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Obscure folk LP with a transition sound from 60s coffee house into 70s downer/loner moves. Lost in time atmosphere and idiosynchratic singing and playing makes for a trip with a clear identity, yet the connection between the arrangements, vocal mannerisms and underlying tunes seems random and 'for the hell of it', rather than conscious explorations. Some tracks work, others don't, and all over it's pretty inconsistent.
Covers of Dylan, Cohen and Bo Diddley (!) come off more like insults than bold interpretations, while the Lynda Squires led take on 'High Flying Bird' is pretty cool. Of the originals most is average contemporary folk, with a high-point in the only track not by 'Dormouse' (Cris Cuddy) or Marcus Wattington, Don Tapscott's sublime 'Just To Hear The Bells'. The album is semi-acoustic with electric bass and occasional percussion. Oddly, the LP has a similar sound (minus the autoharp) and the precise same problems as the Folklords. The album was recorded in 1967, and precedes the Rejects LP sessions. The Hallucinations CD is titled 'The Toad Recordings' and shows traces of vinyl press noise and high-end distortion in a few spots.01.
Baby Blue (Bob Dylan)02. Young Face (Waddington)03. High Flying Bird (Wheeler)04. Portrait For Marianne (Cuddy)05. Just To Hear The Bells (Tapscott)06.
Sometimes You Ain't Got Nothin Boy (Waddington)07. By The Way (Cuddy)08. I Need A Friend (Allen)09. Suzanne (Leonard Cohen)10.
Believe Me (Waddington)11. October Morning (Cuddy)12. Small Man (Waddington)13.
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Who Do You Love (McDaniel)14. Apple Annie (Cuddy). Paul Horn: PercussionIn 1971 the original line up fragmented reducing ptarmigan to the duo of Nordstrom and Dias. In 1972 the duo went to Ontario where they played some local clubs in Ottawa and Toronto making some impressive connections in the music industry, then headed back to Vancouver where they again met up with Paul Horn. Horn was so impressed by the duo’s music, he signed them to a publishing and recording contract.Ptarmigan went into Canbase (Mushroom) Studios in Vancouver during the fall of 1972 and recorded some basic tracks that would eventually become the ptarmigan album.
After the tracks were recorded it took Paul Horn nearly a year to sell the project to a label and in 1974, Columbia Records of Canada released the self titled ptarmigan album.The music on the album combined elements of, and progressive.Based around a flute, percussion and guitar interplay, the songs experience eastern influences, various moods, time changes and are rather simply structured yet complex in nature. Based around themes of nature and musical landscapes today the music could be classified as new age or environmental.When the album was originally released in 1974 it did not sell well at all because of its non-commercial sound but over the years it has become a collectors item especially for progressive fans.This is the first legitimate reissue of the Columbia album entirely done by band member Monte Nordstrom on his own GrooveDigger label. This limited edition, remastered version of the album features the original artwork along with four bonus tracks and a detailed booklet that contains band photos, as well as an in depth essay on the band and the recording of the album.his folk/jazz Westcoast acoustic recording predates New Age and Worldbeat by a decade. Eerie & introspective. Originally on Columbia of Canada. Now a Prog/cult item. In 1970, Monte Nordstrom was invited by singer/recorder player, Glen Dias to join the Vancouver Island ensemble, 'Ptarmigan'.
The following year, Dias & Nordstrom toured Canada writing & performing new music on the coffeehouse circuit between Victoria's Queequeg, Winnipeg's Ting Tea Room & Ottawa's le Hibou. The highlight of this tour was in Ottawa when the duo spent two weeks opening for the legendary guitarist, Lenny Breau.
Performing two shows per night for two weeks & socializing with Lenny was a highly influential experience for Monte. In 1972-73, international jazz master, Paul Horn produced the music of Ptarmigan at Mushroom Studio in Vancouver. Columbia Records released the Ptarmigan LP in early 1974. The launch of the Ptarmigan release was at The Egress nightclub in Vancouver, where Nordstrom & Dias spent a week opening for the Paul Horn Quintet. The duo last performed together in 1978 at the Midsummer Affair festival.
