosing this influence. In a retrospective of the MC5, Big Fat remembered, “Not since the summer of 1967 had a band possessed the power to illicit such a broad and strong response from an audience. If the Five’s revolutionary ambitions were grand, so was their ability to win over and activate.”

by Barry Henssler

“Wikipedia”

The MC5 is an American rock band formed in Lincoln Park, Michigan and originally active from 1964 to 1972. The original band line-up consisted of vocalist Rob Tyner, guitarists Wayne Kramer and Fred “Sonic” Smith, bassist Michael Davis, and drummer Dennis Thompson. “Crystallizing the counterculture movement at its most volatile and threatening”, according to Allmusic critic Stephen Thomas Erlewine, the MC5’s far left political ties and anti-establishment lyrics and music positioned them as emerging innovators of the punk movement in the United States. Their loud, energetic style of back-to-basics rock ‘n’ roll included elements of garage rock, hard rock, blues-rock, and psychedelic rock.

The MC5 had a promising beginning which earned them a cover appearance on Rolling Stone magazine in 1969 even before their debut album was released. They developed a reputation for energetic and polemical live performances, one of which was recorded as their 1969 debut album Kick Out The Jams. Their initial run was ultimately short-lived, though within just a few years of their dissolution in 1972, the MC5 were often cited as one of the most important American hard rock groups of their era. Their three albums are regarded by many as classics, and their song “Kick Out the Jams” is widely covered.

Tyner died of a heart attack in late 1991, aged 46. Smith also died of a heart attack, in 1994, at the age of 45. The band reformed in 2003 with The Dictators’ singer Handsome Dick Manitoba as its new vocalist, and this reformed line-up sometimes performed live until Davis died of liver failure in February 2012 at the age of 68. MC5 were nominated for the Rock and Roll Hall of Fame, in 2002, 2016 and 2018.

Photos about the album/band/track :

MC5 – “High Time” Album cover photo (front)

MC5 HIGH TIME 2 (2)

MC5 – “High Time” Album photo (A’ Side)

MC5 – “High Time” Album photo (B’ Side)

MC5 – “High Time” Album Artwork Photo

MC5 HIGH TIME 3 (2)

MC5 Band’s Photo

Image result for stooges mc5

MC5 Band’s Photo

The MC5, circa 1970. From left: Wayne Kramer, Fred Smith, Rob Tyner, Dennis Thompson and Michael Davis.

GAB Archive/Redferns

Links about the album/band/track :

MC5 – “Sister Anne” Video file link on YouTube

MC5 – “High Time” Full Album Video Playlist on YouTube

MC5 Band’s Page on Spotify

MC5 Band’s Page on Discogs

MC5 Band’s Page on Rate Your Music

MC5 Band’s Page on Apple Music

MC5 Band’s Page on Google Play

MC5 Band’s Page on Facebook

MC5/MC50 Band’s Page on Facebook

MC5/MC50 Band’s Homepage

MC5 – “History – Part 1” on Punk 77 Website

MC5 Band’s Homepage

MC5 Band’s Page on Michigan Rock and Roll Legends

MC5 “5 Things You Might Not Know About The MC5” Article on Rhino Records

MC5 “Exclusive Interview: Detroit music legend & founder of rock band The MC5, WAYNE KRAMER, on his new memoir ‘The Hard Stuff’!” Interview on Detroit Bookfest

MC5 “Wayne Kramer on 50 years of the MC5″Article/Interview on Detroit Metro Times

MC5 “Shattered Dreams in Motor City: The Demise of the MC 5 They wanted to be bigger than the Beatles. Manager John Sinclair wanted them to be bigger than Mao. How a revolution fizzled” Article on Rolling Stone

MC5 “MC5: The Most Radical Band on the Planet” Article on Detroit Artists Workshop

MC5 Band’s Page on Make My Day Website

MC5 Band’s Page on eBay

MC5 “Wayne Kramer, Rock Legend And Failed Outlaw, Assembles A Supergroup In The Rearview” Article/Interview on NPR

MC5 Band’s Page on Mark Prindle

MC5 – “High Time” Full Album Download Link on Rockasteria Blog

MC5 – “High Time” Full Album Download Link on Rock and Roll Archives Website

 

 

 

 

Canterbury Scene, Folk, Progressive, Psychedelic Rock U.K. 1970s (Tracks) Time Wasters – “Seventh Wave”

Time Wasters – “Seventh Wave” Video on YouTube

Category/Music  Genres :

Canterbury Scene/Folk/Progressive/Psychedelic Rock U.K. 1970s (Tracks) 

 Band :

Time Wasters (Ingestre, Staffordshire, U.K.)

