Metallica - Kill 'Em All

''Bang the head that doesn't Bang.''  This album will definitely keep you moving.  Metallica's first official release in 1983 features some of their best riffs and introduces the world to the genre that would become thrash metal.  By fusing the sounds of New Wave of British Heavy Metal (NWOBHM) with punk they helped to create the sound of thrash.  The band originally feature Dave Mustaine of Megadeth fame on lead guitar but after his drunken behavior and drug use caused him to get booted he was replaced by ex-Exodus guitarist Kirk Hammett.  Cliff Burton also took over on bass due to Mustaine's terrible relationship with the previous bassist Ron McGovney forced him to leave the band just prior to Dave's ejection.  This line-up, while not the original, is probably the one people think of most when discussing Metallica.  I would like to point out that Mustaine did help pen most of the tunes on this record.

While I'm not a HUGE Metallica fan, I do love this record.  Their first four are the only ones I listen to and I think anything after these lose their thrash sound.  I guess you could even argue that it wasn't really thrash after Master of Puppets.  But that has nothing to do with this record.  I would say my three favorite tracks from this one are The Four Horsemen, Seek & Destroy, and No Remorse.  I remember when I first started learning guitar I was really into Metallica and spent a lot of time learning these songs.  I have since focused more of my playing on blues but it's still fun to break out with a little metal \m/  

Track List:

No.	Title	Writer(s)	Length
1.	"Hit the Lights"	James Hetfield, Lars Ulrich	4:17
2.	"The Four Horsemen"	Dave Mustaine, Hetfield, Ulrich	7:13
3.	"Motorbreath"	Hetfield	3:08
4.	"Jump in the Fire"	Hetfield, Ulrich, Mustaine	4:42
5.	"(Anesthesia) Pulling Teeth" (Instrumental)	Cliff Burton	4:15
6.	"Whiplash"	Hetfield, Ulrich	4:10
7.	"Phantom Lord"	Hetfield, Ulrich, Mustaine	5:02
8.	"No Remorse"	Hetfield, Ulrich	6:26
9.	"Seek & Destroy"	Hetfield, Ulrich	6:55
10.	"Metal Militia"	Hetfield, Ulrich, Mustaine	5:10

Soft Machine - Volume 2

Where to begin.....

Soft Machine has gone through many phases seeing many changes in line-ups.  The (almost) original line-up here on Volume 2 (1969) is often argued to be their best.  I am not a "Soft Nut" so I do not feel the need to add any input on the situation.  I do not care whether Hugh Hopper (seen, or heard here on V. 2) or Kevin Ayers (who has a song dedicated to him on this album) is on bass.  Either one gets the job done quite nicely.  

I happen to have two copies of this record.  One being a newer sealed copy and the other an old USA pressing.  I doubt it is an original but who knows.  When I first discovered this record I was not a fan.  I was only familiar with the Fourth and Bundles records at the time.  I wasn't even a fan of Fourth, but I loved Bundles.  During this time I was in a "the band must have an amazing guitarist for me to listen to them" mode, and Bundles fit the bill with Mr. Holdsworth on the 6-string.  

This specific record is a jazzy-psychedelic masterpiece.  It features some great drumming by Robert Wyatt and of course the biting, driving tone of Mike Ratledge on the keys.  I am obsessed with his tone.  One of the songs in the videos, "Hibou, Anemone and Bear," should showcase what I'm talking about.  This record definitely had to grow on me, or maybe it just took time for my young ears to mature enough to enjoy it, but it is now one of my all-time favorites.  The silly lyrics and great tunes are perfect for a chill afternoon.  I would have LOVED to have seen these guys live.  I will go ahead and include a live video just because I can.  I definitely have  A LOT more to say on this band and this record in particular, but I will withhold from doing so.  I'm tired and I just want to lay down.  So please enjoy the videos and hopefully you will find some pleasure in their musical offerings.

Track listing

Side one

1. "Rivmic Melodies"
   1. "Pataphysical Introduction – part I" (Robert Wyatt) – 1:00
   2. "A Concise British Alphabet – part I" (Hugh Hopper, arr. Wyatt) – 0:10
   3. "Hibou, Anemone and Bear" (Mike Ratledge / R. Wyatt) – 5:58
   4. "A Concise British Alphabet – part II" (H. Hopper / R. Wyatt) – 0:12
   5. "Hulloder" (H. Hopper / R. Wyatt) – 0:52
   6. "Dada Was Here" (H. Hopper / R. Wyatt) – 3:25
   7. "Thank You Pierrot Lunaire" (H. Hopper / R. Wyatt) – 0:47
   8. "Have You Ever Bean Green?" (H. Hopper / R. Wyatt) – 1:23
   9. "Pataphysical Introduction – part II" (R. Wyatt) – 0:50
   10. "Out of Tunes" (M. Ratledge / H. Hopper / R. Wyatt) – 2:30