Ptarmigan was a very unusual & noncommercial music that was ahead of its time. The ethereal ambience of Nordstrom & Dias' compositions continue to impress a wide spectrum of people. A bootleg European release on vinyl in the 80s created a cult following in the Progressive rock genre. In response to this continuing interest, the authorized Ptarmigan CD is re-issued through this website.Produced by Paul Horn for VIP Ltd.
(Vancouver Island Productions)Recording Engineer: Keith Stein. Mixed by Paul Horn & Keith Stein Cover Art & Photo: Glen Dias.
Ptarmigan Logo: James NorquayAll songs composed by: Glen Dias & Monte NordstromPublished by Samadhi Music, BMI; Northstream Music/SOCAN & Bear Bones Music/SOCANRecorded at Canbase (Mushroom) Studios, Vancouver, Canada Musicians: Glen Dias: Vocals, Recorders & Percussion Monte Nordstrom: Vocals & Twelve String Guitar Kat Hendrikse: Drums Dave Field: Acoustic Bass Richard Mayer: Electric Bass (The Island)Peter Wheeler: Hand Drums Paul Horn: PercussionThis Re-Issue is dedicated to David Aston. 'Janis spent much of her adolescence listening to Odetta, who was also the first person Janis imitated when she started singing'., who said, 'The first thing that turned me on to folk singing was Odetta. I heard a record of hers in a record store, back when you could listen to records right there in the store. Right then and there, I went out and traded my electric guitar and amplifier for an acoustical guitar, a flat-top. That album was just something vital and personal. I learned all the songs on that record.
It was her first and the songs were- ', ', ', 'Buked and Scorned' ' In 1965, Odetta recorded an album of Dylan covers,.said 'Odetta was a goddess. Her passion moved me. I learned everything she sang'. Odetta was born on New Year's Eve 1930 in Birmingham, AL. By the time she was six years old, she'd moved with her younger sister and mother to Los Angeles.
She showed a keen interest in music from the time she was a child, and when she was about ten years old, somewhere between church and school, her singing voice was discovered. Odetta's mother began saving money to pay for voice lessons for her, but was advised to wait until her daughter was 13 years old and well into puberty. Thanks to her mother, Odetta did begin voice lessons when she was 13.
She received a classical training, which was interrupted when her mother could no longer afford to pay for the lessons. The puppeteer Harry Burnette interceded and paid for Odetta to continue her voice training. When she was 19 years old, Odetta landed a role in the Los Angeles production of Finian's Rainbow, which was staged in the summer of 1949 at the Greek Theatre in Los Angeles. It was during the run of this show that she first heard the blues harmonica master. The following summer, Odetta was again performing in summer stock in California. This time it was a production of Guys and Dolls, staged in San Francisco. Hanging out in North Beach during her days off, Odetta had her first experience with the growing local folk music scene.
Following her summer in San Francisco, Odetta returned to Los Angeles, where she worked as a live-in housekeeper. During this time she performed on a show bill with Paul Robeson. In 1953, Odetta took some time off from her housecleaning chores to travel to New York City and appear at the famed Blue Angel folk club.
And had both taken an interest in her career by this time, and her debut album, was released in 1954. From this time forward, Odetta worked to expand her repertoire and make full use of what she has always termed her 'instrument.'
When she began singing, she was considered a coloratura soprano. As she matured, she became more of a mezzo-soprano.
Her experience singing folk music led her to discover a vocal range that runs from coloratura to baritone.Odetta's most productive decade as a recording artist came in the 1960s, when she released 16 albums, including Odetta at Carnegie Hall, It's a Mighty World,. In 1999 she released her first studio album in 14 years,. Vanguard Records has released two excellent Odetta compilations: (1989) and (1999).
On September 29, 1999, presented Odetta with the National Endowment for the Arts' Medal of the Arts, a fitting tribute to one of the great treasures of American music. The next few years found Odetta releasing some new full-length albums, including and a collection of tunes,. She toured North America, Latvia, and Scotland during this time and was mentioned in Martin Scorsese's 2005 documentary, No Direction Home. That same year Odetta released, which went on to receive a 2007 Grammy nomination for Best Traditional Folk Album. Philip Van Vleck, All Music Guide.