 Time Wasters Band’s Photo

Members :
Phil Jones (alto saxophone), Fred Skidmore (drums, electric piano), Dave Beale (vocals, lead guitar, rhythm guitar), Pete Ralley (bass guitar), Pauline Taylor (vocals, percussion), Ken Barnsley (double bass), Chris Burton (flute), Tim Pye (vocals, lead guitar, slide guitar, rhythm guitar, acoustic guitar), Greg Holt (vocals, drums, congas, synthesizer), Chris Stevens (vocals, lead guitar, acoustic guitar, piano, harmonica)

Related Artists :

Alvin Stardust 

Track :

“Seventh Wave” (written by Time Wasters) B5 track included on the album “Time Wasters” (instrumental)

Album :

“TIme Wasters” released on Personal Records (STICKY 1) in 1978, recorded at Ingester Hall.

Private press. Limited to 200 copies.

 Time Wasters – “Time Wasters” Album cover photo (front)

THE TIME WASTERS BAND 2 (2)

Line-up/Credits :

Alto Saxophone – Phil Jones (36)

Backing Vocals, Drums, Congas, Synthesizer – Greg Holt

Backing Vocals, Lead Guitar, Rhythm Guitar – Dave Beale

Backing Vocals, Percussion – Pauline Taylor

Bass Guitar – Pete Ralley

Double Bass – Ken Barnsley

Drums, Electric Piano – Fred Skimore

Flute – Chris Burton

Lead Vocals, Backing Vocals, Guitar – Tim Pye

Lead Vocals, Backing Vocals, Guitar, Piano, Harmonica – Chris Stevens (15)

TIME WASTERS LINE UP

Track-List :

01.Smile 3:46
02.Won’t Find Another 3:43
03.Maybe Next Time 3:17
04.Won’t Get To Heaven 2:48
05.Ballons 2:04
06.The Same Again 3:27
07.Not Fit For Your Love 2:59
08.The Cost You Have Paid 3:57
09.Keep Me Hanging On 2:32
10.Last Words 3:55
11.Seventh Wave 2:59
12.Change My Mind 2:02

THE TIME WASTERS TRACK LIST 1 (2)

Information about the album/band/track :

“Golden Pavilion Records”

Canterbury style UK fragile folk with psych leanings. UK album recorded by a group of students at the Ingestre Hall Residential Arts Centre. The name of the band was actually a joke based on newspaper advertisements for musicians to join bands, which would sometimes end with “No time wasters”! So Greg Holt, the band’s founder, called them “Time Wasters Only” and the generic name for any of the musicians in the group became “Time Wasters”. Musically ranging from fragile and melodic folk with Bluesy moments and even soul-jazz vibes, encompased in a psych-folk-rock with Canterbury signature. A lost album in the brink of a new era, echoing sounds of British progressive and psych-folk. Fully licensed reissue limited to 500 copies only.

“Popsike”

An Acid-Folk-Psych-Prog lost masterpiece by the obscure TIME WASTERS.

Reecorded some 40 years ago, truely stunning UK private press by 6 long haired students at the Ingestre Hall Residential Arts Centre. Canterbury style UK fragile folk with prog/psych leanings and some great late 60s Pink Floyd-ish electric guitar leads. Great vox and some enchanted wind playing, encompassed in a psych-folk-rock signature. 12 blistering original tracks, recorded at Ingester Hall, originally released in 1978 on the Sticky label, only 200 copies max pressed !

Comes in fully laminated sleeve with lyric insert, blue label.

Photos about the album/band/track :

 Time Wasters – “Time Wasters” Album cover photo (front)

THE TIME WASTERS BAND 2 (2)

 Time Wasters – “Time Wasters” Album cover photo (back)

Time Wasters – “Time Wasters” Album Photo

 Time Wasters – “Time Wasters” Album Photo

 Time Wasters – “Time Wasters” Album Artwork

(Reissue Edition, Golden Pavilion Records, GP1013LP, 2011)

 Time Wasters – “Time Wasters” Album Artwork

(Reissue Edition, Golden Pavilion Records, GP1013LP, 2011)

THE TIME WASTERS BAND 3 (2)

Time Wasters – “Time Wasters” Album Artwork

(Reissue Edition, Golden Pavilion Records, GP1013LP, 2011)

THE TIME WASTERS BAND 4 (2)

Time Wasters – “Time Wasters” Album Photo

(Reissue Edition, Golden Pavilion Records, GP1013LP, 2011)

Time Wasters Band’s Photo

HTE TIME WASTERS BAND 1 (2).jpg

 Time Wasters Band’s Photo

TIME WASTERS BAND 1

 

 Time Wasters Band’s Photo

Time Wasters Band’s Photo

Greg Holt Artist’s Photo

Greg Holt Artist’s Photo

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Greg Holt Artist’s Photo

Greg Holt Artist’s Photo

Greg Holt Artist’s Photo

Greg Holt Artist’s Photo

Photo of Ingestre Hall

(The Time Wasters’ self-titled album was recorded at Ingestre Hall.

Ingestre Hall is a Grade II 17th-century Jacobean mansion situated at Ingestre, near Stafford, Staffordshire, England. Formerly the seat of the Earls Talbot and then the Earls of Shrewsbury, the hall is now owned by Sandwell Metropolitan Borough Council and is in use as a Residential Arts and Conference Centre). 

