Wednesday, September 26, 2018

Jon Lord : Sarabande 1975

John Douglas Lord (9 June 1941 – 16 July 2012) was an English composer, pianist, and Hammond organ player known for his pioneering work in fusing rock with classical or baroque forms, especially with Deep Purple, as well as Whitesnake, Paice Ashton Lord. 

He and drummer Ian Paice were the only continuous presence in the band during the period from 1968 to 1976, and also from when it was reestablished in 1984 until Lord's retirement from Deep Purple in 2002.

In early Deep Purple recordings, Lord had appeared to be the leader of the band. Despite the cover songs "Hush" and "Kentucky Woman" becoming hits in North America, Deep Purple never made chart success in the UK until the Concerto for Group and Orchestra album (1970). Lord's willingness later to play many of the key rhythm parts gave Blackmore the freedom to let loose both live and on record.
On Deep Purple's second and third albums, Lord began indulging his ambition to fuse rock with classical music.

Purple began work on Deep Purple in Rock, released by their new label Harvest in 1970 and now recognised as one of hard rock's key early works. Lord and Blackmore competed to out-dazzle each Ian Gillan said that Lord provided the idea on the main organ riff for "Child in Time" although the riff was also based on It's a Beautiful Day's 1969 psychedelic hit song "Bombay Calling". Lord's experimental solo on "Hard Lovin' Man" (complete with police-siren interpolation) from this album was his personal favourite among his Deep Purple studio performances.

Deep Purple released another six studio albums between 1971 (Fireball) and 1975 (Come Taste the Band). Gillan and Glover left in 1973 and Blackmore in 1975, and the band disintegrated in 1976.



Sarabande is the second solo album by Jon Lord recorded in September 1975 near Dusseldorf (Germany). The orchestra was conducted by Eberhard Schoener.
The complete Sarabande suite was premiered in live performance in Budapest on 18 September 2010 and later in Sofia on (30 October) and Essen (15 November). 

Lord amended the 1975 orchestrations, and also orchestrated Aria, which was played on piano and synthesizers on the recording, and Caprice which was simply a group performance on record. 'Finale' was made-over to allow the ‘parade of themes’ section -which was done with tape-loops on the recording- to be played live.

( AllMusic Review by Richie Unterberger

As Lord wrote in the liner notes, on this classical-rock fusion album, recorded in Deep Purple's dying days, "The theme behind the music on this album is that of a baroque dance suite; a form of music which was brought to its highest level by Bach. The title of each track is the name of a dance used in one of these dance suites, and I have tried to use the same tempo and feel as an original Sarabande, Gigue etc.

" The wholly instrumental work includes both some purely orchestral/symphonic passages and some fusiony rock chunks, as well as parts where the two forms merge to some extent.

Among the rock section, Lord's keyboards are supported by ex-Spencer Davis Group drummer Pete York and a pre-Police Andy Summers on guitar. German composer and conductor Eberhard Schoener conducts the Philharmonica Hungarica Orchestra. The 1999 CD reissue (Purple 305) has extensive historical liner notes.)

Released : 1976
Recorded : 3–6 September 1975
Genre :    Progressive rock, classical, jazz fusion, symphonic rock
Label :    Purple Records
Producer : Jon Lord and Martin Birch

Track listing

01.  Fantasia – 3:30
02.  Sarabande – 7:20
03.  Aria – 3:42
04.  Gigue – 11:06
05.  Bouree – 11:00
06.  Pavane – 7:35
07.  Caprice – 3:12
08.  Finale – 2:03


    Jon Lord - Hammond organ, piano, clavinet synthesizers
    Andy Summers - Guitar
    Paul Karass - Bass
    Pete York - Drums
    Mark Nauseef - Percussion
    The Philharmonia Hungarica directed by Eberhard Schoener

                                                             Flac : Size 301 MB

Thursday, September 20, 2018

Plan 9 : Keep Yoyr Cools And Read The Rules 1985

Plan 9 is an American neo-psychedelic band from Rhode Island formed in 1979.
The group was named for the 1950s science fiction film Plan 9 from Outer Space.

Featuring four guitars and a sound straight from those psychedelic '60s, Rhode Island's Plan 9 dealt with little except period covers on their first album, 1982's Frustration. The group added a batch of originals on

Plan 9 started big playing their first show at a Sire Records showcase in New York City and never really

As the ‘90s approached, like their lineup Plan 9’s sound expanded to include elements of free jazz, further tripping things out.
Whether it was a concession to adulthood, or just that it was financially impossible to break even with a band that could at a given time have up to seven or eight members, Plan 9 became prone to hibernating for prolonged stretches since the end of the century.