The Cold Mountain soundtrack shares producers with the soundtrack for, a largely old-time and folk album with limited radio play that still enjoyed commercial success, and garnered a Grammy. As a result, comparisons were drawn between the two albums. The Cold Mountain soundtrack, however, also employs many folk and blues elements. It features songs written by of The (who also appeared in the film in the role of Georgia),. Costello and Sting's contributions, 'The Scarlet Tide' and 'You Will Be My Ain True Love', were both nominated for the Academy Award for Best Original Song and featured vocals by singer. 's Oscar-nominated score is represented by four tracks amounting to approximately fifteen minutes of music. Petersburg Crater Union TrenchΗ υπόθεση της ταινίας είναι λίγο πολύ γνωστή.
Η Ada Monroe , μια γυναίκα με καλή ανατροφή φτάνει μαζί με τον πατέρα της στην μικρή πόλη Cold Mountain. Εκεί γνωρίζει τον Inman , έναν απλό εργάτη αλλά η γνωριμία τους διακόπτεται από τον εμφύλιο πόλεμο, μιας που ο Inman αναγκάζεται να καταταχθεί. Μετά από 3 χρόνια στο μέτωπο ο Inman, αηδιασμένος αποφασίζει να λιποτακτήσει και να επιστρέψει στην Ada, η οποία στο μεταξύ έχει χάσει τον πατέρα της και έχει βρει στήριγμα στην εργατική χωριατοπούλα Ruby.
Μετά την λιποταξία του Inman παρακολουθούμε παράλληλα το ταξίδι του προς το Cold Mountain και τον αγώνα της Ada να αντεπεξέλθει σε μια ζωή την οποία δεν έχει μάθει. Κάπου εδώ, σε μια ατελείωτη σειρά επεισοδίων εντοπίζεται και το σοβαρότερο πρόβλημα του φιλμ, το οποίο πάσχει από έλλειψη συνοχής, μιας που η εντύπωση ότι βλέπουμε ένα απλό κολάζ από σκετσάκια είναι έντονη, μιας που η φόρμουλα είναι «Ο-Inman-πάει εκεί-συναντά-αυτόν» και πάλι απ την αρχή. Αποπροσανατολιστικό από μια άποψη μπορεί να θεωρηθεί και το (εξαιρετικό) καστ, με πολλούς ηθοποιούς που είναι ειδικευμένοι σε δεύτερους ρόλους (, ), που αν μη τι άλλο δε χάνουν την ευκαιρία να τραβούν την προσοχή επάνω τους με πολύ καλές ερμηνείες. Ιδιαίτερα καλός στο ρόλο του αδίστακτου Teague (που εποφθαλμιά την ακίνητη περιουσία της Ada - ένα είδος μνηστήρα, μια που το όλο ταξίδι του Inman «μυρίζει» Οδύσσεια) ο, ενώ ξεχωρίζουν στους μικρούς τους ρόλους οι και. Όσο για τους πρωταγωνιστές, οι οποίοι έχουν προετοιμαστεί καλά για τους ρόλους τους (συμπεριλαμβανομένης και της - ενοχλητικής - προφοράς), ο εκφράζει τον Inman σε κάθε του κίνηση και έκφραση, ενώ η ερμηνεύει σχεδόν υπερβολικά την υπερ-ενεργητική Ruby. Η λαμπερή αρκείται σε έναν άχρωμο όσο και κοινότυπο ρόλο, αυτόν της ευάλωτης γυναίκας την οποία αλλάζει η σκληρότητα της ζωής, ο οποίος δεν της αφήνει και πολλά περιθώρια για Οσκαρική ερμηνεία.( ). The rock era saw a few white female singers, like, show they could sing the blues.
But one who could outshine them all - Jo Ann Kelly - seemed to slip through the cracks, mostly because she favored the acoustic, Delta style rather than rocking out with a heavy band behind her. But with a huge voice, and a strong guitar style influenced by and, she was the queen.What Color Is Blues?Born January 5, 1944, Kelly and her older brother Dave were both taken by the blues, and born at the right time to take advantage of a young British blues scene in the early '60s. By 1964 she was playing in clubs, including the Star in Croydon, and had made her first limited-edition record with future Groundhogs guitarist Tony McPhee. She expanded to play folk and blues clubs all over Britain, generally solo, but occasionally with other artists, bringing together artists like and into her own music. After the first National Blues Federation Convention in 1968 her career seemed ready to take flight.
