title: Interrogativo

author: Pierrot Le Fou (aka Charlie Brown)

text:
On Mon, 14 Jan 2002 20:23:57 GMT, loppyy...@NOSPAMIlibero.it
(loppy) wrote:
>>> ....ma gli Ozric Tentacles e gli Hawkwind,a prescindere che vi
>>> piacciano o meno,come sono classificati?!
>>
>>Space rock, anche se tra i due gruppi c'è un bel po' di differenza...
>
>Conosco molto bene gli Ozric ma per nulla gli Hawkwind.....ne ho
>sentiti giusto un paio di pezzi-mi delucideresti?
>
Preparati allora ^_^
Sugli Hawkwind:
(1): PERSONNEL:
DAVE BROCK vcls, gtr, synth A B C D E F G H I J K L M N O P Q R S T U
V W X
NIK TURNER sax, flute, vcls A B C D E F G H Q
MICK SLATTERY gtr A
DIK MIK electronics A B C D
JOHN HARRISON bs A
TERRY OLLIS drms A B C
HUW LLOYD LANGTON gtr B L M N P Q R S T
THOMAS CRIMBLE bs B
DAVE ANDERSON bs C
LEMMY bs, vcls D E F G
DEL DETTMAR synth D E F
ROBERT CALVERT vcls D E F G H I J K
SIMON KING drms D E F G H I J K L
SIMON HOUSE synths, violin E F G H I U V
ALLAN POWELL drms G H
PAUL RUDOLPH bs H
ADRIAN SHAW bs I
HARVEY BAINBRIDGE bs, keyb'ds J I K L M N O P Q R S T U V
MARTIN GRIFFIN drms J K L M N O
PAUL HAYLES keyb'ds J
STEVE SWINDELLS keyb'ds K
TIM BLAKE keyb'ds L M
GINGER BAKER drms M
KEITH HAYLES keyb'ds N
J. CLARK drms P
ALAN DAVEY bs Q R S T U V W X
DANNY THOMPSON drms Q R S
DAVE CHARLES perc R
RICHARD CHADWICK drms T U V W X
BRIDGETT WISHART vcls V
RON TREE vcls X
CASSETTES:
SONIC ASSASSINS - BARNSTABLE 1977 / DAVE BROCK SOLO (Weird 101) 1980
STONEHENGE 1977 / HAWKLORDS 1979 (Weird 102) 1980
STONEHENGE 1977 / WATCHFIELD 1975 (Weird 103) 1980
HAWKLORDS 1978 (Weird 104) 1981
HAWKWIND 1976 / 1977 (Weird 105) 1981
HAWKWIND 1970 - 1973 (Weird 106) 1982
DAVE BROCK - SOLO DEMOS OF HAWKWIND SONGS, 1981 & 1982 (Weird 107)
1982
EARLY HAWKWIND AND PRE HAWKWIND DAVE BROCK (Weird 108) 1983
SINGLES:
(B) Hurry On Sundown / Mirror Of Illusion (Liberty LBF 15382) 1970
(D) Silver Machine / Seven By Seven (PS) (United Artists UP 35381)
1972
(D) Sonic Attack (one sided promo in cloth bag) (United Artists WD
3637) 1973
(E) Urban Guerilla / Brainbox Pollution (United Artists UP 35566) 1973
(F) Psychedelic Warlords (Disappear In Smoke) / It's So Easy (United
Artists UP 35715) 1974
(G) Kings Of Speed / Motorhead (PS) (United Artists UP 35808) 1975
(H) Kerb Crawler / Honky Dorky (Charisma CB 289) 1976
(H) Back On The Streets / Dream Of Isis (Charisma CB 299) 1977
(I) Quark, Strangeness And Charm / Forge Of Vulcan (Charisma CB 305)
1977
(K) Psi Power / Death Trap (Charisma, CB 323) 1978
(K) 25 Years / (Only) The Dead Dreams Of A Cold War Kid / PXR5 (12"
grey vinyl) (Charisma CB 332) 1979
(L) Shot Down In The Night / Urban Guerilla (Bronze BRO 98) 1980
(M) Who's Gonna Win The War? / Nuclear Toy (Bronze BRO 109) 1980
(A) Hurry On Sundown / Sweet Mistress Of Pain / Kings Of Speed
(Flicknife FLEP 100) 1981
Motorhead / Valium Ten (Flicknife FLS / FLEP 205) 1981
(N) Angels Of Death / Trans-Dimensional Man (RCA 137) 1981
(J) Over The Top / Free Fall / Death Trap (Flicknife FLEP 101) 1981
(K) Who's Gonna Win The War? / Time Of (Flicknife FLS 209) 1982
(N) Silver Machine / Psychedelic Warlords (some PS) (RCA Active RCA(P)
267) 1982
Hawkwind And Co.: Your Last Chance (w. tracks by Moorcock & Calvert)
(Flicknife FLS 214) 1983
(M) Motorway City / Master Of The Universe (Flicknife FLS 025) 1983
(P) Earth Ritual Preview: Night Of The Hawks / Green Finned Demon /
Dream Dancers / Dragons And Fables (Flicknife FLEP 104) 1984
(R) Needle Gun / Arioch / Song Of The Swords (Flicknife FLS / FLST
032) 1985
(R) Zarozinia / Assault And Battery (live) / Sleep Of A 1000 Tears
(live) (Flicknife FLS / FLST 033) 1985
(S) Silver Machine / Magnu / Angels Of Death (Samurai HW 7001 / 12001,
also as shaped pic. disc HW 001) 1986
Motorhead / Hurry On Sundown (Flicknife FLS 034-A) 1986
(W) Spirit Of The Age - The Solstice Remixes (4-Real 4R1T) 1993
(W) Decide Your Future EP: Right To Decide (two mixes) / The Camera
That Could Lie / Assassin (4-Real 4R2T) 1993
(W) Uncle Sam's On Mars (two mixes) / Quark, Strangeness And Charm /
Black Sun (Emergency Broadcast System, EB 110) 1994
(X) Area S4: Alien (I Am) The Boswell Edit / Sputnik Stan / Death Trap
/ Wastelands / Are You Losing Your Mind (track 2 on 12" only)
(Emergency Broadcast System EB 107) 1995
(W) Decide Your Future (Emergency Broadcast System EB 108) 1995
(W) Spirit Of The Age - The Solstice Remixes (Emergency Broadcast
System EB 109) 1995
NB: (10) as Hawklords, also promo issue (HL 001). (11) & (18) as
Hawklords. (14) as Hawkwind Zoo. (17) as The Sonic Assassins. (27)
with Astralasia.
Dave Brock:
Zones / Processed (one sided with insert, no picture sleeve) (Hawkfan
HWFB 1) 1983
Social Alliance / Raping Robots In The Streets (picture disc)
(Flicknife FLS 024) 1983
NB: (1) as Doctor Technical & The Machines.
