Posts Tagged ‘jethro tull’


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25 Great Moments in Rock Drumming: Barriemore Barlow, “Thick As A Brick”

Jethro Tull Thick As A Brick 25 Great Moments in Rock Drumming: Barriemore Barlow, Thick As A Brick

25 Great Moments in Rock Drumming – Day 9: Barriemore Barlow, “Thick As A Brick,” from Thick As A Brick by Jethro Tull

During Jethro Tull’s halcyon days (1972-78), Barriemore Barlow was the man behind the Tull traps, keeping time with Ian Anderson’s idiosyncratic musical visions. Barlow’s facility for playing hard rock, jazz, folk and orchestral percussion is not hyperbole but truth as evidenced on the album-length “Thick As A Brick.” This is a marathon effort from a largely forgotten talent.

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10 Great Bands and Musicians You’ve Never Heard Of

The greatest musical discoveries are always unplanned, and when I come across a great band or artist I have never heard before, I want to share my find. Here are 10 great bands and musicians you’ve probably never heard of, but you should! And there’s another band I’d like to include, but need more info. Maybe you can help?

Jimmie Spheeris Isle Of View

  1. Jimmie Spheeris – The singer/songwriter who should be mentioned with the giants. Spheeris’ career – and life – were cut short when he was killed by a drunk driver in 1984. This Youtube tribute showcases a handful of Spheeris’ top tunes and gives a sense of his range. I’m still waiting for Spheeris to receive the same reappraisal and rediscovery that Nick Drake so rightfully received a few years back. Get Isle Of View and The Dragon Is Dancing ASAP.Todd Hobin Band
  2. Todd Hobin Band – Upstate New York was home turf for the Todd Hobin Band, which built a steady following in the 1970s playing upbeat rock with a tinge of country. I first discovered Hobin through the 1978 Todd Hobin Band album. Long before  power ballads were twisted into parody by “metal” bands looking for a single, Hobin wrote one of the great ones, “Everybody’s Got A Song To Sell.”cherokee 300x300 10 Great Bands and Musicians Youve Never Heard Of
  3. Cherokee – Cherokee’s self-titled album from 1971 is for me the great, lost country-rock record. Fronted by the three Donaldson brothers – David, George and Robert – who first made a name in the 1960s, playing as The Robbs. Cherokee enlisted the formidable talents of Chris Hillman and Sneaky Pete Kleinow for help on their one and only LP. Great grooves and playing across the platter.Ben Atkins Patchouli
  4. Ben Atkins – Atkins’ 1971 album Patchouli is notable not just for its heavily scented cover, but also a curious gatefold featuring the singer planted butt-down in an outhouse, cigarette in hand and deep in concentration(?). Backed by a cast including Barry Beckett, Donald “Duck” Dunn, Bobby Manuel, Marvell Thomas and Al Jackson Jr., Patchouli is a swampy mix of Southern R&B and soul bolstered by Atkins’ golden pipes. The spare arrangement of Jerry Puckett’s “That Brings Me Down” is superb.Michael Dinner The Great Pretender
  5. Michael Dinner – Spending a Saturday afternoon digging through musty LPs in used record shops is my idea of a good time. On such digs I’ve discovered dozens of cool records and bands that never got mainstream attention. Give me $20 and two or three hours in the bins and I’ll come back with something cool to listen to. One of my favorite ways to find new artists is to look for “associations” on the cover or sleeve. When I first came across Michael Dinner’s The Great Pretender, I saw many familiar names backing him: Linda Ronstadt, Doug Haywood, Herb Pedersen, Sneaky Pete Kleinow, Larry Knechtel, Mike Utley and Russ Kunkel. With friends like that, the album can’t help but have something to offer. Just listen to the catchy title track from Dinner’s The Great Pretender and wonder why he never made it big.Hawk African Day
  6. Hawk – “It’s dark and still in the chief’s village, protected by the mountains of the great southern regions of Africa. Drums echo through the valley, as the first fingers of light paint the sky with the fresh colours of morning. And to the day begins… And so begins the amazing title track from Hawk’s 1971 release, African Day. Hawk was a South African act from the early 1970s with a penchant for flute- and percussion-driven rock, with a sound that could only come from Africa. Imagine Thick As A Brick-era Jethro Tull meeting Islands-era King Crimson on safari. Check out African Day - available through Fresh Music, a South African music label with a terrific selection of reissues from a music-rich country.Roger Rodier Upon Velveatur
  7. Roger Rodier – Montreal’s Roger Rodier released Upon Velveatur in 1972, a nimble LP of French-Canadian folk rock that bears comparison to Vashti Bunyan and Nick Drake. Long out of print until resurrected in 2006 and capped with bonus tracks. Upon Velveatur is perfect listening for a foggy day, when there’s no chance of sunlight.FM Black Noise
  8. FM – Toronto’s FM are often lumped in with Rush and Saga as part of Canada’s progressive rock scene from the 1970s and ’80s. FM were a different animal, though, with more of a space-y approach that included electric violins, mandolin and synthesizers. Black Noise is my fave of the band’s recordings.Federal Weights And Measures Waiting In Your Backyard
  9. Federal Weights And Measures – Minneapolis’ Federal Weights And Measures released Waiting In Your Backyard on the short-lived GrooveTone label in 2000. As well, the band soon ceased to exist but Waiting should have received a better shake. It’s an atmospheric collection of alt-country and roots rock that fans of the Jayhawks, early Wilco or Drive-By Truckers will surely dig.
  10. Dave Evans – Think of the torchbearers of British-Isles fingerstyle guitar and names such as John Renbourn, Martin Carthy, Bert Jansch and Davey Graham spring to mind. Dave Evans is another who should be on that list. An astonishingly skilled acoustic guitarist who now seems shrouded in mystery. I don’t know where Evans is, if he still plays live – is alive – or has recorded anything recently, but this Youtube video of “Stagefright,” with Evans playing a guitar he made himself, sheds light on one of Britain’s true originals.

