Born 27-Dec-1943 in Fulham, London (UK). Peter Sinfield is best known as a lyricist for early incarnations of King Crimson and later, Emerson, Lake & Palmer and Premiata Forneria Marconi, he also produced a number of albums, including King Crimson's "In The Court Of The Crimson King", "In The Wake Of Poseidon", "Lizard", "Islands" and Roxy Music's self-titled debut among others.
Глыба Британского прог рока 70-х.жаль мало самостоятельно записал
1979-Brian Eno & Pete Sinfield – Robert Sheckley's In A Land Of Clear Colors
Capability Brown had and still have a cult following in UK music history as a "progressive" band, ultimately based on an outstanding piece from their second album, Voice. But largely their range covered mainstream pop music, treated in an "arty", alternative fashion. The band was a six-piece in which everyone sang and played instruments. The line-up consisted of Tony Ferguson (guitar, bass), Dave Nevin (keyboards, guitar, bass), Kenny Rowe (bass, percussion), Grahame White (guitar, lute, balalaika, keyboards), Joe Williams (percussion) and Roger Willis (drums, keyboards).
Ferguson and Nevin wrote the majority of the band's material, and the band also excelled in covers of obscure material (Rare Bird's Beautiful Scarlet and Redman, Argent's Liar, Affinity's I Am And So Are You and Steely Dan's Midnight Cruiser).
Capability Brown's forte was vocalizing. Together they sounded not unlike The Association: a massed choir of voices, ranging from baritone to high clean falsettos. Their first album, From Scratch, which included Liar, was average and unexceptional. The second album Voice, released in 1973, was their claim to fame, incorporating an over-20-minute richly melodic piece called Circumstances (In Love, Past, Present, Future Meet) - a stunning piece of music incorporating keyboards, a cappela voices, synthesizers and mellotrons, solo vocals, delicate harpsichord-like acoustic guitar sections, powerful electric guitar chords and massed vocal choirs.
The band did not manage to record again after this, and in 1974 Tony, Roger and Graham were recruited by friend and Christie member Roger Flavell to join his group, Christie for a tour of South America. Thus Capability Brown was no more. Progarchives.
Owen-B (named after the band's black and orange 1954 Mercury), has an interesting, if rather convoluted background.
Born and raised in Mansfield, Ohio singer / guitarist Terry Van Auker and multi-instrumentalist Tom Zinser got their starts playing in a number of local bands, including Tommy Z And The Sleepers. By 1967, the two were playing in an outfit known as Wildlife. Popular on the local club scene, an audition for Columbia went well, but the company's interest was contingent on the group agreeing to dump their then lead singer Lou Basso. Reluctantly, the rest of the band agreed to the personnel change, subsequently recording a number of demos for the label. The partnership was brief, resulting in the release of one instantly obscure single: 'Time Will Tell' b/w 'Hard Hard Year' (Columbia catalog number 4-44369).
Back on the club circuit, 1969 saw another personnel change with former Crazy Elephant / Music Explosion drummer Bob Tousignant (aka Bob Avery) signing on. Another name change followed, with Owen-B emerging.
Unable to interest another major label in their material, the group elected to go the self-issued route. Consequently, 1970's cleverly-titled "Owen-B" was released on their own Ohio-based Mus-i-col label. Self-produced, anyone expecting to hear another set of mid-1960s blue-eyed soul / garage was probably somewhat disappointed by the album. Similarly, anyone buying into dealer hype claiming this was a set of mind melting psych was going to be disappointed. Those comments aren't meant to be taken as criticisms since the collection is quite commercial and somewhat of a lost classic. Featuring ten band-penned originals, musically the set bounced all over the spectrum, including stabs at stoner acoustic folk ('All We Are Asking'), pop ('My Friends'), country-rock ('Weekend'), and conventional hard rock ('Share'). Normally, something as diverse wouldn't hold up particularly well, but when packaged with killer melodies, great harmony vocals, some first-rate guitar (courtesy of Terry Van Auker) and a real sense of fun and enjoyment you ended up with one of the rare exceptions to the rule. Personal favourites include 'Leavin' It All Up To You' and 'Out On My Own' (which add a bit of progressive complexity to the mix). Easy to see why folks hype the album, even if it isn't for the right reasons. Shame they didn't record a follow up set.
Atoll — французская рок-группа, игравшая в стиле симфонический прогрессивный рок, образованная гитаристами Люком Серра и Жаном Люком Тилло в 1972 году. Одна из самых известных групп жанра прогрессивный рок во Франции. Группа просуществовала семь лет, с 1972 по 1979 год, в ходе которых было записано четыре студийных долгоиграющих пластинки, после чего группа распалась. В 1988 году была осуществлена попытка возродить коллектив в обновлённом составе и было выпущено 2 альбома. Однако группа уже не пользовалась столь большой популярностью, как в 1970-е годы, и распалась окончательно.