ALBUMS:
(B) HAWKWIND (Liberty LBS 83348) 1970
(C) X - IN SEARCH OF SPACE (fold out sleeve and book) (United Artists
UAG 29202) 1971
(D) DOREMI FASOL LATIDO (with printed inner and "Space Bandits"
poster) (United Artists UAG 29364) 1972
(D) SPACE RITUAL ALIVE (double LP with fold out sleeve and inners)
(United Artists UAD 60037/8) 1973
(F) HALL OF THE MOUNTAIN GRILL (printed inner) (United Artists UAG
29672) 1974
(G) WARRIOR ON THE EDGE OF TIME (fold out sleeve, inner sleeve)
(United Artists UAG 29766) 1975
ROADHAWKS (with poster and sticker) (United Artists UAK 29919) 1976
(H) ASTOUNDING SOUNDS, AMAZING MUSIC (with inner) (Charisma CDS 4004)
1976
(-) MASTERS OF THE UNIVERSE (United Artists UAG 30025) 1977
(I) QUARK, STRANGENESS AND CHARM (inner sleeve) (Charisma CDS 4008)
1977
(K) 25 YEARS ON (inner sleeve) (Charisma CDS 4014) 1978
(I) PXR5 (with family tree poster) (Charisma CDS 4016) 1979
(L) LIVE 79 (Bronze BRON 527) 1980
(M) LEVITATION (blue vinyl) (Bronze BRON 530) 1980
(N) SONIC ATTACK (with insert) (RCA Active RCA LP 6004) 1981
HAWKWIND, FRIENDS & RELATIONS (Flicknife SHARP 101) 1982
(O) CHURCH OF HAWKWIND (with book) (RCA RCA LP 9004) 1982
(N) CHOSSE YOUR MASQUES (RCA RCA LP 6055) 1982
TWICE UPON A TIME: HAWKWIND, FRIENDS & RELATIONS, VOL. 2 (Flicknife
SHARP 107) 1983
ZONES (Flicknife SHARP 014) 1983
INDEPENDENT DAYS, VOL. 1 (10" mini LP) (Flicknife X SHARP 019) 1984
(Q) STONEHENGE: THIS IS HAWKWIND, DO NOT PANIC (LP and 12", gatefold
sleeve) (Flicknife SHARP 022) 1984
HAWKWIND, FRIENDS & RELATIONS, VOL. 3 (Flicknife SHARP 024) 1985
(R) CHRONICLE OF THE BLACK SWORD (with inner) (Flicknife SHARP 033)
1985
HAWKFAN 12 (with poster, sticker, insert & carrier bag) (Hawkfan HWFB
2) 1986
INDEPENDENT DAYS VOL. 2 (Flicknife SHARP 036) 1986
APPROVED HISTORY OF HAWKWIND (triple picture disc in folder with book)
(Samurai SAMR 046) 1986
LIVE CHRONICLES (double LP) (GWR GWS 1) 1986 (S)
OUT & INTAKE (printed inner) (Flicknife SHARP 040) 1987
OFFICIAL PICTURE LOG BOOK (Flicknife HWBOX 01) 1987
(T) XENON CODEX (fold out sleeve) (GWR GW 026) 1988
(-) SPIRIT OF THE AGE (CD only) (Virgin COM CD 8) 1988
(-) STASIS: THE UA YEARS (EMI NTS 300) 1990
(V) SPACE BANDITS (GWR GW 103) 1990
(V) PALACE SPRINGS (GWR GW 104) 1991
(D) BBC RADIO 1 LIVE IN CONCERT (CD only) (Windsong WINCD 007) 1991
(S) FRIDAY ROCK SHOW: LIVE AT READING 1986 (CD only) (Raw Fruit FRS CD
005) 1992
MIGHTY HAWKWIND CLASSICS 1980 - 1985 (CD only) (Anagram GRAM 53) 1992
(W) ELECTRIC TEPEE (Castle ESD 181) 1992
(W) IT IS THE BUSINESS OF THE FUTURE TO BE DANGEROUS (Castle ESD 196)
1993
(W) UNDISCLOSED FILES (official bootleg, no index no.) 1993
(W) THE BUSINESS TRIP LIVE (LP has extra track) (Emergency Broadcast
System EBSS 111) 1994
(V) CALIFORNIA BRAINSTORM (CD with book, The Collectors Guide To
Hawkwind) (Cyclops CYCL 021) 1994
(W) WHITE ZONE (E.B.S. EBS LP / CD 113) 1995
(W) UNDISCLOSED FILES ADDENDUM (E.B.S. EBS CD 114) 1995
FRIENDS & RELATIONS: THE BEST OF (CD only) (Anagram CDMGRAM 61) 1995
FRIENDS & RELATIONS: THE RARITIES (CD only) (Anagram CDMGRAM 90) 1995
INDEPENDENT DAYS, VOLS 1+2 (CD only) (Anagram CDMGRAM 94) 1995
(X) ALIEN 4 (LP has extra track) (E.B.S. EBS LP / CD 118) 1995
COSMIC TRAVELLERS: HAWKWIND, FRIENDS AND RELATIONS VOL. 6 (CD only)
(Anagram CDMGRAM 105) 1996
THE EMERGENCY BROADCAST SYSTEM SAMPLES (CD only) EBS CD 119) 1996
(X) LOVE IN SPACE (with booklet) (E.B.S. EBSS CD / LP 120) 1996
RITUAL OF THE SOLSTICE (CD only) (E.B.S. EBSS CD 117) 1996
NB: (1) reissued on CD in fold-out digi pack with four extra tracks
(HAWKS 1) 1996. (2) reissued on CD in fold out digi pack with booklet
in slip case and three extra tracks (HAWKS 2) 1996. (3) reissued on CD
in fold out digi pack with four extra tracks (HAWKS 3) 1996. (4)
reissued on CD in fold out digi pack with two booklets, three extra
tracks (HAWKS 4) 1996. (5) reissued on CD in fold out digi pack with
four extra tracks (HAWKS 5) 1996. (12) as Hawklords. (20) reissued as
a picture disc (PSHARP 014). (30) box set containing picture discs of
Stonehenge, Chronicle Of The Black Sword and Out & Intake with
interview disc, insert and badge. (44) as as Psychedelic Warriors.
Dave Brock:
EARTHED TO THE GROUND (Flicknife SHARP 018) 1984
AGENTS OF CHAOS (Flicknife SHARP 042) 1988
STRANGE TRIPS AND PIPE DREAMS (CD only) (E.B.S. EBS CD 116) 1995
Griffin Boxed Sets
WARRIOR ON THE EDGE OF TIME 1993
HAWKWIND 25 YEARS ON 1995
QUARK STRANGENESS AND CHARM 1995
ASTOUNDING SOUNDS, AMAZING MUSIC 1995
NB: (1) CD with book The Illustrated Collectors Guide To Hawkwind by
Robert Godwin. (2) 4 CD's w. lyric booklet and graphic novel Ledge Of
Darkness by Moorcock & Butterworth. (3) CD with book The Queens Of
Deleria by Moorcock & Butterworth. (4) CD with three extra tracks and
book Time Of The Hawklords by Moorcock & Butterworth.