Readers, Help!

Lastly, I discovered an Australian band online several years ago called Stereomatic. I heard two songs: “Glider” and “Pelican,” both of which I would describe as lush, downer power-pop. Really gorgeous stuff, but that’s all I’ve been able to find. Stereomatic released an album titled Sandmans And Suntans in 1999 on Interstate 40 Music. The CD is out of print and there is little info about the band anywhere. If you know where I can get a copy of this disc, please let me know.

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10 Underrated Rock Drummers

Drums and drummers are the backbone of rock music, heavy metal, jazz, blues, big band and many other music genres. A rock show wouldn’t be a rock show without a drum solo, although it may be 10 minutes shorter! Rock singers and guitarists will always get the lion’s share of the fame, but take away the drummer and drum set and the song falls apart. Imagine Led Zeppelin’s “When The Levee Breaks” minus the thunderous pounding of John Bonham, or Rush’s “Tom Sawyer” without the dazzling stick work of Neil Peart. Along with those titans of the kit are dozens of other great rock drummers who deserve credit for their creativity and musical vision. Here are 10 underrated rock drummers.

Thin Lizzy Johnny The Fox

1. Brian Downey – The Thin Lizzy sound is usually attributed to the twin-guitar attack of Scott Gorham and Brian Robertson, but other “Brian” – drummer Brian Downey – almost always gets overlooked. Downey cemented the many brilliant songs written by Phil Lynott with a great drum sound and superb timing.

2. Rod D’Eath – Rory Gallagher’s live shows from the early 1970s are legendary. When he was on – which was almost always – no one could touch the Irishman for energy and charisma. Gallagher needed a band that could keep up with him, and drummer Rod D’Eath was the man swinging the sticks with a power that belied his spindly frame.

3. Bruce Crump – Molly Hatchet’s timekeeper is one of rock drumming’s most overlooked. Go back and revisit “Flirtin’ With Disaster” for a lesson on how to create drama and interest within a guitar riff and the song itself.

The Band

4. Levon Helm – The Band were so bloody loaded with talent that it’s easy to overlook how intricate and complex the arrangements were. Helm’s drumming combined an almost military-like precision with a backwoods ethos that made songs such as “King Harvest (Has Surely Come”) and “The Night They Drove Old Dixie Down” even more stirring.

5. Steve Gorman – Take the power of John Bonham and the finesse of Phil Ehart and you might get a drummer that sounds something like the Black Crowes’ Steve Gorman. Listen to his shimmering hi-hat and cowbell work on “Wiser Time.”