В 1972 году команду основали двое друзей-гитаристов: Люк Серра и Жан Люк Тилло, которые родились и выросли в небольшом городе Меца на северо-востоке Франции. К группе присоединился Алэйн Гоццо, а ко времени записи первого диска — вокалист Андре Бальзар и клавишник Мишель Тайлле. В ноябре 1974 года вышла дебютная пластинка «Musiciens Magiciens», которую критики охарактеризовали как экспрессивную работу, насыщенную клавишным звуком и непохожими для прогрессивного рока гитарными соло. В дебютной работе Жан Люк Тилло переквалифицировался на бас-гитару. К записи были добавлены флейта и саксофон. Несмотря на нелестные отзывы критиков, Atoll сразу нашли своих поклонников не только во Франции, но и за рубежом, чему немало поспособствовали гастроли группы в Великобритании.
Второй лонгплей, «L’Araignee-Mal», на порядок отличался от первого, на котором заметно выражен уклон в сторону фьюжн. Этому способствовало и изменение состава за счёт привлечения гитариста Кристиана Бейа, заменившего Люка Серру, и скрипача Ришара Обера.
Через год из группы ушёл скрипач, а следующий диск «Tertio» вышел целиком в жанре симфо-прог. Пристальное внимание всё так же уделялось инструментальным проигрышам с редкими вокальными партиями. Стоит упомянуть имена Лизы Делюкс и Стеллы Вандер из группы Magma, внесших определенный вклад в музыку альбома.
К концу 70-х спрос на прогрессивный рок заметно снизился, поэтому большинству групп, играющих в этом жанре, пришлось упрощать музыку. Набор коротких песен состоял в основном из баллад и поп-рока. Диск был жестоко раскритикован и плохо продавался. Сами члены группы чувствовали дискомфорт, поскольку руководство их тогдашнего лейбла Eurodisk настаивало на продолжении работы в жанре поп-рок. Состав команды регулярно менялся. В итоге к концу 80-х в Atoll остались лишь Гоццо и Тайлле. В результате всех этих изменений Atoll прекратили жизнедеятельность до 89-го, когда Кристиан Бейа попытался дать команде вторую жизнь. Плодом жизнедеятельности группы после долгого молчания стали два студийных и один концертный альбом, которые были сыграны в жанре неопрогрессивный рок и не имели ничего общего с группой Atoll середины 70-х.
This trio led by Claude Engel made a legendary album . Just 1,000 copies were pressed in 1969. Side one had 5 short songs with English lyrics, ranging from heavy progressive blues-rock to largely acoustic songs (comparable to Cream and Blind Faith). Claude Engel's voice is also quite similar to Jack Bruce's. The other side had a long live track named "Voyelles", based on a poem by Arthur Rimbaud, including a recitation. This is the primal scream of "zeuhl" rock, in a very raw and rudimentary form that quite a few will interpret as vaguely planned three man jamming. Overall the album is undoubtedly historical, but not entirely satisfying for all that.
Saft was a progressive rock band from Bergen, Norway, active in the early 70s. Brothers Ove Thue and Trygve Thue were the backbone of the band. Saft's largest hit was People in Motion, which beat Slade to Norway's first victory in the radio-show "European Pop Jury". Norwegian lyrics and elements of folk music were characteristics of Saft's varied output.
The Other One3:09
She Made Me Cry3:18
The World's Truth3:04
The Beauty Of Your Soul4:04
My Mistake3:10
Dead Faces2:00
In My Way3:27
I Never Did Before (Mr. X)3:06
It's Gonna Be Hard (Mr. ABC)2:55
Your Mother Really Doesn't Appreciate Too Much Our Frienship, But I Don't Mind2:43
Angel's Spring2:56
The King's Walk4:42 1973
Интересная Бразильская команда
Formed in 1969 in São Paulo, SP, Brazil, the Pholhas was named as a suggestion from a friend of the members Paulo Fernandes, Oswaldo Malagutti, Helio Santisteban and Wagner Benatti during their first rehearsal.
The band used to play at dancing clubs in the city in order to achieve popularity. And it happened quickly.
The first album was recorded in 1972 by RCA Records, all sung in English in a time when this was not common in Brazil, where the language spoken is Portuguese.
The album DEAD FACES reached the # 1 position on the charts just 3 months after its launching, with 450,000 copies sold. This album won Pholhas' first gold album.