Image result for Ingestre Hall Residential Arts Centre

Links about the album/band/track :

Time Wasters – “Seventh Wave” Video file link on YouTube

Time Wasters Band’s Page on Discogs

Time Wasters Band’s Interview on Somewhere There Is Music Website

Time Wasters Band’s Page on Golden Pavilion Records

Greg Holt (Time Wasters) Artist’s Interview on It’s A Psychedelic Baby Magazine Blog

Time Wasters Bands’ Page on Rate Your Music

Time Wasters -“Time Wasters” on Popsike

 

Alternative/Experimental/Indie/Post Punk/Punk Rock U.S.A. 1980s (Tracks) Wipers – ” When It’s Over”

Wipers – “When It’s Over” Video on YouTube

Wipers – “Youth Of America” Full Album Playlist on Spotify

Category/Music Genres :

Alternative/Experimental/Indie/Post Punk/Punk Rock U.S.A. 1980s (Tracks)

Band :

Wipers (Portland, Oregon, U.S.A.)

Members :

Greg Sage (guitar, vocals, bass), Sam Henry (drums, 1977-81), Dave Koupal (bass, 1977-81), Brad Davidson (bass, 1981-87), Brad Naish (drums, 1981-85), Steve Plouf (drums, 1985-99)

Related Artists :

Nervous Christians (Steve Plouf)

Track :

“When It’s Over” (written by Greg Sage) A4 track included on the album “Youth Of America”

Album :

“Youth Of America” released on Park Avenue Records (PA 82802) in 1981

Wipers – “Youth Of America” Album cover photo (front)

Track-List :

01 Taking Too Long
02 Can This Be
03 Pushing The Extreme
04 When It’s Over
05 No Fair
06 Youth Of America

Line-up/Credits :

Bass – Brad Davidson, Dave Koupal

Drums – Brad Naish

Vocals, Guitar, Piano, Written-By – Greg Sage

Producer, Recorded By – Greg Sage

Technician [Tape Operator Assistance] – Brad Davidson

Cover – Curtis Knapp (2)

Phonographic Copyright (p) – Greg Sage

Copyright (c) – Park Avenue Records

Published By – Part Music

Pressed By – Rainbo Records – S-8776

Pressed By – Rainbo Records – S-8777

Recorded At – Wave Sound Studios (2)

Lyrics :

t’s 4 A.M., and I’m a hundred miles from breakfast in Wyomin’
I’m not complainin’
I got the radio on, playin’ on a station from New Orleans
An’ now it’s rainin’
I’m makin’ time, tryin’ ta keep it rollin’
And I’m all alone
Windshield wipers in the rain
I hear that country-western music comin’ at me, through the thunder
A flash of lightnin’
I hear the D.J., sayin’ “Here’s a little tune for all you truckers.
“I hope you like it.”
I’m gettin’ tired; my eyes are feelin’ sandy
When I’m alone
Windshield wipers in the rain
I hear a freight train comin’ down
I see the headlights flashin’ ’round
I feel an earthquake in the ground
An’ then he’s gone
All alone
Windshield wipers in the rain
I feel a cold Wyomin’ chill comin’ on me in the mornin’
I need some welcome
I see a sign, says it’s only fifty miles to where I’m going
And I hope it’s open
I look around, wishin’ you was with me
But I’m alone
Windshield wipers in the rain
I see a distant neon sign
I turn the music way up high
I wipe the lonesome from my eyes
But I’m alone
Windshield wipers in the rain
Songwriters: SAGE GREG K D
Information about the album/band/track :
“Sub Pop Records”

The Wipers are a punk rock group formed in Portland, Oregon in 1977 by guitarist Greg Sage, drummer Sam Henry and bassist Dave Koupal.

Is This Real?, The Wipers’ first album, was first released in 1980 and quietly gained a cult following. The Wipers became better known after the wildly popular grunge band Nirvana covered two songs from Is This Real?. Nirvana’s frontman, Kurt Cobain, spoke of being heavily influenced by the band. The Wipers were a major influence on the grunge music scene in general, and The Wipers albums like Is This Real? alienboyep and Over the Edge are now widely considered to be among the greatest and most influential punk albums of all time.

While The Wipers began by pioneering the tight, catchy punk rock that Nirvana and others would later bring to the mainstream, the band quickly evolved into producing guitar-solo soaked, labyrinthine punk rock epics. Sage became known for not only his do-it-yourself ethic and guitar solos, but also for his domineering approach to the band’s creative process.

In 1998, then 18 year old drummer Travis McNabb joined the band for the tour for the album The Circle. He went on to join Better Than Ezra and work with Shawn Mullins, Howie Day and Beggars members of which later formed Black Rebel Motorcycle Club.