6. Danny Seraphine – Remember when Chicago was a cutting-edge rock band, not afraid to delve into experimental jams that lasted an album side? Seraphine’s formidable jazz chops made even the band’s most meandering cuts groove.

7. Phil Collins – Drummers already know, but once upon a time in a Genesis long, long ago, Collins was a rhythmic monster. His bandmates also discovered he could sing. Give me “Harlequin” over “Easy Lover” any day.

8. Barriemore Barlow – John Bonham called Barlow “the greatest rock drummer England ever produced.” Endlessly inventive, Barlow was the perfect percussive foil to Jethro Tull leader Ian Anderson’s songwriting.

9. Jon Hiseman – Progressive rock fans will know Hiseman as the founder of Colosseum and for his later work with guitarist Allan Holdsworth in Tempest. Hiseman’s feet and hands seem without bounds, as he flies across the kit. While Billy Cobham was making jaws drop in America, Hiseman was picking up loose teeth in Europe.

The Doors Morrison Hotel

10. John Densmore – The Doors’ drummer layed down beats almost tribal-like in their persistence and drive – cue “Touch Me,” while his angular sense of time and jazz leanings are all over Doors’ classics including “Hello I Love You” and “The Wasp (Texas Radio And The Big Beat).”

Who would you add to the list?

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The Pineapple Thief – “Tightly Unwound”

Pineapple Thief \

Tightly Unwound is the seventh studio release from England’s The Pineapple Thief and their first release for Kscope/Snapper Records.  Led by guitarist/singer/songwriter Bruce Soord, the quartet is rounded out by bassist John Sykes, drummer Keith Harrison and keyboardist Steve Kitch.  After cultivating a following over nearly ten years, the band was encouraged by Porcupine Tree frontman Steven Wilson to join with Kscope in order to bring their music to a wider audience.  Kscope, home to other artists with “post-prog” tendencies is a perfect fit for Soord and company.  Tightly Unwound is a clever amalgam of light, sometimes ornate, indie pop with lengthier pieces that build upon themselves and are obscurely structured in movements with well planned repetition of theme.  This is music for which there is little comparison, but that may actually be pushing the boundaries of a developing movement.

Unwound begins with Soord’s sweet, whispery voice and simple chords for structure on “My Debt To You.” Eventually Soord is gently plucking and strumming his guitar, with bass and keyboards subtly adding form behind Soord’s ode to past generations.  It’s an unassuming start to a record, but that is the genius of The Pineapple Thief.  If you’re not willing to delve into the sound, Soord doesn’t need you along for the ride.  This is a sentiment that he shares with some of the best prog-rock from the days of yore.  Follow Nektar or Gentle Giant or even the deep cuts on Jethro Tull’s Aqualung and you’ll discover gold that is not apparent on the surface.  Just as we’re not exactly sure what to expect of this record, Soord throws us a curveball on track two with “Shoot First.”  The guitar and bass are heavier, the drums come out to play, and the keyboards shift to something more commonly found on a backing track for The Orb.  The only constant is Soord’s mellow voice, as he’s switching back and forth between electric bash and acoustic drive.  The plot thickens.

By the third cut, I was completely hooked.  “Sinners” shows off the skills of Harrison as Soord strolls boldly into shoegazer country.  His acoustic guitar underneath a simple and effective solo is what told me that this wasn’t a lost track from Chapterhouse.  Soord’s fuzz and blur are not turned up to 11; you don’t have to lose your hearing to get what he’s on about.  And after a build up using several turns of tune and phrase on the shorter pieces, the meat of the matter is then found on the disc’s longer pieces, “Different World” and “Too Much To Lose.”  The former tops out over 10 minutes and allows Soord to expand on the elements he’s merely toyed with earlier on.  He lulls us into a state of calm with long stretches of guitar strumming and sampled, chirping birds before using his electric guitar for effect and tone variation.  The band is pushing us along in a heavier direction before everything drops out in favor of singular notes from Kitch’s piano and a lush string arrangement.  Soord’s acoustic strum then brings us back for more brilliant fills from Harrison and Soord’s splendid electric work.  His voice rises above the mix and is at its most beautiful.  Then, at over 15 minutes in length, the disc’s closer “Too Much To Lose” takes a different direction entirely and allows Soord to play with stopping rhythms, distorted and echoed vocals, chilling mellotron and a spectral electric guitar line.  The pace is very slow for the most part, but each band member is given an opportunity to showoff their strengths in a lengthy voiceless midsection.  Nothing feels like it’s jamming for jamming’s sake, but more like a well crafted novella with an extremely tight plot.