She began playing the more lucrative college circuit, followed by her well-received debut album in 1969. At the second National Blues Convention, she jammed with, who invited her to join them on a permanent basis. She declined, not wanting to be a part of a band - and made the same decision when offered to help her.
Throughout the '70s, Kelly continued to work and record solo, while also gigging for fun in bands run by friends, outfits like Tramp and Chilli Willi - essentially pub rock, as the scene was called, and in 1979 she helped found, along with brother Dave, and original bassist Bob Brunning. The band backed her on an ambitious show she staged during the early '80s, Ladies and the Blues, in which she paid tribute to her female heros. In 1988, Kelly began to suffer pain. A brain tumor was diagnosed and removed, and she seemed to have recovered, even touring again in 1990 with her brother before collapsing and dying on October 21. Posthumously, she's become a revered blues figure, one who helped clear the path for artists like.
But more than a figurehead, her recorded material - and unreleased sides have appeared often since her death - show that Kelly truly was a remarkable blueswoman. Chris Nickson, All Music GuideJo Ann Kelly & Son House.
An instrumentalist, within a few years Hooker put together a band that toured the United States and made some of his first recordings for at in. He eventually became an important part of the scene. Hooker played in the in England in 1969.
Although he never received the public recognition to the same extent as some of his contemporaries, proclaimed Earl Hooker as the 'master of the ' and his talent was greatly respected by other notable musicians such as,. Hooker played slide guitar on the 1962 Muddy Waters recording, 'You Shook Me.' He was the only slide player on a recording besides Muddy himself. Hooker also helped popularized the.Earl Hooker died at the age of 41 after a lifelong struggle against, which is alluded to in the title of a 1972 compilation album of his work, 'There's a Fungus Among us.' He was interred in the in. His story was told in a 2001 book by author Sebastian Danchin titled Earl Hooker, Blues Master.Although, Earl Hooker died in 1970, his music still continues on in the rock band Daphne Blue, which includes Freddie Roulette, the original Lap Steel guitar player from Hooker's band, and his songwriting partner, Ray Bronner.
If there was a more immaculate slide guitarist residing in Chicago during the 1950s and '60s than Earl Hooker, his name has yet to surface. Boasting a fretboard touch so smooth and clean that every note rang as clear and precise as a bell, Hooker was an endlessly inventive axeman who would likely have been a star had his modest vocal abilities matched his instrumental prowess and had he not been dogged by tuberculosis (it killed him at age 41). Born in the Mississippi Delta, Hooker arrived in Chicago as a child. There he was influenced by another slide wizard, veteran. But Hooker never remained still for long.
He ran away from home at age 13, journeying to Mississippi. After another stint in Chicago, he rambled back to the Delta again, playing with.
Hooker made his first recordings in 1952 and 1953 for Rockin', King, and Sun. At the latter, he recorded some terrific sides with pianist ( inexplicably sat on Hooker's blazing rendition of 'The Hucklebuck'). Back in Chicago again, Hooker's dazzling dexterity was intermittently showcased on singles for Argo, C.J., and Bea & Baby during the mid-to-late '50s before he joined forces with producer Mel London (owner of the Chief and Age logos) in 1959. For the next four years, he recorded both as sideman and leader for the producer, backing, Lillian Offitt, and A.C. Reed and cutting his own sizzling instrumentals ('Blue Guitar', 'Blues in D-Natural'). He also contributed pungent slide work to ' Chess waxing 'You Shook Me'. Opportunities to record grew sparse after Age folded; Hooker made some tantalizing sides for Sauk City, Wisconsin's Cuca Records from 1964 to 1968 (several featuring steel guitar virtuoso ).
Hooker's amazing prowess (he even managed to make the dreaded wah-wah pedal a viable blues tool) finally drew increased attention during the late '60s. He cut LPs for Arhoolie, ABC-BluesWay, and Blue Thumb that didn't equal what he'd done at Age, but they did serve to introduce Hooker to an audience outside Chicago and wherever his frequent travels deposited him. But tuberculosis halted his wandering ways permanently in 1970. Bill Dahl, All Music Guide. 's first tribute to, titled, was recorded in 1959, mere months before the singer's death.