Then, the singles "She Made Me Cry", "I Never Did Before" and "Forever" sold over 300,000 copies and consecrated the band as a phenomenon on the national scene. Due to all this impact, RCA decided to release DEAD FACES also in Spain and South America in 1975, with the title HOJAS. It was the second gold album of the band.
In 1977, for contractual and strong pressure from RCA company, the band recorded the album THE SOUND OF DISCOTHEQUE containing covers of the main successes of Disco Music. It sold over 150,000 copies. In this same year, Helio Santisteban left the band. In his place entered keyboardist Marinho Testoni.
In 1977, a radical change of style ocurred. PHOLHAS decide to release a progressive rock album singing in Portuguese.
Caledonia3:42
Ritual Feast Of The Libido3:25
Organic Sundown7:13
Fantasy7:15
Crow Of The Black Tree9:45
Genitalia2:42
Toth, Scribe I10:33
First World Of Bronze2:32 1969
Austin Grasmere and the late Brian Elliot had written a string of bubble gum hits when they approached ESP to produce an LP that would present their original creative ideas,
far removed from the formulas of the market place.
They said that they had a Connecticut tribe with which they would bring to fruition the ideas that they needed to express.
ESP gave them Onno Scholtze, and for three days they labored to fulfill their dream.
There actually was a Connecticut tribe of sorts, although it consisted not of Indians but of their close Anglo friends, with several children included.
They can all be heard on the epic CALEDONIA.
A1I'll See You Through3:46
A2Of No Concern3:00
A3When Your Brother3:17
A4Motherly Comfort3:15
A5A Suite From The Court Jester9:29
B1Speak To Me Lady6:28
B2Child Child (Plus Tag)4:06
B3It's Only Love You Know4:27
B4Different Roads7:11
This album has conspicuously little cache for a record as good as it is. Known primarily only among collectors, it has been a delightful little secret that really deserves to be spread around. I call it progressive flavored A.O.R., with a mix of soft and hard material, good guitar, organ, and great vocal harmony. To me, fully 8 of the 10 tracks presented rate pretty good or better, with “Breath Deep” my personal fave. Grab this one while reasonably priced copies aren’t too hard to find. (tymeshifter RYM)
Jake Jones was originally from St. Louis, Missouri and released two albums on Kapp Records in the early seventies. No one in the group was actually named "Jake Jones".
I recently heard from Phil Jost of Jake Jones. He supplied the following update about the group.
Chuck Sabatino had a stroke while playing for Mike MacDonald in Los Angeles in 1994. A benefit was put on at Mississippi nights in 1994 for Chuck by many of his friends and former bandmates. He passed away in 1996 in Belleville, Illinois where his family had moved back to.
Joe Marshall still lives in the St. Louis Area and plays frequently.
I moved to LA in 1978 and became assistant to Producer/Engineer Ken Scott. (Superertramp, David Bowie, Elton John) I had the pleasure to work on albums both as a player and or engenering & production with the Dixie Dreggs & Steve Morris, Stanley Clarke, Jeff Beck, Kansas, Supertramp and many orthers including Missing Persons. I was a member in that group briefly.
I began writing with David Palmer who had been in Steely Dan as a singer. He also wrote the lyrics to the "Jazzman" album by Carole King. We had a tune in "Fast Times At Ridgemont High" and recorded an album for Warner Bros with Eagles Producer Bill Sczymick.
I live in Belleville, Illinois and still compose music including themes for audio visual and broadcast.
In 1998 I released a CD & Video: "Live at the Charlotte Convention Center" which was recorded in April 1997 while opening for the Atlanta Rhythm section there.
For other information or to inquire about how to purchase one of the CD's or Videos, I can be contacted at: philjost@aol.com
ALSO there was a 3rd, un-released album that Jake Jones recorded in 1973.
I also recently heard from Joe Marshall of Jake Jones. He supplied the following information about the group.
Thanks for the information about our band, Jake Jones - I can correct a few details and provide some updated info:
*** Chuck Sabatino - yes, he died on his 45th birthday, in 1996, after a stroke in 1994 that left him paralyzed - he was due to leave for Portugal when he was stricken.
*** Joe Marshall - actually, I never owned the nightclub, Timbers, but I did play there between 1984 and 1996 - I now work at St. Louis Music, and still play nearly every weekend, with a group called "The Sloppy Joes", as well as with a weddiing band called "Sundance and Brass".
*** James Ovid Bilderback - you have the situation right, in that he had a drug problem that he finally dealt with - good luck to him.