Videos:
NIGHT OF THE HAWKS (Jettisoundz JE 123) 1984
STONEHENGE 84 (Jettisoundz JE 134) 1984
CHRONICLE OF THE BLACK SWORD (two versions, first very rare)
(Jettisoundz JE 150) 1986
TREWORGEY TREE FAIR 29/7/89 (Taste 3) 1990
21st ANNIVERSARY TOUR (Taste 12) 1990
THE ACADEMY, BOURNEMOUTH 2/7/90 (Taste 19) 1991
PROMO COLLECTION (Taste 28) 1992
HAWKWIND 15/8/92 (Taste 33) 1992
CHRONICLE OF THE BLACK SWORD (Video disc, 4 extra tracks) 1995
CHAOS (Visionary) 1996
NB: (2) with Roy Harper and The Enid.
Hawkwind are probably the most influential of all psychedelic bands
and are a discographer's nightmare, having had more line up changes
over the years than they've had unofficial albums released - and
they've had a lot of those recently. The above list of personnel is
almost certainly incomplete and the line-ups for given albums and
singles probably inaccurate in places. The singles listing contains
only those releases of intrinsic interest rather than all the reissues
of Silver Machine, for example, while the albums listing contains only
approved releases. If you see an album which is not on this list, then
it is probably wisest to avoid it.
Hawkwind have had a long and complicated career beginning in 1969 as
Group-X (crap name), then Hawkwind Zoo (stupid name) before settling
on Hawkwind (much better). As Hawkwind Zoo, their first session was a
jam in All Saints Church Hall in Notting Hill Gate. The results of
this were a druggy version of Hurry On Sundown and a song called Kiss
Of The Velvet Whip. These would eventually see the light of day in
1981. Prior to forming Hawkwind, Dave Brock had been involved in a
buskers' tour and album, and in a band called Famous Cure who
apparently had a hit in Holland. Judging by the pre-Hawkwind tracks
which have been released, the Famous Cure were probably bluesy and of
no more than historical interest to fans of psychedelic space rock.
Having acquired a new guitarist in the shape of Huw Lloyd Langton and
the shortened name, the band released their eponymously titled debut
album. It begins innocently enough with an upbeat, bluesy acoustic
version of Hurry On Sundown but then all electronic hell breaks loose.
Over five lengthy instrumental pieces, the band attempt to completely
blow you away. The freakiest release of 1970 (although High Tide
pushed them for this accolade), it is let down by indifferent
musicianship - Nik Turner at this time, for example, had hardly learnt
to play his saxophone at all - and is far from their best album. On
the live side, Hawkwind were establishing a growing army of freaky
followers by their policy of playing free anywhere and everywhere,
from underneath a flyover to an impromptu gig outside the gates of the
1970 Isle Of Wight festival where they came to the attention of Jimi
Hendrix who dedicated a song to Nik Turner - "the cat with the silver
face".
Back home in Ladbroke Grove, the band were rapidly turning into an
artistic community, including the author Michael Moorcock, who
entertained rock ambitions for himself, a dancer called Stacia who
used to dance naked on stage with the band, artist Barney Bubbles and
lighting engineer Liquid Len Smeeton, who together were responsible
for much of the band's cosmic image, and a young poet called Robert
Calvert. By this time, the band had lost guitarist Huw Lloyd Langton,
but since their music was developing in an electronic direction he was
not replaced. Thomas Crimble left in 1971 to organise that year's
Glastonbury festival at which Hawkwind naturally appeared, with
Crimble taking the place of an indisposed Dave Brock. Part of their
performance appeared on the Glastonbury Fayre triple LP, which
complete with all its inserts and outer bag is not only a prime
artefact of the times, but an expensive collectors' item as well.
Around the same time, the Greasy Truckers Party album was released,
featuring part of Hawkwind's performance at a benefit gig for the
Greasy Truckers, a hippy commune, given at Dingwall's music club. Both
albums offer reasonable live material, but are not worth forking out
for if you're only interested in Hawkwind.
Back to 1971, and the band released their second album, X - In Search
Of Space which was a radical improvement on their first, featuring
replacement bassist Dave Anderson. Stand out tracks were the seventeen
minute electronic mantra You Shouldn't Do That and the classic Master
Of The Universe. Throughout the album, one track merges into another
creating a continuous audio experience. The packaging featured an
excellent fold out sleeve and a thoroughly cosmic booklet of science
fiction and occult and philosophical ramblings written by Robert
Calvert and called the Hawkwind Log. Their constant gigging had paid
off as the album climbed to number eighteen in the chart, which was
not bad for an underground band. Dik Mik at this time was a somewhat
transient member of the band which is why his photo appears on the
album sleeve superimposed on everybody else's: he was not a member of
the band when they had their photographs taken. Dave Anderson was
irritating the rest of the band and he was invited to leave. Anderson,
incidentally, has been largely responsible for the plethora of crap
bootleggy Hawkwind releases which have been appearing with monotonous
regularity since the mid 1980's, often using tapes passed to him by
Nik Turner. His replacement was a former member of Sam Gopal's Dream,
Lemmy, who was Dik Mik's flatmate (can you imagine sharing a flat with
Lemmy?). Terry Ollis also left around this time to be replaced by
Simon King, who had played drums with a band called Opal Butterfly.
The band gained another synth player in the guise of their former
sound engineer, Del Dettmar.
This line-up toured with Robert Calvert on vocals and cosmic ambience,
and a live recording of Silver Machine made at the Roundhouse was
issued as a single, with Lemmy's vocals dubbed over Robert Calvert's.
For some curious reason, Dave Brock credited his authorship of both
this and the B-side to Sean McManus and his production to Dr.
Technical, a pseudonym that he would use periodically throughout his
career. The single came in an excellent picture sleeve featuring a
monkey grinning through an assemblage of cog wheels (or something) and
against all expectations went to number three in the charts and a Top
of the Pops performance, culminating in the ultimate accolade for an
underground band - a cover version by James Last! No doubt it brought
in loads of much needed royalties. Seven By Seven did feature Robert
Calvert on vocals, but the version on subsequent reissues has been the
version that appeared on the Space Ritual album.
November saw the release of their third album Doremi Fasol Latido.
Much heavier than previous releases, and one of their spaciest albums
ever, it opened in uncompromising style with the Nik Turner penned
Brainstorm and featured such perennial favourites as Lord Of Light,
Down Through The Night and Space Is Deep. At this time Hawkwind were
appearing in underground comics in various guises such as "The
Hawklords" and "The Sonic Assassins", always as superheroes, out to
save the world, and the album portrayed them as heroes of a science
fantasy saga, fighting the Bad Vibe squads, servants of the machine
god Eye-See-Eye. Hmm.
Hawkwind used the royalties from Silver Machine to finance a
spectacular tour to coincide with the release of Doremi and tapes were
made of the Liverpool and Brixton dates resulting in 1973's splendid
live LP, Space Ritual Alive. Hawkwind have always been a strong live
band, and this represents them at their peak with as tight a rhythm
section as have ever played together, generating a solid wall of sound
from which Nik Turner's heavily treated saxophone and Del Dettmar and
Dik Mik's electronic experimentation rebounded at tangents.