He returned to salute the legendary vocalist on several occasions since then, with this CD likely being his final tribute, recorded less than a year before his own death., who worked with during her last years, is intimately familiar with her takes of the six standards heard on this disc, along with her own 'Lady Sings the Blues.' 's often gritty tenor sax is reminiscent of the texture of 's voice, yet he perfectly complements 's lush piano. They also pack a punch with their stark performance of 'Left Alone' ('s occasional reed squeaks seem deliberate, as if to imitate breaks in her voice). Also recites 's lyrics set to his composition at the conclusion of the CD. Switches to soprano sax for an emotional take of 'Everything Happens to Me' and 'I Only Have Eyes for You,' with the latter song sounding as if the unheard singer is being ignored by her love interest. 's 'Blues for 52nd Street' is both sassy and swinging. This instrumental salute to is one of the best albums ever to honor her memory.
Ken Dryden, All Music Guide. HOMEGASReleased on Takoma records in 1970 (C1026) and produced by John Fahey. This self titled release is the only output of this rural community based in Indiana.Led by Peter Aceves, it's an excellent example of folk-blues with good vocals and strong instrumental parts. The songs are all original and some are really outstanding, notably Bumblebee, Bulldozer Blues and Maine.
The liner notes mention that two other (unknown) groups used to play with Homegas: Greazy Green and Stoney Lonesome before their house was destroyed by fire. Fuzz, Acid & FlowersPersonnel. When this was first released, the slow, straight sounds of Pharoah Sanders on a series of mostly famous ballads came as a bit of a surprise to some. Others saw Sanders as following the road of his mentor, John Coltrane, who had recorded most of these tunes himself.
In retrospect, the inside playing of Sanders is less of a surprise, the saxophonist having followed that path regularly since at least the '80s. This performance has held up well through the years, and while the thin, reserved approach is reminiscent of Coltrane, it is still marked with Pharoah's print. The competent and thoroughly professional rhythm section of pianist William Henderson, bassist Stafford James, and drummer Eccleston W. Wainwright takes a decidedly reserved cue from the saxophonist, but each song is infused with a subtle emotional quality that simply does not let go. Steven Loewy, All Music Guide.
Harvey Mandel became the original guitarist with Charlie Musselwhite, releasing the debut album Stand Back! As a result of heavy airplay in San Francisco, they were invited to play The Fillmore by Bill Graham.
Mandel moved to the Bay Area, regularly performing at the infamous club 'The Matrix', where local favorites like Jerry Garcia, Elvin Bishop and Jefferson Airplane would sit in and jam.On meeting the record producer Abe Kesh, Mandel was able to release his first solo album for Mercury Records entitled, Cristo Redentor in 1968, which included his version of 'Wade in the Water.' In July 1969 he replaced Henry Vestine as lead guitarist in the blues band Canned Heat. Harvey remained with Canned Heat for nine months (until April 1970) with slide guitarist/vocalist Alan Wilson and singer Bob 'The Bear' Hite. The custom of Canned Heat suggested that each member of the band acquired a nickname upon joining the band. Harvey's nickname, 'The Snake,' was given to him years before by keyboardist Barry Goldberg in Chicago (attributed to his cracked leather jacket and 'snake-like guitar licks'). After several tours and three albums, including Future Blues, he was recruited by British bluesman John Mayall to be a member of the Bluesbreakers, recording the album, entitled USA Union together.The band featured Mandel with Canned Heat bassist Larry 'The Mole' Taylor, and violinist Don 'Sugarcane' Harris.