Plan 9 may only do a show every few years, but their legend continues to grow. It just so happens that Plan 9 were at work concocting a new record when the Rhode Island Music Hall of Fame induction came down the pipe.

Plan 9 interview with Deborah DeMarco

It's Psychedelic Baby

1. When was Plan 9 born and why the name Plan 9?

Plan 9 is actually a really bad movie, you may have seen.  it's called Plan 9 From outer Space, by Ed Wood.  It features an odd mix of characters...when we took the name, noone really knew about that movie, and we were an odd mix.

2. How do you remember some of the early sessions you had?

I recall some fearless New York, a battle of the garage bands with the Chesterfield Kings, Slickee Boys, Smithereens, Zantees, Unknowns, Fleshtones, Fuzztones and later the Mad Violets.

3. Frustration is your first LP from 1982. Would you like to share some memories about it?

the song was written by William Hay (go away, black bear, go away) and Greg Shaw thought it would make a good extended side.  He was right.  The maze, incidently, has no solution, hence  frustration.

4. Next year you released Dealing With the Dead. The album is really amazing! All the songs are original except great version of Human Beinz song.

Yah, Keep On Pushin'..Mike Ripa sang...he played a Burns Bison and kept a lit cigarette in the headstock, always.  That album was scary to produce, and we were at Trod Nossell for a while with it.  We kept recording songs we had been working n for about a year or maybe two. There were many tracks to mix and some of them ended up going to Europe for Patrick Mathe's New Rose label.  Then we combined everything and rereleased all of those tracks together. Rick Sloane did some new artwork for the Criswell Predicts reissue.

5. After Dealing With the Dead you released several albums like Keep Your Cool and Read the Rules, Live - I've Just Killed a Man I Don't Want to See Any Meat, Sea Hunt and Ham and Sam Jammin'. Would you like to tell me something about this releases?

The Live LP you mention was recorded at a number of East Coast venues, and then edited together.  We owed Midnight an LP, as a contractual that allowed us to move along. We wanted to work with the Enigma people. We released 3 LPs and and an EP with them in 4 years.  We loved working in San Marcos Texas at The Fire Station, owned by Doug Sahm.  Those Sea Hunt sessions took about 3 weeks, and we had these caterpillars take up residency on our truck, sorta like Body Snatchers.  Keep Your Cool was recorded at Trod Nossell. We love the Street Of Painted Lips jam on that LP.

6. I always liked that dark zombie atmosphere you combinated with psychedelic sounds. How did you get this kind of sound out?

Layers and layers of guitars,  vox organ and reverb.

7. If we go back a bit. Since I'm a huge underground psych fan, I would like to ask what are some of the less known psych albums that you love?

The bands that influenced us early on are no longer considered lesser known...but the early Texas punk records are favorites still, and certain west coast bands Tripsichord, Mad River, Love, Spirit..and NW favorites the Sonics, hippie commune records...MC5, Litter of and of course The Painted Ship..


    Eric Stumpo
    Debora D
    John DeVault
    Harry Keithline
    Mike Meehan (1979 -1984)
    Alex Nagle
    John Florence
    Brian Thomas (1985)
    Brent Hosier (1985-86)
    Evan Laboissionniere
    Steve Anderson



01. That's Life     5:44
02. Poor Boy     4:09
03. The Beast Was An Old Tale     3:33
04. For Hillary     3:03
05. Machines     3:17
06. Face In The Box     1:25


07. 11th Hour     2:09
08. Street Of Painted Lips     6:54
09. King Nine Will Not Return     4:09
10. Keep Your Cool     3:36
11. Hot Day     4:53

Label : Enigma Records  VG 50169, Virgin  VG 50169
Format : Vinyl, LP
Country : U.S.A
Made in : Greece
Release : 1985
Genre : Rock
Style : Garage Rock, Psychedelic Rock 

Monday, September 10, 2018

Spiritualized : Ladies and Gentlemen We Are Floating in Space 1997

Spiritualized are an English space rock band formed in 1990 in Rugby, Warwickshire by Jason Pierce (often known as J. Spaceman), formerly of Spacemen 3. The membership of Spiritualized has changed from album to album, with Pierce—who writes, composes and sings all of the band's material—being the only constant member.

Spiritualized have released seven studio albums. The best known and most critically acclaimed of these is 1997's Ladies and Gentlemen We Are Floating in Space, which NME magazine named as their Album of the Year.
Following a breakdown in relations between Spacemen 3 co-frontmen Peter Kember and Jason Pierce, the group's bassist Will Carruthers, drummer Jonny Mattock, and guitarist Mark Refoy were asked by Pierce to form a new group alongside local friend Steve Evans, subsequently calling themselves Spiritualized. The band

took their name from an adaptation of the text on the back label of a bottle of Pernod.
"Ladies and Gentlemen We Are Floating in Space" is the third studio album by English space rock band Spiritualized, released on 16 June 1997. The album features guest appearances from the Balanescu Quartet, The London Community Gospel Choir and Dr. John.