Side two

1. "As Long as He Lies Perfectly Still" (M. Ratledge / R. Wyatt) – 2:30
2. "Dedicated to You But You Weren't Listening" (H. Hopper) – 2:30
3. "Esther's Nose Job"
   1. "Fire Engine Passing with Bells Clanging" (M. Ratledge) – 1:50
   2. "Pig" (M. Ratledge) – 2:08
   3. "Orange Skin Food" (M. Ratledge) – 1:52
   4. "A Door Opens and Closes" (M. Ratledge) – 1:09
   5. "10:30 Returns to the Bedroom" (M. Ratledge / H. Hopper / R. Wyatt) – 4:14

Personnel

• Robert Wyatt – drums, lead and backing vocals
• Mike Ratledge – piano, Lowrey Holiday De Luxe organ, Hammond organ, flute
• Hugh Hopper – bass guitar, acoustic guitar, alto saxophone

with

• Brian Hopper – soprano and tenor saxophone 

  

This video cannot be embedded but if you're interested in seeing them live just click the link!!  It is worth it...
[SOFT MACHINE LIVE]

Just because they have my last name...

A killer thrash band from Australia... Hobbs' Angel of Death!!  I do not own any of their material on vinyl but it would be cool to hunt some down...

Al Di Meola - Elegant Gypsy

I typically do not have a record in mind when it comes time to throw some wax on the turntable...  so this blog is really as random as my mind.

Today, when digging through my records, I started in the T-Z crate and worked my way towards the A-B crate.  When I finally reached a point near the middle I came across one of my favorite jazz-rock fusion records.  Al Di Meola's (ADM) Elegant Gypsy.  I first discovered Al Di Meola either on Return to Forever's Romantic Warrior or through his recordings with John McLaughlin.  I first picked up ADM's Land of the Midnight Sun, which rocked my socks off.  His playing was clean and had a certain 'bite' to it.  I much preferred his solo material to the stuff he played with Return to Forever.  On Elegant Gypsy, his second solo outing recorded at the ripe old age of 22 or 23, you find similar material to Land of the Midnight Sun, only a little more shall I say, elegant?  Released just one year after his first solo record, which is also a masterpiece, Elegant Gypsy expands on his lightning fast guitar riffs and earth-shaking guitar solos.

This record was awarded Best Guitar Album an annual award given by Guitar Player Magazine.  Elegant Gypsy sports a mere 6 tracks, but they are all worthy of their praise.  ADM was a genre bending guitarist, taking influence from Latin music and blending it with many other styles including (and most notably on this record) jazz and rock.  For fans of Santana, you may find a slight similarity in their playing styles at times.  Though ADM plays much faster than Santana.

Elegant Gypsy is a must listen for guitar players and air-guitar players alike.  Two key tracks that one must indulge themselves in are Race with Devil on Spanish Highway and Midnight Tango.  It is sad that he often goes overlooked but in today's musical (if it can be called music) age, it isn't too surprising.  If you can find this record, I HIGHLY recommend picking it up.  I purchased one for $0.50 and the other for $0.75 and both were in near mint condition.  And if you're into newer means of music download it or pick up the CD.  You will not be disappointed.

Track Listing:
Side one

1. Flight Over Rio
2. Midnight Tango
3. Mediterranean Sundance

Side two

1. Race with Devil on Spanish Highway
2. Lady of Rome, Sister of Brazil
3. Elegant Gypsy Suite

Personel:
Al DiMeola: Electric guitars, Acoustic Guitars, Piano, Percussion.
Paco de Lucía: Acoustic Guitar (track 3).
Anthony Jackson: Bass guitar.
Jan Hammer: Keyboards, synthesizer (tracks 1, 6).
Mingo Lewis: Percussion, Keyboards, Synthesizer.
Barry Miles: Piano, keyboards (tracks 2, 4).
Steve Gadd: Drums (tracks 1, 6).
Lenny White: Drums (tracks 2, 4).

RESURRECTION!!

I have been in the buying mode lately and recently picked up quite a few LPs.  I will be getting this bad boy back up and running here shortly.  I have been slacking the last few months.  I need to organize and catalog my newest additions to the family so keep an eye out... or should I say ear out for more tunes. 

Just for fun here is a clip of the amazing work of Mr. Holdsworth on guitar with Soft Machine live in concert.  He was (and still is) a very innovating guitarist.  Although I am not much of a fan of his more recent works, I believe he was one of the original "shredders."  I hate to use that term because of the wankerness that it typically embraces, but his style is much different from your typical shredder.  He actually has feel.  And a cool shirt.  This isn't the Soft Machine line-up I prefer but they still rock none the less. 

Ten Years After - Rock & Roll Music to the World

 
One of my favorite bands of all-time.  Although not a very commercially successful band, they were one of the highest touring bands of the late 60's and early 70's.  Probably best known for their performance of "I'm Going Home" at Woodstock, Ten Years never saw much success on the Billboard.  They formed back in 1967 and provided many studio and live albums, many of which have been remastered and released on CD. 