In 1992, the tribute album Eight Songs for Greg Sage and the Wipers_ (Tim Kerr Records) was released on 4 colored 7-inch records, and included The Wipers songs performed by Nirvana, Hole, Napalm Beach, M99, The Dharma Bums, Crackerbash, Poison Idea, and The Whirlees. The CD release of the tribute album was called Fourteen Songs for Greg Sage and the Wipers, and expanded to include covers by Hazel%28band%29, Calamity Jane, Saliva Tree, Honey, Nation of Ulysses, and Thurston MooreMoore-Keith Nealy.

In 2001, Greg Sage’s Zeno Records 1 released a Wipers Box Set of the Wipers’ first 3 albums, which by that time had been long out-of-print.

Sam Henry is still an active musician in Portland, Oregon, and continues to play with popular Northwest songwriters like Pete Krebs and Morgan Grace.

The most current The Wipers updates can be found @ Wikipedia. This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article ‘The Wipers’.

“All Music”

Misunderstood, mistreated, underrated, and/or just plain unknown, Greg Sage should be mentioned in the first breaths about trailblazing guitarists and U.S. independent music of the ’80s and ’90s. Since forming his band, Wipers, in Portland, OR, in the late ’70s, Sage has been put through the ringer more than enough to justify his hermetic operating methods and attitude. While most of his devout fans consider it a travesty that his name isn’t as known as a contemporary like Bob Mould or even an unabashed fan-boy turned legend like Kurt Cobain, Sage would likely retort that it’s not for the notoriety that he began making music. Unlike most other musicians who gain inspiration and motivation from watching their favorite stars revel in popularity and idol worship, Sage’s inspiration stemmed more from the joy he got from cutting records on his own lathe. He has been more than content to remain in the underground, retaining optimum control over his own career while lending production help and support to younger bands that look to him for his guidance. Throughout his lengthy and prolific career, he has downplayed or shunned any attention or recognition given to him, preferring to let the music speak for itself.

Initialized with the intent of being a recording project and not a band in the truest sense, Sage formed Wipers in 1977 with drummer Sam Henry and bassist Doug Koupal. Sage’s original goal was to release 15 records in ten years, free of traditional band aspects like touring and photo shoots. However, he found out early on that being involved with independent labels involved plenty of compromise — and that independent labels took a great deal of independence away from him, rather than empowering him.

After a debut 7″ on Sage’s Trap label (an outlet that Sage also used to release a pair of Portland scene compilations), Wipers recorded Is This Real? on a four-track recorder (free of overdubs) in their rehearsal space. Park Avenue Records was willing to release it, but they insisted that Sage and company re-record everything in a professional studio. Despite the relatively polished outcome, Is This Real? remained the group’s rawest and most direct outing. It was full of Sage’s raging but agile guitars and what would become his trademark songwriting style, dealing with extreme isolation, confusion, and frustration with an agitated sense of melody. 14 years after its release, Sub Pop picked up the record and reissued it without any involvement from Sage.

Prior to the recording of the group’s finest moment, 1981’s Youth of America, Henry left to join Napalm Beach. Koupal stayed on long enough to play on a couple of the album’s songs but left the band to move to Ohio; Brad Davidson moved in to play bass and Brad Naish took over on drums. Having been unimpressed by the professional studio experience, Sage took it upon himself to record and engineer everything by himself. The move paid off, resulting in a furiously spirited but brief LP full of extended passages that allowed Sage to flex his astounding skills on guitar without sounding like a showoff.

For 1982’s excellent Over the Edge, the structures of the songs tightened, the pop sensibility hit full stride. As a result, “Romeo” and “Over the Edge” each sustained a fair amount of radio play in the U.S., thanks to a few stations that were developing play lists that would later be identified as alternative or modern rock. Another factor in Wipers’ somewhat increased exposure had to do with the better distribution of their new label, Restless. Before Over the Edge’s release, Sage fell out with Park Avenue on a number of unresolved issues.

The next studio record, Land of the Lost, didn’t appear until 1986. During the lull between studio time, the band toured, Sage released his first solo album (1985’s hushed Straight Ahead), and the band released a self-titled live album. Naish left the group in 1985 and was replaced by Steve Plouf. Follow Blind came out in 1987 and The Circle followed in 1988. Aside from some slight production nuances and the occasional dabbling with stylistic curveballs, the three studio albums between 1986 and 1988 more or less swam in the wake of the first three but are far from embarrassments.

A 1989 tour was accompanied with an announcement from Sage that Wipers would be ending. The end result of mounting frustrations with the independent music business and the fact that the band had lost the lease on a studio space they had devoted three years to developing, Sage packed up and headed for Phoenix to remain close to his mother. He left a town that he couldn’t get arrested in, let alone reviewed. Plouf came along to Arizona (Davidson married, moved to London, and sporadically played with the Jesus & Mary Chain), and Sage built a fully operational studio in his new hideout. He recorded a second solo record, Sacrifice (For Love), and released it in 1991.