( Spiritualized's third collection of hypnotic headphone symphonies is their most brilliant and accessible to date.
Largely forsaking the drones and minimalistic, repetitive riffs which have characterized his work since the halcyon days of Spacemen 3, Jason Pierce re-focuses here and spins off into myriad new directions; in a sense, Ladies and Gentlemen We Are Floating in Space, with its majestic, Spector-like glow, is his classic rock album.

"Come Together" and the blistering "Electricity" are his most edgy, straightforward rockers in eons, while the stunning "I Think I'm in Love" settles into a divided-psyche call-and-response R&B groove, and the closing "Cop Shoot Cop" (with guest Dr. John) locks into a voodoo blues trance.

Lyrically, Pierce is at his most open and honest: The record is a heartfelt confessional of love and loss, with redemption found only in the form of drugs -- designed, no less, to look like a prescription pharmaceutical package, Ladies and Gentlemen is pointedly explicit in its description of drug use as a means of killing the pain on track after track.

Conversely, never before have the literal implications of the name "Spiritualized" been explored in such earnest detail -- the London Community Gospel Choir appears prominently on a number of songs, while another bears the title "No God, Only Religion," pushing the music even further toward the kind of cosmic gospel transcendence it craves.

A masterpiece.

 AllMusic Review by Jason Ankeny )


01."Ladies and Gentlemen We Are Floating in Space (I Can't Help Falling in Love)"    3:54
02."Come Together"         4:40
03."I Think I'm in Love"    8:10
04."All of My Thoughts"         4:36
05."Stay with Me"         5:08
06."Electricity"         3:45
07."Home of the Brave"         2:35
08."The Individual"         4:02
09."Broken Heart"         6:38
10."No God Only Religion"    4:21
11."Cool Waves"                 5:06
12."Cop Shoot Cop…"         17:00

Total length:    69:41

Label : Dedicated – DEDCD 034
Format : CD, Album
Country : UK
Released : 16 Jun 1997
Genre : Electronic, Rock
Style : Psychedelic Rock, Space Rock

Monday, September 03, 2018

Radio Birdman 1981 ( 2005 remastered reissue BONUS CD )

Radio Birdman was one of the first Australian independent bands to carry the punk label, along with the Saints. They were formed by Deniz Tek and Rob Younger in Sydney in 1974.The group influenced the work of many successful, mainstream bands, and are now considered instrumental in Australia's musical growth .

Deniz Tek and Rob Younger formed Radio Birdman in mid-1974 in Sydney, having recently left their bands TV Jones and the Rats respectively. The pair sought to begin a band that would challenge the commercial mainstream and be completely uncompromising. They recruited classical keyboard player Philip "Pip" Hoyle, drummer Ron Keeley and bassist Carl Rorke. The band took their name from a misheard lyric from the Stooges' song "1970" (the actual lyric is "radio burnin'").

After being rejected many times from various venues, and having resorted to putting on its own concerts in rented garages and tiny community halls, by mid 1975 Radio Birdman found an upstairs room at the Oxford Tavern in Taylor Square, Sydney. Soon, a small but growing subculture grew around Radio Birdman. This
coincided with the beginnings of the Sydney punk scene.After unsuccessfully trying several studios, Radio Birdman found a supportive recording milieu with the help of Rock Australia Magazine editor, Anthony O'Grady. They recorded an EP, Burn My Eye. and their first album Radios Appear, produced by John L Sayers and Charles Fisher at Trafalgar Studios in Annandale.

While Radios Appear (overseas version) remains the full-fledged classic by Radio Birdman, the reissue of Living Eyes shows that it was damn near as good as the first one, and maybe a bit more original.

Living Eyes was the second studio album released by Sydney, Australia punk-rock band Radio Birdman. It was the last recorded album by the band as they split up shortly after it was recorded in 1978.The album was recorded over a three-week period at the Rockfield Studios in Waleswhilst the band was on its first overseas tour, supporting the Flamin' Groovies around Britain and Europe.