Interspersed with Robert Calvert's cosmic poetry, this album
represents the most complete audio experience you can have in your own
home, from the opening chords of Born To Go to the closing bars of
Master Of The Universe.
The fold out packaging was suitably impressive, showing a number of
slide images used by the lensmen and a selection of obscure cosmic
ravings, no doubt penned by Calvert. The structure of the album, if
you think about it, is such that it tells some sort of story, and the
programme that accompanied the tour showed it to be a continuation of
the Doremi epic with the band once more in the guise of the Hawklords
(Baron Brock and Lord DikMik indeed!). To promote the album the band
issued a one sided single of Sonic Attack which came in a cloth bag
and this is probably Hawkwind's rarest item. Dik Mik finally quit the
band for good shortly after the Space Ritual tour, his place being
taken by Simon House, formerly with High Tide and The Third Ear Band.
Following on from the release of Space Ritual Hawkwind released their
attempted follow up to Silver Machine. Featuring a catchy tune and the
immortal couplet "I'm an urban guerrilla / I make bombs in my cellar",
the song Urban Guerilla might have gone all the way had its release
not coincided with a wave of IRA atrocities. The record company
hurriedly withdrew it and the single stalled at number 39 in the
charts. Both sides were made available on the Stasis compilation.
1973 also saw most of the band, along with two Pink Fairies, Paul
Rudolph and Twink, back Robert Calvert on his debut solo release
Ejection (UP 35543). Ejection is in a similar style musically to Space
Ritual and is a concert regular to this day, while the B-side Catch A
falling Starfighter is much sparser and really quite weird. The single
was credited to Captain Lockheed And The Starfighters and came in a
groovy sleeve by fantasy artist Rodney Matthews. Both sides of the
single appeared on the album Captain Lockheed And The Starfighters
(UAG 29507) which told the story of some dodgy aircraft sold to the
Germans by the Americans which ended up frying their pilots. The story
might have made an interesting documentary but it did not make for a
particularly interesting album and it sold poorly, becoming a
collectors' item in the process.
Shortly after the release of Starfighters, Hawkwind released their
next studio LP, Hall Of The Mountain Grill featuring excellent sleeve
work by their slide designer Barney Bubbles. The title referred to the
Mountain Grill, a café frequented by the band and a landmark on the
London freak scene at the time. This was another classic album
featuring a number of spacey tracks soaked in plenty of mellotron. It
is difficult to pick out individual tracks, because they're all very
strong, but Psychedelic Warlords, Wind Of Change and Paradox are all
particularly memorable as is Lost Johnny co-authored by Lemmy and Mick
Farren, formerly with The Deviants and now a moderately successful SF
author. Two of the tracks, You'd Better Believe It and Paradox were
recorded live at the Edmonton Sundown festival and sound pretty damn
fine, while an edited version of Psychedelic Warlords was released as
a single with a non LP B-side, It's So Easy. The latter song was
another cracker and for many years was only otherwise available on the
compilation Masters Of The Universe.
The next year saw the release of their last proper album for United
Artists, Warrior On The Edge Of Time a sword and sorcery epic and the
culmination of their career up to that point. It is still the only
album that rivals Space Ritual and the coupling Assault And Battery /
The Golden Void is almost certainly their best track. This classic
piece begins with an understated bass guitar phrase layered with
mellotron textures, shortly joined by cymbals before crashing drums
bring the whole band thunderously in for ten of the most enjoyable
minutes ever committed to vinyl. Before the recording of the album,
Simon King had broken some ribs and his place was briefly taken by
Alan Powell, formerly with Vinegar Joe and when Simon King had
recovered the band decided to retain Alan's services. The tracks on
Warrior make excellent use of the two percussionists, particularly on
the aforementioned Assault And Battery and the album's other extended
track Magnu both of which remain regulars in the band's live sets.
Kings Of Speed was released as a single backed with the Lemmy
composition Motorhead. While Kings Of Speed was sort of OK, Motorhead
was an out-and-out, rip-roaring classic. The version released several
times during the 1980's was a demo version featuring a pared down band
of Brock, Lemmy and King with Dave Brock providing vocals and a
synthesiser solo. The version on the single featured the full band
with Lemmy on vocals and a violin solo from Simon House. Had this been
the A-side, Hawkwind would have had a single, but instead the Kings Of
Speed 7" became something for collectors to sniff out, particularly in
its incredibly rare picture sleeve. The packaging for the Warriors
album was equal to Space Ritual featuring a well executed picture of
an armoured and mounted warrior standing on a towering precipice.
Inside the sleeve folded out to reveal a shield bearing the legend
"CHAOS".
Still in 1975, Hawkwind provided backing for Michael Moorcock's New
Worlds Fair (UAG 29732) and Robert Calvert's Lucky Leif (UAG 29852)
albums. New Worlds Fair was very weird but not very good; Lucky Leif
and the Longships was somewhat better, with an interesting concept:
the state of America had it been settled permanently by the Vikings.
Neither sold at all well, and both are rare and expensive. The Robert
Calvert albums have been reissued by Beat Goes On, while the Moorcock
album has been reissued by Dojo. Hawkwind were also the subjects of a
science fantasy novel called Time Of The Hawklords by Moorcock and
Michael Butterworth (this is not fair to Michael Moorcock; he was
hardly involved at all). It's dreadful. A second book in the series,
Queens Of Deliria was published shortly after.
The band embarked on a tour of America to promote the album and hence
began the most troubled portion of their career. Lemmy was busted for
possession of amphetamine sulphate and the band sacked him. Accounts
differ as to why: a writer favourable to Hawkwind will say that it was
over uncertainty about his future, while one favourable to Motörhead
will say that it was because Dave Brock didn't like him. The latter
version is probably not true, since Lemmy has remained in contact with
the band. Whatever, Lemmy was out and went on to found the rather
successful Motörhead. During his time with the band, Hawkwind made
some of the finest music ever; they would never be as good again.
Lemmy's place was taken by former Pink Fairy, Paul Rudolph. Hawkwind
were also without a contract, but after some negotiation they signed
to Charisma. Their contract gave them considerable artistic freedom
which they promptly abused with the release of the dreadful Astounding
Sounds, Amazing Music. The music was worse than ordinary, and the band
found that they were increasingly irrelevant. Meanwhile, UA
capitalised on their back catalogue by releasing the rather shoddily
packaged Roadhawks compilation along with the rather better Masters Of
The Universe a year later.
Not only had Hawkwind released a rubbish album, but they almost
bankrupted themselves over the supporting Atomhenge tour (so called
because the impressive stage set featured structures which resembled
ancient megaliths twisted into atomic structures). With the band split
by internal dissension, Dave Brock sacked Nik Turner, Allan Powell and
Paul Rudolph, drafting in an old friend from former touring partners
Magic Muscle, Adrian Shaw. This lean, mean new line-up went into the
studio and effectively reinvented themselves as a new wave band with
the superb Quark, Strangeness And Charm album. Releasing the title
track as a single, the band nailed their intellectual colours to the
mast somewhat, "strangeness" and "charm" being two flavours of
"quarks", the fundamental particles which make up protons and
neutrons. Indeed, the whole album is a pretty cerebral affair, with
Spirit Of The Age dealing with the subjects of deep freezing, android
replicas and cloning, while Hassan I Sahba dealt with the subject of a
resurrection of the medieval Islamic murder cult, the assassins. The
same line-up also recorded PXR5 but the band split and it was not
released for another two years. After the album was completed, Simon
House left the band to join David Bowie's backing band, although he
rejoined Hawkwind for a while twelve years later and continues to be a
major figure on the psychedelic scene.