Meanwhile, several alternative rockers became vocal about their admiration for Sage. The most notable was Kurt Cobain, whose band Nirvana covered Wipers songs and asked Sage to open for them on tours. Never wanting to be opportunistic and never wanting to draw attention to himself, Sage politely turned down the offers. Sage would also reason that the timing was never right, as he and Plouf had trouble securing a bassist who would be willing to learn over 100 songs and tour unglamorously to little fanfare. Sage himself was never a fan of touring; trudging through the States to promote records had been nothing but one nightmare after another, he never got a thrill from the attention that comes with being a frontman, and only a couple towns — specifically Boston and Chicago — were regularly supportive. Wipers enjoyed most of their touring success in Europe, where they were treated with much more respect and filled theaters holding a couple thousand fans.

With a 1993 tribute record called Fourteen Songs for Greg Sage & the Wipers floating around, the Sup Pop reissue of the first record, and the attendant exposure gained from them, Sage effectively squashed any steam his “career” was gaining by releasing Silver Sail in 1995, a Wipers record that hardly resembled the storming fury that made his back catalog suddenly revered. And then, once the attention waned, Sage and Plouf returned to their ’80s aggression with 1996’s The Herd. Three years later, the duo unleashed Power in One on Sage’s new Zeno label. In 2001, Sage used his own label to release a three-for-one package of Wipers’ first three albums. Remastered with plenty of bonus tracks, it’s probably one of the most unselfish moves committed by a musician. Electric Medicine, Sage’s third solo record, came in 2002.

Photos about the album/band/track :

Wipers – “Youth Of America” Album cover photo (front)

WIPERS YOUTH OF AMERICA 2 (2)

Wipers – “Youth Of America” Album Sticker Photo

Image result for wipers YOUTH OF AMERICA

Wipers Band’s Photos

Image result for wipers YOUTH OF AMERICA

 

Links about the album/band/track :

Wipers – “When It’s Over” Video file link on YouTube

Wipers – “Youth Of America” Full Album Video Playlist on YouTube

Wipers – “Youth Of America” Full Album Playlist on Spotify

Wipers Band’s Page on Spotify

Wipers Band’s Page on Discogs

Wipers Band’s Page on Rate Your Music

Wipers Band’s Page on Apple Music

Wipers Band’s Page on Google Play

Wipers – “Youth Of America” Full Album Download Link on Vision On Never Blog

Wipers Band’s Page on Zeno Records

Wipers – “Youth Of America” Album’s Review on Julian Cope Presents Head Heritage Website

Wipers Article about the band “An overview of the influential Portland punk band’s first three albums” on Pitchfork Website

Wipers Band’s Page on Facebook

Greg Sage and The Wipers Band’s Page on Facebook

Wipers Article about the band “AN INTRODUCTION TO GREG SAGE & THE WIPERS by Brian Walsby” on The Void Report

Wipers Band’s Page on Mark Prindle Website

Wipers Band’s Fan Page

Wipers Band’s Page on Revolvy

Wipers – “Youth Of America” (“The Wipers’ Youth of America is 30 years old. John Calvert explains why it means so much to him”) on The Quietus Website

Wipers – “Youth Of America” (“Dusting ‘Em Off: Wipers – Youth of America”) Article about the album on Consequence Of Sound

Wipers Band’s Page on eBay

Wipers Band’s Page on Decko

Wipers Article about the band on Phoenix New Times

 

 

 

 

Alternative/New Wave/Post Punk U.K. 1980s (Tracks) The Stranglers – “North Winds”

 

Alternative/New Wave/Post Punk U.K. 1980s (Tracks)

The Stranglers (Guildford, Surrey, U.K.), Formed on 11th September 1974, Guilford, Surrey, U.K. 

“North Winds” (written by the Stranglers) A5 track included on the album “Aural Sculpture” 

Released on Epic Records (EPC 26220) in November 1984

Line-up/Credits :
The Stranglers

Hugh Cornwell – vocals, guitar

Jean-Jacques Burnel – bass, vocals

Dave Greenfield – keyboards

Jet Black – percussion

with:

Tim Whitehead – saxophone on “Ice Queen”, “Punch and Judy” and “Mad Hatter”

Paul Spong – trumpet on “Ice Queen”, “Punch and Judy” and “Mad Hatter”

Paul Nieman – trombone on “Ice Queen”, “Punch and Judy” and “Mad Hatter”

Carmen Franco – female vocals on “Spain”

George Chandler, Jimmy Chambers, Tony Jackson – backing vocals on “Let Me Down Easy”, “No Mercy” and “Mad Hatter”

Technical

Christian “Djoum” Ramon, Erwin Autrique – additional engineering

Simon Cantwell – art direction

John King – artwork (ear sculpture)

John Kisch – front cover photography

Art Direction – Simon Cantwell

Engineer [Additional] – Christian Ramon, Erwin Autrique

Illustration [Logo] – Connie Moore (2)

Lacquer Cut By – timtom (tracks: A1 to A5), TY (tracks: B1 to B6

Photography By [Back Cover] – Brian Griffin (3)

Producer – Laurie Latham, The Stranglers (tracks: A2, A5, B2, B5)

Sleeve [Design] – Jean Luke Epstein

Written-By – The Stranglers

Recorded At – ICP Recording Studios

Mastered At – CBS Studios, London

Pressed By – CBS Pressing Plant, Aston Clinton

Published By – Plugshaft Ltd.