Alvin Lee's guitar playing is on point all through out this record.  Released in 1972, it features:  Alvin Lee - guitar and vocals / Leo Lyons - bass / Ric Lee - drums / Chick Churchill - keyboards.  All the selections were written by Alvin Lee and this album is full of high energy blues-rock tunes.  The band is extremely tight on this record despite some internal struggles between the members.  This is not one of their best records and side one is by far the best, featuring some fiery lead guitar work by Lee.  This is often seen as one of their most commercially popular albums and peaked at number 43 on the Billboard 200.

Track Listing:

Side one

1. You Give Me Loving
2. Convention Prevention
3. Turned Off T.V. Blues
4. Standing at the Station

Side two

1. You Can't Win Them All
2. Religion
3. Choo Choo Mama
4. Tomorrow I'll Be Out of Town
5. Rock & Roll Music to the World

Here is a great excerpt of them performing "I Can't Keep From Cying" Live at the Isle of Wight in 1970

Johnny Smith Quintet - "Jazz at N.B.C." Series

Woke up this morning feeling like I needed some jazz.  Popped on Johnny Smith Quintets - "Jazz at N.B.C." Series.  Johnny's playing is great on this album and he is accompanied by Stan Getz, Eddi Safranski, Don Lamond, and Sanford Gold.  A sample of Smith's playing can be seen below in a rare video of him performing "What Are You Doing For The Rest Of Your Life?"

Track Listing:

• moonlight in vermont
• tabu
• a ghost of a chance
• where or when
• tenderly
• jaguar
• my funny valentine
• vilia

A 3 DIMENSON SOUND RECORDING
OF
“JAZZ AT NBC”
WITH
The Johnny Smith Quintet

JOHNNY SMITH could accurately be called a jack-of-all-trades. Just accurately, and without sounding as punnish that title seems, he could be described as a very success bridge between the jazz musician and the successful studio musician.  In short, Johnny Smith is such a composite musical personality that he becomes a minor legend after one has read a list of his various accomplishments — a major legend if only he had picturesque habits, name and come from Kansas City or New Orleans or even Minton’s.

Unfortunately, for legend, he was born in Birmingham, Alabama and raised in Portland, Maine where he began his professional career as a hillbilly guitarist — then, as now, completely self-taught. It was during this time that his love of jazz began to mature, fed mostly by radio and records since the Portland of that time associated jazz with the plague and avoided both with equal fervor.

The Army interfered for four years with a jazz trio that Johnny had formed. But the Air Force band, in which he played, gave much more than it took away. He learned the trumpet and played lead in the section as well as playing violin and viola in the concert group.

But the guitar was still the instrument with which felt he could best express himself. And it was the guitar which he played with Eugene Ormandy and the Philadelphia Orchestra while in the Army. And the guitar which he played upon his return to Portland and the local NBC station there. The same guitar which he brought with him to New York's NBC after a friend, Arthur Owens, secretly sent an audition record of his to the network headquarters which brought a speedy summons for a personal appearance.

Since being in New York, Johnny has played first trumpet and guitar with all groups of the NBC musical staff, arranged and played with Benny Goodman, recorded a-soon-to-be-released record with Gene Krupa, Bolero, was featured for several years with Paul Lavalle's Cities Service Band, recorded two operas — Berg's Wozzeck with Dimitri Metropolis and Schoenberg's Serenade, has played with the City Center Opera Company and the NBC Symphony as well as conducting his own groups at NBC and writing and conducting different radio and television shows: the Fireside Theatre for a year, the Solitaire Show with Bob Houston and the Dave Garroway show, which he conducted before the advent of Skitch Henderson.

Out of this diversity of experience, Johnny has emerged as a complete musician, at home in any one of a number of musical forms. Into all of them he brings TWO essential elements which are present in this album — the love of the beautiful and the penchant for simplicity. And both these qualities are enhanced by a sincere desire to communicate, both to the listener and to the other members of his group. It is this emphasis on communication which makes listening to these records a creative pleasure. Within the group there is a steady inspiration to better performance, and simplicity is assured because the song itself was thought of as being more important than the individual performance, which is another way of saying that simplicity is the structure within which these ensembles and solos were conceived.

For as Johnny says, "simplicity is beauty, and it communicates to the listener. It doesn't drive him to frenzy. It creates a quiet responsive audience which is highly preferable to a noisy performing audience." Especially preferable if simplicity means, as it does in Johnny's case, the ability or the skill of clearly portraying thoughts while maintaining a polished and profound technical and melodic sense. It means treating a song as if it were a painting, striving to complete the whole picture; For if the picture is complete, it is bound to remain in the mind, otherwise it takes considerable study on the part of the listener, more than he usually wants to do. It means, further, playing up to the listener instead of down. It is a thoroughly fresh and certainly a complimentary attitude on his part and it can be perceived throughout this record. Integrated with his unusual tuning of the guitar, which makes it comparable to a piano, and his writing, which produces a much bigger ensemble sound than is usual for this size group, this is jazz, Johnny Smith style. It is, in fact, great jazz, any style.

Bill Coss
Cover design by Burt Goldblatt