In December of 1977, Dave Brock and Robert Calvert did a one off gig
with three members of a band called Ark: Harvey Bainbridge, Paul
Hayles and Martin Griffin, and they played under the name of The Sonic
Assassins. Brock enjoyed the experience so much that, with Steve
Swindells having replaced Paul Hayles, the band became the new line up
of Hawkwind, temporarily known as The Hawklords. Tapes were made of
the Sonic Assassins performance and some of it was later released on
Flicknife, while The Hawklords went into the studio and came up with
the 25 Years On album. This is OK, but not entirely successful with
the best track Psi Power being released as a single. Note that the 25
Years 12" came on grey vinyl as a standard issue; black vinyl copies
were a mispress and as such are a genuine rarity. After this Robert
Calvert and Steve Swindells left the band. Next came PXR5, stand out
track High Rise which had been recorded two years previously. Quark,
Strangeness And Charm was the only completely successful album
resulting from the band's time with Charisma, but there were plenty of
good tracks on other albums as well. Spirit Of The Age is a fine CD
only compilation from this period.
1979 showed an upturn for the band. Tim Blake, former keyboardist with
Gong and general synthesiser wizard, joined the band and Huw Lloyd
Langton returned. Despite not having an album to promote, the band
toured and on the strength of the live performances were signed to
Bronze records, the result being Live 79 a superb live album with Tim
Blake's Lighthouse standing out.
Simon King left the band after the tour and still stands as Hawkwind's
longest serving drummer. His replacement was Ginger Baker, formerly of
Cream, and this line-up recorded Levitation still a favourite with
many fans. Although closer in many ways to heavy metal fare than
previous releases, this album contained a number of fine songs
including Who's Gonna Win The War and the title track Levitation. Huw
Lloyd Langton showed some good guitar work particularly on the
storming Space Chase. After the release of this LP, Ginger Baker
suggested to the band that they might care to replace Harvey
Bainbridge with his old mate Jack Bruce, but Ginger was sacked
instead. His replacement was Martin Griffin from the Sonic Assassins
line-up. Around the same time Tim Blake left the band (considerably
more amicably than did Ginger Baker) and he was replaced by Keith
Hayles.
Early in 1981, Hawkwind decided to release a live album and their
record label, Bronze, quite reasonably refused, having issued a live
album only a year previously. While searching for a new label, they
released a couple of items through an independent outfit, Flicknife,
who had released singles by old sparring partners Robert Calvert and
Michael Moorcock. The first release aired the band's very first
session from 1969 along with a much later instrumental Kings Of Speed.
This was followed shortly after by the release of a demo version of
Motorhead backed with Valium Ten a previously unreleased Brock and
Bainbridge track from 1978.
The plan at the time was that Flicknife should release archive
material for the hardcore fan, while a major label handled releases
for the wider market, to which end they signed with RCA Active and
were promptly aimed at the heavy metal market. Neither Angels Of Death
nor Choose Your Masques were particularly inspiring, although both
have since become collectors' items and the Choose Your Masques tour
was quite a spectacular affair. The middle album, Church Of Hawkwind
was actually rather good and quite trippy, being effectively a Dave
Brock solo album (playing under the Doctor Technical monicker) with
contributions from Harvey Bainbridge. Complete with its lavish
booklet, this album is also a collectors' item. The more inspiring
releases were coming from Flicknife at the time, with archive material
from the Sonic Assassins and Hawklords periods. Flicknife also
released the Friends And Relations compilation which consisted of
outtakes, solo and related projects and tracks by bands that Hawkwind
simply liked. This project was the first of three such compilations.
The Hawkfan 12 album was a similar concept and came with that issue of
the Hawkwind fanzine.
Hawkwind were now releasing all their material through Flicknife and
their first album for the label was the slightly ordinary Zones
followed by the rather better Earth Ritual Preview in 1984, featuring
a guest performance by Lemmy on Night Of The Hawks. That year also saw
the release of the excellent Stonehenge live album, showcasing an
electrifying performance where Hawkwind wove enchantments around the
ancient stones as the solstice sun rose over the festival. Not all the
material was taken from the 1984 festival, however, with some material
dating from around 1980. There is also a video of the event featuring
Hawkwind, Roy Harper and The Enid. This of course was the very last
Stonehenge festival; since then the police have arrested anybody with
long hair who goes near Wiltshire in the month of June. There are
plenty of holy and mystical sites in the British Isles, however, and
the police can't be everywhere, so why not hold the festival somewhere
different every year? Just a thought.
The band released their first proper studio LP since Choose Your
Masques the following year and it was their best since Quark,
Strangeness And Charm. Chronicle Of The Black Sword was a concept
album based on Michael Moorcock's Elric stories. The band released
Needle Gun as a single to promote the album and went on the road with
possibly their most spectacular tour ever. Mime artists and dancers
took on the roles of the characters from the stories, while the band
played cowled in semi darkness; all this against a fantasy set and the
band's amazing lightshow made for a pretty expansive audio visual
experience. Michael Moorcock made a guest appearance at the
Hammersmith Odeon show, reciting four poems which linked the various
parts of the story. This same performance was taped and released the
following year as Live Chronicles an excellent live album.
Unfortunately the band were not allowed to use Moorcock's poems or two
tracks Assault And Battery and Sleep Of A Thousand Tears which had
been earmarked by Flicknife. Also, GWR failed to promote the album
properly and it flopped. The poetry has since appeared on an import CD
while the two extra tracks appeared as the B-side to Zarozinia.
That same year, Dave Brock made an attempt to stem the flood of
unlicensed products that had been hitting the market. These tended to
come from just the right period, around 1973, and have groovy titles
like Bring Me The Head Of Yuri Gagarin but sounded completely awful
and were an annoyance to the band and ripped off the fans. Quite
probably a proper reissue of Space Ritual in nice packaging would have
killed the market for unofficial product stone dead, but in the
absence of this, Dave Brock made his own tapes available to Samurai
and the result was the Official History triple picture disc set which
came with a booklet giving an authoritative history of the band up to
1982 and a complete discography, written by Brian Tawn of Hawkfan.
Most of the music had been made available some years earlier in the
series of Weird tapes, but this was still a very nice item.
Unfortunately, the band were ripped off, and the individual LP's have
since added to the unlicensed material problem, usually under the
title Acid Daze. Avoid.
The 1987 Hawkwind album was Out & Intake a collection of studio and
live material. At the time it seemed rather superfluous, but the music
is actually rather good with the exception of a pointless Nik Turner
saxophone piece. Picture discs of this album, Chronicle Of The Black
Sword and Stonehenge were made available in a boxed set along with an
interview disc, an insert and a badge. If you can find this, it is a
very nice item to have.