Published By – EMI Music Publishing Ltd.

Phonographic Copyright (p) – CBS Records

Copyright (c) – CBS Records

Made By – Shorewood Packaging Co. Ltd.

All tracks composed and arranged by The Stranglers

Aural Sculpture”  Album 

Track List :

  1. “Ice Queen” – 4:01
  2. “Skin Deep” – 3:53
  3. “Let Me Down Easy” – 4:10
  4. “No Mercy” – 3:38
  5. “North Winds” – 4:03
  6. “Uptown” – 2:57
  7. “Punch & Judy” – 3:46
  8. “Spain” – 4:13
  9. “Laughing” – 4:12
  10. “Souls” – 2:41
  11. “Mad Hatter” – 4:00

Bonus Tracks on the 2001 CD release:

12. “Here and There” 4:21
13. “In One Door” 2:53
14. “Head on the Line” 3:08
15. “Achilles Heel” 2:54
16. “Hot Club” (Riot Mix) 3:04
17. “Place de Victoires” 4:09
18. “Vladimir and the Beast (part 3)” 3:56
19. “Vladimir Goes to Havana” 5:28

The tape version of the album had a ZX Spectrum computer program called Aural Quest at the end of the tape, which could be loaded using the Spectrum’s usual tape loading method. The program was an adventure game written using a framework called The Quill. Preceding the program was a short explanation of the following squeal, which was voiced by Dave Greenfield.

“North Winds” Song

Lyrics :
I saw an orange robe burning
I saw a youth on fire
I saw metal machines that were turning
On a generation that hadn’t yet tired
I heard of two generations being murdered
In a Europe that was shrouded in black
I witnessed the birth pains of new nations
When the chosen people finally went back
North Winds Blowing
I wish it would blow all away
North Winds Blowing
I wish they would blow all away
I wish they would blow all away
I saw freedom in the shape of disease
And mainly men had to quench their desire
And while a few could do just as they pleased
I saw kids whose bellies were all on fire
When all is dead and war is over
When hollow victory has been won
Who will join in the celebration
Of the evil that just can’t be undone?
North Winds Blowing
I wish it would blow all away
North Winds Blowing
I wish they would blow all away
I wish they would blow all away
I used to dream about destruction
But now that I feel it getting near
I spend my time watching the ocean
And waves are all I want to hear
I wish I was a believer
I’d spend less time in being sad
So many laws against disbelieving
Don’t know who’s good or who’s bad
North Winds Blowing
North Winds Blowing
North Winds Blowing
North Winds Blowing
North Winds Blowing
North Winds Blowing
North Winds Blowing
Songwriters: J. Black / H. Cornwell / J. Jacques Burnel / D. Greenfield
North Winds Blowing lyrics © COLGEMS-EMI MUSIC INC, COMPLETE MUSIC LTD
The Stranglers Band 
Related Artists :
Celia and The Mutations, Jackie Fountains, The Purple Helmets
Also Known As :
The Guildford Stranglers
Members :
J.J. Burnel (bass, vocals), Jet Black (drums), Hugh Cornwell (guitar, vocals, 1974-90), Hans Wärmling (keyboards, guitar, 1974-75), Dave Greenfield (keyboards, vocals, 1975-present), John Ellis (guitar, 1990-2000), Paul Roberts (vocals, 1990-2006), Baz Warne (guitar, vocals, 2000-present).
The Stranglers Biography

The Stranglers are a rock music group, formed on September 11, 1974 in Guildford, Surrey, England, United Kingdom. They were originally called The Guildford Stranglers and operated from an off-licence in the town. They also based themselves in the nearby village of Chiddingfold for a while.

Original personnel were singer/guitarist Hugh Cornwell (from Kentish Town, London), keyboardist/guitarist Hans Wärmling (from Sweden, replaced within two years by Brighton-born keyboardist Dave Greenfield), London-born bass guitarist Jean-Jacques Burnel and drummer Jet Black (real name Brian Duffy), a native of Ilford, Essex.

They began as a sinister sounding, hard-edged pub rock group, but eventually branched out to explore other styles of music.

Band From: United Kingdom, Guildford – England
Band Members: Hugh Cornwall (vocals, guitar), Jean Jacques Burnel (bass guitar), Dave Greenfield, and Brian Duffy “Jet” Black

The Stranglers formed as the Guildford Stranglers in the southern England village of Chiddingfold (near Guildford) in 1974, plowing a heavily Doors-influenced furrow through the local pub rock scene — such as it was. Of the four founding members, only Hugh Cornwell had any kind of recognizable historical pedigree, having played alongside Richard Thompson in the schoolboy band Emil & the Detectives. According to Thompson, their repertoire stretched from “Smokestack Lightning” and the blues, through to “old Kiki Dee B-sides,” while their gigging was largely confined to the Hornsey School of Art, where Thompson‘s sister was Social Secretary.