Mandel also appeared on another significant Mayall album, Back To The Roots, on which Eric Clapton and Mick Taylor also guested. He also toured with Taylor and Harris under the name 'Pure Food and Drug Act' and released one album before Harris was assaulted, effectively ending his career.He resumed his solo career, releasing several more albums for Janus Records in the 1970s including Baby Batter, The Snake, and Shangrenade, the record where Harvey employed 2-handed fretboard tapping. Mandel was one of the first rock guitarists to utilize this technique, years before Eddie Van Halen and Stanley Jordan.One of Mandel's most significant session credits was his participation on Black and Blue, the 1976 album by The Rolling Stones.Following his stint with the Stones, he became a busy session player, with groups such as Love and The Ventures, and opened for Jeff Beck on his Canadian tour as a power trio with Jimmy Haslip, bassist for The Yellowjackets. He relocated to Chicago in the late 1970s and continued to tour extensively, as well as supporting groups such as Roxy Music.
In 1980, Mandel relocated to Florida as a member of the house band at Ron Wood's Miami nightclub, 'Woody's,' with Rolling Stones attendant saxophonist, Bobby Keys. (BlackCatBone -Standin' At The Crossroads diary magazine)In the mold of Jeff Beck, Carlos Santana, and Mike Bloomfield, Mandel is an extremely creative rock guitarist with heavy blues and jazz influences. And like those guitarists, his vocal abilities are basically nonexistent, though Mandel, unlike some similar musicians, has always known this, and concentrated on recordings that are entirely instrumental, or feature other singers. A minor figure most known for auditioning unsuccessfully for the Rolling Stones, he recorded some intriguing (though erratic) work on his own that anticipated some of the better elements of jazz-rock fusion, showcasing his concise chops, his command of a multitude of tone pedal controls, and an eclecticism that found him working with string orchestras and country steel guitar wizards.
Mandel got his first toehold in the fertile Chicago white blues-rock scene of the mid-'60s (which cultivated talents like Paul Butterfield, Mike Bloomfield, and Steve Miller), and made his first recordings as the lead guitarist for harmonica virtuoso Charlie Musselwhite. Enticed to go solo by Blue Cheer producer Abe Kesh, Harvey cut a couple of nearly wholly instrumental albums for Phillips in the late '60s that were underground FM radio favorites, establishing him as one of the most versatile young American guitar lions. He gained his most recognition, though, not as a solo artist, but as a lead guitarist for Canned Heat in 1969 and 1970, replacing Henry Vestine and appearing with the band at Woodstock. Shortly afterward, he signed up for a stint in John Mayall's band, just after the British bluesman had relocated to California. Mandel unwisely decided to use a vocalist for his third and least successful Philips album.
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After his term with Mayall (on USA Union and Back to the Roots) had run its course, he resumed his solo career, and also formed Pure Food & Drug Act with violinist Don 'Sugarcane' Harris (from the '50s R&B duo Don & Dewey), which made several albums. In the mid-'70s, when the Rolling Stones were looking for a replacement for Mick Taylor, Mandel auditioned for a spot in the group; although he lost to Ron Wood, his guitar does appear on two cuts on the Stones' 1976 album, Black & Blue. Recording intermittently since then as a solo artist and a sessionman, his influence on the contemporary scene is felt via the two-handed fretboard tapping technique that he introduced on his 1973 album Shangrenade, later employed by Eddie Van Halen, Stanley Jordan, and Steve Vai. (Richie Unterberger, All Music Guide). This is the ultimate Electric Flag live-recording.
True soundboard, but unfortunately there are some faint periods for the vocal, the guitar and so on, but nevertheless the best circulating live recording.After a few distorted screams as microphone test, and a very short but fitting introduction “Here’s the incredible Electric Flag” the band starts with a beautiful sounding short opening instrumental, that’s even in stereo! You almost can’t believe it’s them, so good does they sound.
And when you have listened to the audience recordings of Electric Flag live, this is almost too much. MB is smoking – no, burning! - on (track 2) but this is unfortunately one of the two tracks where the guitar is too distant to really enjoy. “Texas” comes on fine with good vocals from Buddy Miles and good playing through out. The guitar is still a little too faint, but it’s fine to hear the hornsection play in tune and time! Midway through the track MB’s guitar is turned up and we can really enjoy a fine experience.“Hey Joe” is apparently difficult to get started.
The band doodles for a couple of minutes. Could it be Barry Goldberg singing? It does not sound like any of the other vocalists. MB plays at his best, low, soft and bluesy and high and hard.