Subsequent albums were released on the GWR label. The first of these,
Xenon Codex came in a nice fold out sleeve like in the old days, but
it was of indifferent quality musically. Also, tragedy struck with the
premature death of erstwhile collaborator Robert Calvert from a heart
attack. The 1988 tour featured a number of supporting acts who were
all regulars on the festival scene such as Ozric Tentacles, Tubilah
Dog, The Hippy Slags and The Rhythmites. A double live benefit album,
The Travellers Aid Trust, was released, showcasing live performances
from Hawkwind and the bands who had supported them on this tour.
Throughout the 1980's, Huw Lloyd Langton had released solo recordings
under the name of The Lloyd Langton Group and he left Hawkwind after a
Robert Calvert memorial concert in March 1989 to concentrate on this
band. The music of Lloyd Langton Group is pretty much heavy metal and
consequently they are not included in this guide, however Langton did
later play with Portsmouth based freaksters' Dr. Brown.
Bridgett Wishart from the Hippy Slags joined Hawkwind for the next
album, Space Bandits. The music was a considerable improvement over
The Xenon Codex with the trippy and hypnotic Black Elk Speaks and
nightmarish TV Suicide standing out. The next GWR release was another
live album, Palace Springs suggesting that the relationship with GWR
was not an artistically satisfying one. Indeed, the best releases of
this period were the archive releases, Stasis and BBC Radio 1 Live In
Concert. The Stasis album was a compilation of material from what most
people would agree was Hawkwind's best period, 1971 - 1975. The Radio
1 Live CD featured excellent quality material from the Space Ritual
tour. It was not as good as Space Ritual itself, but this is hardly a
criticism since very little is as good, and it was the best Hawkwind
item that had been released for years. 1991 also saw a unique event in
the history of the band: a tour by Hawkwind without Dave Brock who was
busy with the Palace Springs album; his place was filled by Steve
Bemand of Smart Pils. More live material from the same period has
recently surfaced on the California Brainstorm CD package; the music
is no more than workmanlike, but the package includes a beautifully
presented book The Collectors Guide To Hawkwind and will almost
certainly prove to be a prized item in the future.
1992 saw a new label and slimmed down three-man line-up. It also saw
the release of a new album, Electric Tepee far better than the recent
studio albums had been and technologically more sophisticated, in
spite of the awful name. There were a number of strong songs: Right To
Decide, LSD, Sadness Runs Deep and some fine spacey instrumental work
with the title track, Electric Tepee and Going To Hawaii standing out.
They spent the next year absorbing current influences and came out
with an almost ambient album, 1993's It Is The Business Of The Future.
This is an entirely instrumental work with the exception of a version
of Gimme Shelter recorded with Sam Fox for a Shelter benefit single.
Unfortunately, the overall effect is rather dull. Around the same
time, they began collaborating with Astralasia, the results of which
appeared on their next three singles.
Late in 1994, the band released yet another live album, The Business
Trip which suggests lack of creativity, and it was a relatively poor
album as well, although it did come with an excellent version of Green
Finned Demon. It came in the most attractive packaging of any Hawkwind
album since Warriors. There was also a new studio album White Zone
credited to Psychedelic Warriors. This had an ambient sound similar to
It Is The Business Of The Future....
A new vocalist, Ron Tree, who sounds like Robert Calvert, joined the
band in 1995. This line-up of the band released the well received
Alien 4 album, although to my ears it still does not compare to the
band in their prime and the best song on the album is an old one,
Deathtrap. The only other track that stands out is Alien I Am also
released as a single.
1995 also saw Hawkwind's twenty fifth anniversary which they
celebrated with an all night concert at the Brixton Academy alongside
all manner of underground artists, notably Porcupine Tree, Back To The
Planet and The Electric Groove Temple.
1996 was another busy year for the band with no fewer than three album
releases. Ritual Of The Solstice is a compilation of remixes of
Hawkwind tracks by the like of Salt Tank, Astralasia, Banco De Gaia,
Senser and Utah Saints. The Emergency Broadcast System Samples is a
label sampler, principally featuring Hawkwind and related, along with
Capt Rizz and Spacehead. Love In Space is another live album, recorded
during the 1995 tour, and comes in stunning packaging.
For Hawkwind fanatics with deep pockets, the American label Griffin
have done a series of boxed sets which generally contain a CD and a
book. The first Hawkwind album to be given this treatment was Warrior
On The Edge Of Time which came with Robert Godwin's The Illustrated
Collectors Guide To Hawkwind which as well as the professed subject
matter also features interviews with Mike Moorcock and Dave Brock. The
book was reissued as part of the California Brainstorm boxed set. The
sets of Quark, Strangeness And Charm and Astounding Sounds Amazing
Music both feature one of the Hawklords novels by Michael Moorcock and
Michael Butterworth in hardback covers. Neither are worth getting just
for these books. Griffin also released the twenty five years boxed set
which is a pretty handsome (if expensive) package. The artwork is made
up of elements of sleeve artwork from most of the albums and contains
four CD's. The first deals with the period Hawkwind - Space Ritual;
the second with the period Space Ritual - Quark, Strangeness And
Charm; the third with the period PXR5 - Live Chronicles with the
single tracks Back On The Streets 25 Years single remix and Dragons
And Fables; the fourth deals with the period Xenon Codex - It Is The
Business Of The Future To Be Dangerous and features the new version of
Quark, Strangeness And Charm and a previously unreleased instrumental
I Am The Eye That Looks Within. The set comes with a lyric booklet and
extensive notes by Michael Moorcock, alongside the previously
unpublished third instalment in the Hawklords series, Ledge Of
Darkness which comes as a graphic novel.
Also for fanatical collectors with a healthy bank balance is the 1995
Hawkwind tribute album Assassins Of Silence Hundred Watt Violence
issued in a run of just 300 copies on San Francisco's Ceres label.
This is a compilation of various American underground outfits playing
Hawkwind songs in their own special way. Highlights are The Petals
making Hurry On Sundown their own, Voco Kesh's instrumental We Took
The Wrong Step Years Ago, ST37 capturing the menace of The Watcher and
Lithium Xmas high octane rendition of Magnu a track they had
previously covered on their 1993 Trigger Mortis EP.
The EMI reissue program of Hawkwind's first five albums has been a far
more democratic affair and has eclipsed the huge amount of original
Hawkwind material that has been released in 1996. All the reissues
come in fantastic fold out digi packs complete with booklets where
appropriate and period artwork and band photographs. They also contain
rare bonus material. Hawkwind comes with four extra tracks: the bluesy
Bring It On Home, the original version of Hurry On Sundown, Kiss Of
The Velvet Whip and a cover of the Pink Floyd song Cymbaline. In
Search Of Space comes with three: Silver Machine, Seven By Seven and
Born To Go and a reproduction of the Hawklog. Doremi Fasol Latido
comes with four extra tracks: the single edit of Lord Of Light, Urban
Guerilla, Brainbox Pollution and a previously unreleased version of
Ejection. Space Ritual comes with a reproduction of the original
programme and three extra tracks: Born To Go and Master Of The
Universe from the Greasy Truckers album and a live version of You
Shouldn't Do That. Finally, Hall Of The Mountain Grill features four
extra tracks: single edits of Psychedelic Warlords, You'd Better
Believe It and Paradox and the B-side of Psychedelic Warlords, It's So
Easy. These are all worth getting even if you already own the original
albums.