The Guildford Stranglers were confined to a similar circuit. It was 1975 before they ventured into even the London suburbs, although once there — and having shortened their name to the less parochial Stranglers — things began moving quickly. The established pub rock scene was dying and promoters were willing to give any unknown band a break, simply to try and establish a new hierarchy. Thus it was that as the first stirrings of punk began to make their own presence felt on the same circuit, the Stranglers were on board the bandwagon from the beginning.

Their early songs, too, radiated the same ugly alienation that was the proto-punk movement’s strongest calling card. Material like “Peasant in the Big Shitty,” “I Feel Like a Wog,” “Down in the Sewer,” and “Ugly” itself were harsh, uncompromising, and grotesque, a muddy blurge of sound cut through with Dave Greenfield‘s hypnotically Doors-like keyboards that was possessed of as much attitude as it was detectable musical competence. One uses the word guardedly, but “highlights” of this period were included on the 1994 archive release Live, Rare & Unreleased 1974-1976.

By mid-1976 the Stranglers already had enough force behind them to be booked as opening act at the Ramones‘ first London show, and Mark P., editor of the newly launched punk fanzine Sniffin’ Glue, conferred further punk approval on the band when he wrote, “their sound is 1976…the Stranglers are a pleasure to boogie to — sometimes they sound like the Doors, other times like Television, but they’ve got an ID of their own.” Further prestige accompanied the band’s opening slot for Patti Smith in October — and that despite most of the audience walking out long before the band left the stage; by the time the band set out on their own first U.K. tour, they had signed with UA (A&M in America) and were preparing to record their debut album with producer Martin Rushent.

“(Get A) Grip (On Yourself),” the Stranglers’ debut single, made the lower reaches of the Top 50; Rattus Norvegicus, their first album, confirmed the group as one of the fastest developing bands on the entire scene — even as the scene itself still puzzled over whether the Stranglers even belonged on board. “Old hairy misogynists” was a common accusation to fling in their direction, and it was one which the Stranglers themselves delighted in encouraging. In a more PC climate, their first U.K. Top Ten hit, summer 1977’s “Peaches,” would never even have been written, let alone recorded, while the bandmembers’ reputation as sexual bad boys was only exacerbated by other songs in their repertoire: “London Lady,” “Bring on the Nubiles,” “Choosy Susie.”

The fact that much of their lyrical prowess was built around the darkest hued of black humors never entered many people’s minds at the time, but listen again to their finest moments — “Hangin’ Around,” “Down in the Sewer,” the mindless boogie of “Go Buddy Go,” and the sheer vile joys of “Ugly” — and try to keep an even halfway straight face.

Unfortunately, though the Stranglers themselves reveled in an almost Monty Python-esque grasp of absurdity (and, in particular, the absurdities of modern “men’s talk”), there was an undercurrent of violence that not only permeated their music, it also, inevitably, spilled into their live shows. Their fall 1977 British tour was marred by some very ugly scenes, while a trip to Sweden brought them into violent confrontation with the Raggere, that country’s equivalent of Britain’s punk-hating Teddy Boys. Hugh Cornwell‘s choice of T-shirts (a Ford logo reworked to read “F*ck”) brought the band into conflict with London’s local council, while the group’s decision to line their stage with topless dancing girls when they played a concert in that city’s Battersea Park brought women’s groups screaming down on them, too.

Yet despite so much controversy, the Stranglers’ grip on the British chart seemed unbreakable. “Peaches” was followed by “Something Better Change” and might easily have been joined by a passionate cover of “Mony Mony” had the band not opted to hide behind the pseudonym of the Mutations, accompanying singer Celia Gollin on the number. (A second Celia & the Mutations single, “You Better Believe Me,” followed late in 1977.) “No More Heroes,” the driving title track to the Stranglers’ second album, was another huge hit, although the album itself was a disappointment — recorded in a hurry, with little time to write new material, it was largely comprised of older songs that had been passed over for Rattus. Within months, a new Stranglers album was on the streets, and this time they got everything right. Black and White was previewed by the hits “Five Minutes” and “Nice’n’Sleazy” (self-mythology in a nutshell), and was swiftly followed by one of the band’s finest moments, a murderously slowed-down version of Bacharach/David‘s “Walk on By.”

More importantly, Black and White was the last Stranglersalbum to even flirt with the socio-sexual shock troop imagery that fired their first records; with the live X Cert album (their first for IRS in America) rounding off 1978 with a final flurry of gruffness, the band was now free to experiment beyond even the most indulgent fan’s wildest imaginings.

1979’s The Ravensaw them moving toward both psychedelia and radio-friendly pop — “The Duchess,” Top 20 that summer, was a classic tune by anybody’s standards and, while a flurry of solo activity from Jean Jacques Burnel (The Euroman Cometh) and Hugh Cornwell (Nosferatu) raised rumors that the band was reaching the end of its lifespan, in fact it was their non-musical activities that came closest to bursting the bubble, after Cornwell was sentenced to three months imprisonment for drug possession in January 1980.