The Pineapple Thief have been rather prolific in recent years, as if they’re picking up on a vibe from their audience and are now feeding off of that energy.  They already have another two EPs scheduled for release in the wake of Unwound.  The group is riding the crest of a wave in a prog rock revival.  As the 1970s saw a rich culture of underground artists breaking down the doors to better musicianship and increased complexity of composition, the years to come will see The Pineapple Thief at the forefront of a reclamation to these same sensibilities.

- Mark Polzin

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Progressive Rock Music Quiz with Steven Wilson & Mikael Akerfeldt

Think you know your prog rock? Do you remember the details of every Pink Floyd, Genesis, Jethro Tull, King Crimson, Yes, Marillion, ELP album? Well, play along with Steven Wilson of Porcupine Tree and Mikael Akerfeldt of Opeth, as they do battle in this prog trivia shootout, and see how you fare.

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Supersister – Present From Nancy review

supersister present from nancy Supersister   Present From Nancy review

If you looked at the passports of the members of Supersister in 1970, it would declare them citizens of the Netherlands. The glorious music they made on Present From Nancy and subsequent recordings, however, was seemingly from another planet. This four piece outfit – Robert Jan Stips (keyboards), Sacha van Geest (flute), Ron van Eck (bass) and Marco Vrolijk (drums) – made a near perfect album by incorporating camp, humor and the bizarre into a structural framework where nearly everything goes, but it all made sense. Present From Nancy is Supersister’s debut, and it stands as one of the most realized and individualistic efforts of the progressive rock genre. It’s not hyperbole to say these guys covered all the bases, from Canterbury to Stockhausen. The recent reissue by my friends at Esoteric Recordings brings it all around again while upping the ante with four bonus tracks.

The jazzy “Introduction” sounds like the meeting of Dave Brubeck and early Jethro Tull, while the following title track continues with more of the Brubeck vibe, although with a heavy dose of electric keyboards. “Memories Are Now” finds the band flying through the cosmos experimenting with sound as if they can’t wait to discover the next effect. “11/8” is a delirious vamp across a time-warp rhythm with some particularly nasty sounding guitar. Imagine if the Moody Blues had Robert Fripp in the band, and you’ll get some idea of the beautiful chaos here. Just as things seem to be skidding out of control, the ’Sisters pull back with the introspective, organ-driven instrumental “Dreaming Wheelwhile.” So you think you have it all figured out now? Just wait, as “Corporation Combo Boys” pays homage to The Mothers of Invention, with a curious a capella opening that slides into a Halloween-ish band groove and vocal. “Mexico” brings the mellotron front and center in high drama, sounding like some lost soundtrack for a science fiction thriller. Jan Stip’s keyboards never fail to entertain, and the bass work by van Eck is superb. “Metamorphosis” follows with a, frankly, unsettling and pounding drum beat that repeats until it achieves a locomotive-like effect. “Dona Nobis Pacem” is a solemn and beautiful keyboard piece, with an almost religious overtone, displaying again Jan Stips’ remarkable breadth and imagination. But it’s not all serious, as the boys break loose with a circus-like dance-around just as you thought you were settling in for vespers.

The four bonus tracks that follow are an absolute delight. “Spiral Staircase” is a surreal narrative, equal parts Syd Barrett and Alice In Wonderland, with my favorite Supersister line of all time, “The tea tasted delicious, and I drank several cups of it.” You have to hear to appreciate. “She Was Naked” sounds like a lost Caravan track, with some lovely flute work and bizarre lyrics, opening with “She looked like instant pudding, It was the cream of the commercial increase.” Curious, but it works! It then takes off into something of a Focus-esque vocal and a wild instrumental ride, with some amazing sounds coming from Jan Stips’ keys. You’ll swear there’s an electric guitar being played. “Fancy Nancy” is an equally bizarre takeoff on “Don’t Be Cruel.” Imagine a Dutch Elvis impersonator crooning to whatever! And it caps with “Gonna Take Easy,” a light-hearted psychedelic rocker.

Present From Nancy
is great fun, funny, warm and infectious. Listen once and you’ll be hooked.

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