Dave Brock's solo stuff sounds like a less polished version of the
same period Hawkwind, and since none of his albums date from
particularly distinguished moments in the band's career, they are only
worth investigating by the hardcore fan. (Chris Williams)
Da "Adrift in the Ether"
(2):Hawkwind started up in the Notting Hill area of London and soon
developed a strong reputation as a community-based group. Brock had
previously played with Famous Cure and Mobile Freak-Out. They were
initially known as Group X and later as Hawkwind Zoo, before becoming
just plain Hawkwind.
Like San Francisco's Grateful Dead, they were willing to play for free
almost anywhere in their early days (including an impromptu appearance
at the 1970 Isle of Wight Festival) and specialised in long, acid-rock
orientated sets. Indeed, the band's philosophy and life-style was very
similar to that of the San Francisco bands. They strove to recreate
all the trappings of this scene, specialising in light shows and
visual effects and gimmicks, such as the use of speakers shaped like
spaceships.
Their first album was preceded by a 45, the comparatively poppy Hurry
On Sundown, which is now very rare and sought-after by Hawkwind
collectors.
Their albums were influenced by the group's strong interest in science
fiction and contained long, predominantly instrumental tracks, making
liberal use of spacey sound effects. Their music could best be
described as space rock, a musical strand which developed out of
psychedelia as the range of electronic instrumentation available grew
wider and more sophisticated. Aside from both sides of their earlier
debut 45, the first album contained five Pink Floyd-style instrumental
tracks. Their second album, released in October 1971, included a 24
page booklet, 'Hawklog', which was full of the sort of hippie
mysticism with which the band were associated. The album reached No 18
in the UK album charts. The album's line-up included ex-Amon Düül
bassist Dave Anderson and Del Dettmar, Hawkwind's former sound
engineer. The same year the band performed at the Glastonbury Fayre
Festival and are featured on the now extremely rare triple album,
Glastonbury Fayre (Revelations REV 1/2/3), which was made to
commemorate the event. Hawkwind's input was a lengthy version of
Silver Machine and the shorter Welcome To The Future. Nonetheless,
they were something of an anachronism in an age of flash rock outfits
like T Rex and Gary Glitter. They remained very much an underground
band until the success of their Silver Machine single, a No 3 UK hit
in the Summer of 1972. This won the band a younger following, and
enabled them to go from strength to strength. Their third album,
released in November 1972, made No 14 in the Charts. The original
pressings included a free poster, designed by the now deceased Barney
Bubbles, an artist/designer who was instrumental in planning the
immensely ambitious Space Ritual project, which was financed out of
the royalties of the sales of Silver Machine.
This next period was the band's most commercially successful with the
double album, Space Ritual, which had been previewed during their
earlier mammoth tour, climbing to No 9. It later got to No 179 in the
US. In August 1973 Dik Mik left the band for good.
Their next 45, Urban Guerilla, climbed to No 39 but was then withdrawn
because of an outburst of terrorist activity by the IRA. Clearly, it
would have been a much bigger hit but for this. They completed 1973
with their first US tour.
In April 1974, following a full UK tour and a second US one during
which they played a benefit for acid disciple Timothy Leary, Simon
House joined on keyboards. A couple of months later, Dettmar, who had
earlier withdrawn from the stage line-up, left the band to emigrate to
Canada. In July 1974 the former Chicken Shack, Stackridge and Vinegar
Joe member Alan Powell had to be drafted in when Simon King broke his
ribs playing soccer. When King recovered though, Powell remained and
the band simply operated with two drummers. Line-up (H) recorded Hall
Of The Mountain Grill, which was released in September 1974 and rose
to No 16 in the UK and No 110 in the US. A month earlier, The
Psychedelic Warlords 45 was released. This line-up (I) recorded
Warrior On The Edge Of Time, made two tours of America and played at
the Harrow Free Festival. The album got to No 13 in the UK and No 150
in the US. On their second tour in May 1975 Canadian custom officials
caught Lemmy with a small amount of amphetamine sulphate which they
mistook for cocaine. As a result, he was jailed in a windowless cell
and upon his release, was stunned to find that the band had sacked him
rather than jeopardise the tour. Former Deviants, Pink Fairies and
Uncle Dog member Paul Rudolph was flown out as a replacement. Lemmy,
meanwhile, on his return to the UK formed Motorhead.
By now, Hawkwind had established themselves as a national rock
institution - they were the top attraction at the August 1975 Reading
Rock Festival. Former member Bob Calvert, who'd initially made a guest
appearance, rejoined the band permanently. This line-up survived until
January 1977 and recorded Astounding Sounds And Amazing Music. It got
to No 33 in the UK. United Artists also released a compilation, Road
Hawks, which had been compiled by Dave Brock. This album peaked at No
34 in the UK, but their accompanying 45, Kerb Crawler, failed to
chart.
Although Hawkwind reached their peak in the mid-seventies, they
continued to record and play spasmodically throughout the eighties,
though by the middle of the decade, Dave Brock was the sole surviving
member from their Group X days. Nik Turner was involved in Sphynx and
Inner City Unit, after being fired from Hawkwind. In the late
seventies, Brock, Calvert and King assumed a new name, The Hawklords,
but the group reverted back to Hawkwind in 1979 by which time Robert
Calvert resumed his solo career. Dave Brock had a couple of albums and
45s during the eighties. Michael Moorcock recorded a solo album, New
World's Fair (United Artists UAG 29732) in 1975, whilst a member of
Hawkwind. He later recorded a couple of 45s in the early eighties as
Michael Moorcock and Deep Fix. Huw Lloyd-Langton formed The Huw
Lloyd-Langton Group during the eighties and they released four albums
and two more 45s (one of which was a 12").
Compilation appearances have included an excerpt from Be Yourself on
All Good Clean Fun, as well as, Born To Go and Master Of The Universe,
on the double Greasy Truckers Party compilation and on the triple set
Revelations - A Musical Anthology Of Glastonbury Fayre. More recently,
The Age Of Enlightenment - Prog Rock, Vol. One has included Masters Of
The Universe, a space-metal anthem.