*** Mike Krenski - wrote "The Cheater" in 1965 for Bob Kuban and the In-Men - still flies planes and teaches would-be pilots - worked for McDonnell Douglas/Boeing, last I heard.
*** Phil Jost - actually I see him nearly every day, as he works at St. Louis Music with me - Phil is now the product manager for Crate Pro Audio - he still plays occasionally with his sisters in a group named "Sibling Rivalry".
I know there's a lot I'm leaving out, but thanks for the interest in our band - I have a videotape of a studio session from May of 1972, with Chuck on bass and Barney Biver on drums - I can't believe how young we were - the arrangements were quite complex, as I guess we did a lot of practicing as well as playing at that time.
One last fact - our last job was in 1973, opening act for the Eagles, and Dan Fogelberg, in Springfield, Illinois.
Thanks to Michael Kladky for supplying the following information about the members of Jake Jones. Chuck Sabatino (flute,vocals) died in L.A. just a few years ago. He was playing with Michael McDonald (Doobie Bros.). Chuck grew up with Michael, they used to skip school together. (McCluer High School in St. Louis, Missouri). Joey Marshall (guitar) used to own a bar down on Laclede's Landing (St. Louis, Missouri) called "Timbers". He also played in the house band there. (He still might?/!) Ovid (drums) quit(??) the band (alcohol and drug problem). He later found Jesus, and joined a Jesus Freak Jazz band. Mike Krenski (bass) quit the band shortly after their first album. (Chuck took over the bass) He was a record producer in L.A. Phil Jost (keyboards) whereabouts are currently unknown. When Jake Jones broke up, they did form another band called "Full Moon Consort" (and released one album) in 1975. They were playing in the St. Louis area for quite a bit..
A110 W Skali Beauforta
A2Wiosenna Miłość
A3Jestem Do Przodu
A4Świecą Gwiazdy Świecą
A5Coś
A6Piosenka O Niczym
A7Nie Przejdziemy Do Historii
A8Sprawię Sobie Niespodziankę
B1Spotkanie Z Diabłem
B2Stary Walc Przypomi Ci
B3Bierz Życie Jakie Jest
B4Już Nie Czas
B5Fatalny Dzień
B6Raz Na Tysiąc Nocy
B7Port 1971
A1Uncle Tom3:22
A2Ask Me3:17
A3Joe Barrow2:55
A4Winter Rose2:34
A5Strangers From The Sky8:15
B1Come And Have A Good Time2:30
B2In The Heat Of The Afternoon2:35
B4I've Been Thinking2:34
B5Wandering3:57
B6Sunny Old Days2:37
B7People Of The World3:50 1974
The colour of Sage , most likely purple with streaks of blue, well that’s if you’ve ever listened to Paul Brett’s Sage. The multi-colored juggled history of Paul Brett most likely started with the group SW4 headed by future Blonde On Blonde Ralph Denyar. Paul would also replace Jimmy Page in Neil Christian & The Crusaders. A brief entry into the Arthur Brown Union yielded their first single, the Pete Townshend produced “Devil’s Grip” with Ronnie Wood on bass.
After brief excursions in 1967 with the Overlanders and Warren Davis Monday Band, Paul would enjoy sessions with the Dave Terry Band which later evolved into Elmer Gantry Band. The age of psychedelia had provided enriched pathways for the gifted Brett as he took his riffs to Tintern Abbey and springboarded from their into the melting pot of Elmer Gantry’s second album Ride A Hustler’s Dream which pushed out an urgent version of Blind Willie McTell’s “Statesboro Blues”. The roads were many and the options countless but a distinct destiny drew Paul into the Soulmates where he met the gifted twelve string guitarist, ex Levee Breakers Johnny Joyce who at that stage had just left Velvet Opera. The group Friday’s Chylde had just metamorphosed into Fire and churned out a surging psyche single called “Father’s Name Was Dad” with future Strawb Dave Lambert on lead. Paul would enter for the 1970 conceptual Magic Shoemaker, acknowledged as a masterpiece in the same spirit as the Small Faces’ Ogdens' Nut Gone Flake.
The Brett sessions Paul’s sessions were scattered and endless as he persued the majestic chord that David once held in his Solomon wisdom. Amongst the chosen and frozen were poet Roy Harper’s unforgettable Sophisticated Beggar, Al Stewart’s Zero She Flies alongside Jimmy Page ..the “Volcano” and “Mary Jane” singles honed from Elmar Gantry’s debut which did not include Paul as an official member. Paul would further his sessions with Strawbs on Dragonfly (lead guitar on "The Vision Of The Lady Of The Lake") and various singles included on Classic Strawbs. To add to this magnificent database Paul Brett also filled in the gaps with The Ivy League, The Flower Pot Men, Status Quo, the prolific Barclay James Harvest, ex Strawbs - Hudson & Ford, Max Bygraves, The Cyril Stapleton Orchestra, Lonnie Donegan and folk stalwart Ralph McTell, known for his hit “Streets Of London”.