Buddy Miles is hammering away with all his might. A great track.With (track 5) “It Takes Time” we’re back to the classic Flag repertoire. MB starts wailing on the guitar and Gravenites follows with a top vocal performance (a little faint in the recording. Midway the organ suddenly appears.
Somebody must have had a busy time twistin’ the knobs). The guitar solo is great and it appears to be a “real” solo performance as you can’t hear any other instrument but Buddy’s whiskers and bass drum.
Ah, that’s what we like to hear, MB grabbing the audience and the players, so they forget to play.Again the band doodles, strums and discuss before they start (track 6). It has some fine interplay between the vocal and the guitar at the end. “Another Country” has as always a fine vocal from Gravenites and unfortunately the track is cut after only two minutes. The first part of (track 7) is also missing, but still it’s a gem (the title is a guess).More doodling and then a beautiful version of “Don’t You Lie To Me” with MB singing and playing at his very best. Before the next track the band is discussing what to play! MB is yelling for “Brad, where’s Brad? A few more minutes?” and he wants to play “You Don’t Realize” (“we all know the parts to that”) but Gravenites is firm: Soul Searching!
Maybe they should have played like MB wanted because it sounds like the band is falling apart here and there. MB delivers a fine solo anyway and he is yelling: “Funky boogaloo time!” all the way and he certainly is in charge of the playing.“That’s it, The Electric Flag!” End of proceedings. Great show.CD “SAN FRANCISCO NIGHTS VOL.
2 – DISC 5” Bootleg. Ο Κωνσταντίνος Βήτα γεννήθηκε στη της και μεγάλωσε στην. Παρακολούθησε μαθήματα κλασσικής κιθάρας και αρμονία, ενώ σπούδασε και ιστορία τέχνης στην Μελβούρνη. Στην Αθήνα τελείωσε γραφικές τέχνες. Δούλεψε σαν γραφίστας και δημοσιογράφος σε περιοδικά.Το, ο Κωνσταντίνος Βήτα μαζί με τον και τον Αντώνη Π.
Ίδρυσαν το συγκρότημα. Μετά από πέντε χρόνια το συγκρότημα διαλύθηκε, αλλά τα μέλη του συνεχίζουν να δραστηριοποιούνται μέχρι και σήμερα ως μουσικοί, συνθέτες και παραγωγοί.Ο Κωνσταντίνος Βήτα, παράλληλα με μια σειρά προσωπικών δίσκων και συναυλιών, έχει γράψει μουσική για το, το και τον. Έχει επίσης παρουσία και στα, με προσωπικές εκθέσεις και συμμετοχές.Τον Οκτώβριο του παρουσιάστηκε στο κοινό η έκθεση Soundscapes του Κωνσταντίνου Βήτα, με περιεχόμενο, και ζωγραφική, στο Κέντρο Σύγχρονης Τέχνης στη. Εν μέσω καλοκαιριού, ο Σείριος παρουσιάζει την ηλεκτρονική ματιά του Κωνσταντίνου Βήτα στο υλικό του Μάνου Χατζιδάκι, στο νέο του label M41.
4 μοίρες Νότια του Σείριου λάμπει το Αστρικό Σμήνος Μ41, με περισσότερα από πενήντα αστέρια κι έναν γιγάντιο κόκκινο ήλιο στο κέντρο του, 2.500 έτη φωτός από τώρα. Τους θερινούς μήνες ο Ήλιος μας περνά ανάμεσα από το Σμήνος Μ41 και τον Σείριο. Ένα αστέρι που απεικονίζεται με δύο πρόσωπα: το ένα κοιτάζει αυτό που πέρασε, και το άλλο ότι είναι να έρθει, αυτό που μας τρομάζει, μας φοβίζει και μας συγκινεί. Αυτό που μας κρατά δεμένους και προκαλεί τα δεινά μας, αυτό που μας δίνει την ελπίδα και μας σηκώνει ψηλά.Transformations: Με σεβασμό που δεν απαγορεύει την αποδόμησή του, ο μουσικός ιστός του Μάνου Χατζιδάκι αντανακλάται μόνο μερικώς στη ραχοκοκαλιά των breaks, των ήχων, των συνθετητών, των loops του Κωνσταντίνου Βήτα.