The band regrouped following his release and banged out two albums in a year, the concept Meninblack and the extraordinarily ambitious La Folie — home of their biggest hit single yet, “Golden Brown.” It reached number two in Britain, although two other singles from the same album, “Let Me Introduce You to the Family” and “La Folie” itself, contrarily proved among their least successful so far.

Strange Little Girl,” specially recorded for the hits compilation The Collection 1977-1982, returned the band to the Top Ten the following summer and, having moved from UA to Epic, the Stranglers rounded out 1982 with the “European Female” single and Feline album, defiantly pop-heavy albums flavored by the group’s own special take on the then-prevalent synthesizer sounds. This phase of the band’s development reached a nadir of sorts with 1984’s Aural Sculpture, the least engaging of their albums to date, and the least successful — it faltered at number 14, with the exquisite “Skin Deep” single drawn up one place lower.

Two years of near silence followed, punctuated only by a succession of under-performing British 45s — American releases were even rarer. “Nice in Nice,” a commentary on a six-year-old misadventure in the French city of that name, “Always the Sun,” “Big in America,” and “Shakin’ Like a Leaf,” drawn from the 1986 album Dreamtime, ensured the band remained very much a sideshow into the late ’80s, but 1988 finally brought a massive turnaround in their fortunes. That January, a wildly churning cover of the Kinks‘ “All Day and All of the Night” powered the Stranglers back into the Top Ten, to be followed by a new live album of the same name.

Another long silence followed but, sticking with covers, the Stranglers were back to their best with ? & the Mysterians‘ “96 Tears” in early 1990, a taster for the album 10. A second hits collection, Greatest Hits 1977-1990, stuffed stockings across Europe that Christmas, but any serious attempt at a lasting revival was stymied by the departure of Cornwell for a solo career. He was replaced by John Ellis, a former member of fellow pub-to-punk graduates the Vibrators, and Sniff ‘n’ the Tears frontman Paul Roberts, and the new-look Stranglers re-emerged on the China indie in early 1992.

A new album, Stranglers in the Night, appeared that fall, together with the minor hit “Heaven or Hell”; by year’s end, however, drummer Jet Black, too, had departed. He was replaced by Tikake Tobe and, in this form, the group recorded yet another live album, Saturday Night Sunday Morning, before Blackreturned for 1995’s About Time. The group’s studio set Coup de Grace was issued in 1998, after which Ellis left the band, to be replaced by Baz Warne. Their next album, Norfolk Coast, was a surprise success in 2004, spawning a Top 40 hit in “Big Thing Coming.” After this record, Roberts departed and the group released Suite XVI in 2006. Six years later, they put out their 17th album, Giants.

Each of their UA/Epic albums was reissued with generous helpings of bonus tracks, while 1992 saw the release of a classic 1977 live show, Live at the Hope & Anchor, together with a collection of the band’s (surprisingly inventive) 12″ singles and a fabulous box set drawn from the 1976-1982 period, The Old Testament. Further live albums have since appeared, as has a remarkable document of the band’s three BBC sessions, from 1977 and 1982.

That it is those earliest years that remain the Stranglers’ most popular is not surprising — from bad-mannered yobs to purveyors of supreme pop delicacies, the group was responsible for music that may have been ugly and might have been crude — but it was never, ever boring. That people are still offended by it only adds to its delight — if rock & roll (especially punk rock & roll) was meant to be pleasant, it would never have changed the world, after all. The fact that much of the Stranglers’ message was actually hysterically funny — as they themselves intended it to be — only adds to their modern appeal. And the fact that their fans are still called upon to defend them only proves what humorless zeroes their foes really were.

The Stranglers – “Aural Sculpture” Album cover photo (front)

The Stranglers – “Aural Sculpture” Album photo 

Links about the Stranglers band :

The Stranglers – “North Winds” Video file link on YouTube

The Stranglers – “Aural Sculpture” Full Album Video Playlist on YouTube

The Stranglers Band’s Biography on their Homepage

The Stranglers Band’s Page on Facebook

The Stranglers Band’s Homepage

INTERVIEW! JJ Burnel on the Stranglers upcoming album/2019 tour and the band after Jet Black and much more Interview on Louder Than War Website

The Stranglers Band’s Page on Discogs

The Stranglers Band’s Page on Twitter

The Stranglers on 40 years of fights, drugs, UFOs and ‘doing all the wrong things’ Band’s Interview on The Guardian

The Stranglers Band’s Page on Rate Your Music

The Stranglers Band’s Page on Spotify

The Stranglers Band’s Page on Apple Music

The Stranglers Band’s Page on Google Play

The Stranglers – “Aural Sculpture” Audio/Download file link on Albums Depot Website

The Stranglers Band’s Page on eBay

The Stranglers Band’s Full Albums/Download Links on Lágrima Psicodélica Blog