Fully loaded with classic songs that inspired several generations of Australian rockers, Living Eyes is an album that has benefited greatly from modern technology as well as a little luck. Recorded at the legendary Rockfield Studios in Wales when the band went to Europe to tour with the Flamin' Groovies (their first shows outside Australia), the original master tapes disappeared before the album was released.
The band then broke up and Living Eyes ended up being mastered from a cassette. While no one really complained about the sound quality at the time, it wasn't all it could've been.
Flash forward to the '90s and the master tapes are found on a dusty shelf at Rockfield. The band bakes them up and remixes, remasters, and re-sequences the album. It is now a total monster, screaming out of your speakers with intent to do damage.

From the time Chris Masuak's stun guitar comes in at the beginning of "Hanging On," it is apparent that this is not your big brother's Living Eyes. The sound is deeper by degrees. The songs remain superb. "Crying Sun" and "Breaks My Heart" were both made classic by the New Race but rock in a slightly more tempered way here.

"More Fun" is an upbeat little punk-surf tune while "Smith & Wesson Blues" is truly chilling.
Sample lyric: "You're never alone with a Smith & Wesson, baby...." There are plenty of references to the Ann Arbor, MI, area where guitarist/songwriter Deniz Tek grew up, particularly "I-94," which was covered on the Dodge Main disc and has even inspired a website dedicated to Detroit/Australian rock & roll.

Living Eyes, unlike its predecessor, doesn't have any "there's an MC5 riff" moments. In fact, one of the four bonus tracks, "Didn't Tell the Man," finds guitarist Chris Masuak heavily influenced by the Flamin' Groovies, and it is simply a gorgeous, twangy rock song. Singer Rob Younger is as ferocious as ever, a true original to the hardcore, and Deniz Tek solidifies his place as father of real Australian rock & roll.

Radio Birdman – Living Eyes ( 2005 remastered reissue  BONUS CD )
Label : Red Eye Records – 529 441 2, Red Eye Records – RED CD 53
Format : CD, Album, Reissue, Remastered
Released : 1981
Recorded : 1978
Country : Australia
Genre : Rock
Style : Garage Rock, Punk 

    Artwork – Ray Maras
    Bass – Warwick Gilbert
    Drums – Ron Keeley
    Guitar, Backing Vocals – Chris Masuak, Deniz Tek
    Lead Vocals – Rob Younger
    Organ, Piano – Pip Hoyle
    Producer – Deniz Tek
    Written-By – Deniz Tek


Studio EPs/albums

Burn My Eye EP Trafalgar Records     1976
Radios Appear LP Trafalgar Records     1977
Radios Appear LP (Sire)     1978
Living Eyes LP     1981
Zeno Beach CD and LP     2006

Live albums

More Fun! (ep)     1988
Ritualism     1996
Live In Texas     2011
Live at Paddington Town Hall     2015


01. Hanging On     3:38
02. 455 SD     2:45
03. Do The Movin' Change 2:28
04. T.P.B.R. Combo     2:12
05. I 94     2:49
06. Iskender Time     1:49
07. Burn My Eye '78     1:35
08. Alien Skies     3:15
09. Time To Fall     3:11
10. Smith and Wesson Blues 2:55
11. Crying Sun     2:56
12. Breaks My Heart     3:02
13. More Fun     2:00
14. Alone In The Endzone 2:07
15. Dark Surprise     3:29
16. Didn't Tell The Man 3:12
17. Death By The Gun     3:05
18. Dark Surprise     3:56
19. Breaks My Heart     2:54
20. More Fun     2:00

Πέμπτη 25 Οκτωβρίου, Fuzz Live Music Club (Πειραιώς 209 ΠατριάρχουΙωακείμ 1, Ταύρος, Αθήνα, 210 3450817

Οι Radio Birdman, ένα από τα σπουδαιότερα και επιδραστικότερα groups της καταπληκτικής Αυστραλέζικης σκηνής των 70s-80s, επιστρέφουν στην Αθήνα, 11 χρόνια μετά την τελευταία τους επίσκεψη στα μέρη μας. Ο Deniz Tek (κιθάρα, φωνή), ο Rob Younger (φωνή), ο Pip Hoyle (πλήκτρα), μαζί με τους Jim Dickson (Survivors, Barracudas, The New Christs), Dave Kettley (The New Christs), Nick Rieth (The Celibate Rifles, The Visitors), έρχονται για να μας ξαναθυμίσουν για ποιο λόγο θεωρούνται πρωτοπόροι της high energy rock'n'roll σκηνής, την Πέμπτη 25 Οκτωβρίου, στο Fuzz Live Music Club.

Η προπώληση ξεκινάει προς 24 ευρώ και για περιορισμένο αριθμό εισιτηρίων. Μετά την εξάντλησή τους, θα συνεχιστεί στα 27 ευρώ. Στο ταμείο, η τιμή θα είναι 30 ευρώ.