Σαν σκόρπια κομμάτια σπασμένου κεραμεικού που μένουν μετέωρα σε ριπές ηλεκτρονικού ανέμου, δημιουργώντας μια περίεργη αίσθηση γαλήνης που δεν δείχνει να κλονίζεται με τίποτα. Βήτα και οι Δήμητρα Γαλάνη, Φλέρυ Νταντωνάκη, Έλλη Πασπαλά, Γιώργος Ρωμανός και Βικτώρια Ταγκούλη αναλαμβάνουν το φωνητικό μέρος και τα αποτελέσματα είναι σχεδόν πάντα όμορφα, αν και πολύ φοβούμαι ότι για να ευχαριστηθεί κανείς αυτό το δίσκο, θα πρέπει να ξεχάσει εντελώς τις συγκινήσεις από το πρωτότυπο υλικό.
Τα πάντα εδώ λειτουργούν ως αφορμές, ως samples για να απλώσει το δικό του μουσικό και ρυθμικό χαλί ο Κωνσταντίνος Βήτα. Άλλωστε, τι να πρωτοεπιλέξεις και πως να το αποδώσεις, μέσα σε ένα χάος από ήχους και στίχους του μεγάλου Έλληνα δημιουργού. Θα έλεγε κανείς ότι, παρά την αφορμή, το υλικό αυτό εξακολουθεί να απευθύνεται στο σταθερό κοινό του Βήτα και των Στέρεο Νόβα, σχεδόν αποκλειστικά -ο ήχος τουλάχιστον μοιάζει πεισματικά κολλημένος εκεί, όταν οι σκαπανείς του είδους στην Ελλάδα διαμόρφωναν μια ολόκληρη σκηνή. Κι έτσι, αυτό που μένει, ηχητικά τουλάχιστον, είναι ένα κάπως ρετρό ηλεκτρονικό περιβάλλον, όπου επιπλέουν -επιτυχημένα ή μη- εικόνες του Χατζιδάκι, σαν καρτ ποστάλ. Για τις κάνεις όμως φιλμάκι, χρειάζεται λίγη περισσότερη προσπάθεια -από μόνος σου. Κι εκεί θα ακούσεις το δίσκο όπως τουλάχιστον προσπάθησε να στο δώσει το ευαίσθητο μάτι του Βήτα. Θα κοιτάξεις τ'αστέρια που βλέπει και θα δεις πυροτεχνήματα συναισθημάτων που η συναισθηματική σου τσιμπήδα αρχικά έχασε.
Θα ρουφήξεις τη μαγνητική αστρική λαγνεία των ποιητικών γεγονότων, των εικόνων. Θα εισχωρήσεις στην οσμή που τυλίγει την έμπνευση του δημιουργού και του μεταμορφωτή τους.Και την καρδιά σου θα έλξει τέτοια δύναμη που δεν θα υπάρχει χώρος για οτιδήποτε άλλο: Σαν ήχος σφυριχτός, σαν δυνατός βόμβος, σαν λάμψη από ατέλειωτα φανάρια τη νύχτα, σαν ταξίδι στο αστρικό σμήνος για να ξεφύγεις απ'ότι σε απασχολεί.
Κι εσύ θα το βάζεις ξανά και ξανά, χωρίς να ακούς τίποτα συγκεκριμένο να σου υποβάλλει ιδέες και να εκβιάζει συναισθήματα, απλά για να χαθείς ανάμεσα σε κάτι γνώριμο και ζεστό για να σε προστατεύει, κι άγνωστο για να μην σε κρατάει στο έδαφος που σε καίει. He retains a cult of fans, similar in certain respects to Peter Banks of Yes (another guitar player who quit an art-rock band at a critical early juncture in their history), but recording more frequently. He also writes a considerable amount of music for television and movies, and remains a guitarist of supreme skill and confidence, steeped in classical, pre-Baroque, and folk influences, able to record entire albums featuring only his acoustic instrument. Phillips' skills on the keyboard, principally synthesizer and Mellotron, are more limited, and were never exploited within a group context, but his studio recordings reveal a distinctive character to his compositions on those instruments as well. Bruce Eder, AMG.