The first coming of Sage ignited when ex Fire lighters Dick Dufall and percussionist ,vocalist Bob Voice joined lead guitarist Paul Brett to form Paul Brett's Sage with added employment of Nicky Higginbottom on flute and sax. The 1970 self titled ‘Hourglass’ debut was celebrated by the superb seven inch “Three D Mona Lisa” / “Mediterranean Lazy Heat” riddled with superb time signatures. The album was a shivering fusion of bongos , astounding acoustic and pulsing rhythms superbly enhanced by Jethro Tull arranger David Palmer.The percussive rhythms of “The Sun Died” and bass ambling “Little Aztec Prince” are the core style of this story tell album. Often not told are the superb lyrics ..”Reason For Your Asking” - .’You asked me why a flower died and why the Eastern horsemen rides, Why the silver lash of rain hides footprints in the dusty lane’ . Tolkienistic dimensions and apocalyptic visions cradle “Trophies Of War” and the severing “Warlock”. The 1971Jubilation Foundry, more of an acoustic affair and in hindsight Sage’s most established creation with it’s mature fusion of acoustic and harmonies now included ex Titus Groan Stuart Cowell as lead guitarist who later did some amazing things with Al Stewart.
Paul King who later played with Lambert in the King Earl Boogie Band played the harmonica on Jubilation. The album yielded the single “Dahlia” / “Cottage Made for Two”. A strong country element threads the album with elements of Strawbs, Magna Carta but a more definitive pick can be found in the heart sagging “I Fell So Far” and harmony filled “Tuesday Evening”. A cry from the gutter to the utter spills out of “Help Me Jesus” an eerie bluesy ballad that carries it’s message into the follow up holler “Jubilation Foundry”. By the time the 1972 Schizophrenia hit the shelves Sage were back into electric with some stirring lead fusion on “Custom Angel Man”. a psychedelic master of note. The album enlisted Dave Lambert on piano and organ. Schizophrenia also sprouts some very fast guitar and nifty riffs on “Song Of Life, “Song Of Death” and “Slow Down Man” with Rod Coombes on drums. In the spirit of Jubilation’s “Tuesday Evening” those S&G harmonies reel through “Tale Of A Rainy Night”. Rob Young stepped in for the flute and oboe on the exquisite “Autumn”, a Strawb template in anybody’s book. Paul brett would later team up with ex Levee Breakers Johnny Joyce from Velvet Opera as an acoustic duo and then Cyril Stapleton Orchestra (with Dave Palmer of Jethro Tull and Bob Voice of Fire.
Paul’s awesome fretwork spills through (Bradley’s Records) “Mr.Custer“ & “Summer Driftin“ singles. From 1973 Paul’s solo albums on Bradleys Records, backed by violinist/guitarist Mike Piggott first heard with John Dummer Blues Band , Bert Janch and added multi-instrumentalist Dave Griffiths rule the roost. Further albums most likely deemed Prog or Suites wash Clock’s , Phoenix Future and Earth Birth, the latter a must. The definitive purchase must be Fretdancer by Paul and that 12-string mandarin called Johnny Joyce that even Shawn Phillips stands in awe of. Paul Brett continues to record, evolving with each recording. Sadly Johnny Joyce passed from this world to a far greater dimension.
Paul Brett (born 20 June 1947, Fulham, London) is a classic rock guitarist. He played lead guitar with Strawbs, The Overlanders, The Crazy World of Arthur Brown, Elmer Gantry’s Velvet Opera, The Velvet Opera, Tintern Abbey, Fire, Roy Harper, Al Stewart, Lonnie Donegan, and switched to twelve string guitar in the 1970s.
His first twelve string guitar suite, Earth Birth, was released on his own label, Phoenix Future and was produced by artist Ralph Steadman of Fear and Loathing fame. Critical acclaim led to Brett being signed on a four album deal with RCA Records. His K-tel Romantic Guitar album went platinum in the UK, but Brett stopped recording soon afterwards. He started recording again in 2000, with long time friend and fellow twelve string guitarist, John Joyce.
Brett wrote for music magazines Melody Maker, Sound International and International Musician and continued working in the music industry in the later part of his career. He now writes a regular column for Acoustic, a magazine specializing in acoustic guitars. Is also the Associate Editor and Features Writer for Music Maker and Live in London magazines.