Stasis: The U.A. Years 1971-75 includes the original 45 mix of Silver
Machine; both sides of the Urban Guerilla 45, single mixes of
Psychedelic Warlords and You'd Better Believe It; three live cuts and
a few other odds and ends.
da "The Tapestry of Delights"
Mentre per gli Ozric Tentacles:
PERSONNEL:
ED WYNNE gtr, keyb'ds A B C D E F G H
ROLY WYNNE bs A B C D E F
NICK VAN GELDER drms, perc A B C D E F G
GAVIN GRIFFITHS gtr A B
JOIE HINTON keyb'ds, samplers A B C D E F G
TOM BROOKES keyb'ds B C
PAUL HANKIN perc C D E
MERV PEPLER drms, perc D E F G
JOHN EGAN flute, vcls D E F G H
ZIA GEELANI bs G H
SEAWEED keyb'ds H
RAD drms, perc H
CASSETTES:
(C) ERPSONGS 1985
(D) TANTRIC OBSTACLES 1986
(D) LIVE ETHEREAL CEREAL 1986
(D) THERE IS NOTHING 1986
(D) SLIDING GLIDING WORLDS 1988
( ) THE BITS BETWEEN THE BITS 1989
SINGLES:
(E) Sploosh / Live Throbbe (Dovetail DOVEST 3) 1991
ALBUMS:
(E) PUNGENT EFFULGENT (Demi Monde DMLP 1017) 1989
(E) ERPLAND (double LP, single CD) (Dovetail Dove LP / CD 1) 1990
(E) PUNGENT EFFULGENT (CD has extra track) (Dovetail Dove LP / CD 2)
1990
(F) STRANGEITUDE (CD has extra track) (Dovetail Dove LP / CD 3) 1991
AFTERSWISH (double CD) (Dovetail Dove CD 4) 1991
(G) LIVE UNDERSLUNKY (double album, single CD) (Dovetail Dove LP / CD
5) 1992
(G) JURASSIC SHIFT (CD has extra track) (Dovetail Dove LP / CD 6) 1993
( ) VITAMIN ENHANCED OZRIC TENTACLES (6 CD's) (Dovetail DOVEBOX 1)
1994
(C) ERPSONGS (Dovetail OT 1) 1994
(D) TANTRIC OBSTACLES (Dovetail OT 2) 1994
(D) LIVE ETHEREAL CEREAL (Dovetail OT 3) 1994
(D) THERE IS NOTHING (Dovetail OT 4) 1994
(D) SLIDING GLIDING WORLDS (Dovetail OT 5) 1994
( ) THE BITS BETWEEN THE BITS (Dovetail OT 6) 1994
(G) ARBORESCENCE (three sided LP with extra track/CD) (Dovetail Dove
LP / CD 7) 1994
(H) BECOME THE OTHER (Dovetail Dove CD / LP 8) 1995
( ) CURIOUS CORN (LP/CD) ( ) 1998
VIDEOS:
ANGEL CENTRE, TONBRIDGE 26/2/89 (Taste 4) 1990
PULLENS FREE FESTIVAL 25/8/90 (Taste 8) 1990
THE FRIDGE, BRIXTON 19/5/91 (Taste / Dovetail) 1991
One of the very best and most prolific bands now playing psychedelic
music, Ozric Tentacles are also among the most popular, starting to
gain real success as a reward for years of persistence. The band was
formed in 1982 when Joie Hinton met up with Ed, Roly, Tig (Nick Van
Gelder) and Gavin. After a stoned session discussing imaginary
breakfast cereals around a Stonehenge festival campfire, the band
became Ozric Tentacles (good job too, since some of the alternatives
were Desmond Whisps, Gilbert Chunks and Malcolm Segments). The samples
and general ethnic vibes that Joie had gathered on his visits to India
became a major part of the band's sound.
In 1983 the band acquired a second synth player, Tom Brookes, and
began regular gigging in the London psychedelic clubs, particularly
The Crypt and an early Club Dog. Around this time, Gavin Griffiths
left the band to form The Ullulators and Paul Hankin came in on extra
percussion. The band at this time can be heard on the Psychedelic
Psauna compilation with the track Erp Riff 83.
1985 finally saw the band's first cassette release, Erpsongs which
covered material from 1984/85. The mixture of alien, spacey sounds in
a floating soundscape which has been a characteristic feature of the
band throughout their career was already evident on tracks such as
Thyroid while others such as Dots w Thots and Velmwend showed the
Ozrics' harder rocking tendencies with a solid rhythm section
underpinning soaring guitar and synthesiser passages. Tom Brookes left
the band around this time leaving Ed to double up on synthesisers as
he continues to do to this day. Tom later joined Global.
1986 was a very productive year for the band with three cassette
releases. The first Live Ethereal Cereal showed the band to be a very
hot psychedelic property indeed, particularly in the blistering
Obstacular Explosion. Tantric Obstacles opens with the superb Og Ha Be
and continues with plenty of other very fine material such as the
eerie Shards Of Ice and the floating Atmosphear. There was also reggae
in the form of Oddhamshaw Style and Sorry Style. A fourth cassette
release, There Is Nothing followed quickly. This featured plenty of
more ethnic elements particularly on The Sacred Turf and O-I (rhymes
with "dotty") as well as dub on Kola B'pep. Other tracks such as
Invisible Carpet showed that the band remembered how to rock.
The following year saw no further releases by Ozric Tentacles, but
this did not mean that the band were not busy. Too Much Gristle In The
Blancmange by Evil Edna's Horror Toilet was a sort of freaks' Blows
Against The Empire featuring all manner of underground luminaries from
the likes of Webcore, The Magic Mushroom Band, The Ullulators and of
course the Ozrics. The project was assembled by Joie and Jane Reaction
of The Ullulators. Joie, then as now, was an in-demand keyboardist,
playing in The Oroonies and The Ullulators: a very busy man indeed.
Another significant release from this time was The Grove Of Selves by
Nodens Ictus; this was Ozric Tentacles without the bass guitar or
percussion and because of this Ed decided that they should release the
results under a different name.
1988 saw not only the band's best cassette release to date but also
their first appearance on vinyl. Sliding Gliding Worlds was little
short of a masterpiece and highlights include Omnidirectional Bhadra
the ridiculously titled Fetch Me The Pongmaster, Sliding And Gliding
and a personal favourite, Mae Hong Song. They were one of many
festival bands to support Hawkwind that year, and two of their live
performances, an excellent Even The Air Is Dreaming and a less
essential To Do With Circles were released on the Travellers' Aid
Trust compilation.
Ozric Tentacles were getting ready to release their debut album and
closed the tape only period of the band with a collection of odds and
ends from the period 1985 - 89. Featuring all the diverse styles that
make the Ozrics' so rewarding, this made a good introduction to the
band and gave one the feeling that it must be nice to be so good that
you could afford to relegate such fine music as Symetricum, the
rainforest ambience of Eye Of Adia and the almost rave Secret Names to
a collection of oddments. Quite a bit of the cassette material was
reissued in 1991 on Afterswish a very reasonably priced double CD
compilation containing two hours of music and three tracks unavailable
elsewhere. In 1994, all the tapes were reissued on CD at budget price,
initially in a very nice set, Vitamin Enhanced which featured a design
similar to a Rice Crispies packet on the box. There are a number of
other Ozrics' tapes in existence which are not mentioned in the above
discography due to their very limited releases and uncertain
identities. The band have masses of unreleased material and at one
time Ed would make up a tape for anyone who sent him a blank cassette
(note that this is no longer the case; you'll just waste a cassette)
so the number of different releases available somewhere in a quantity
of one or two is very large indeed. Titles known to me include Live At
The Reading Unemployment Centre, Glastonbury 1985 and Ozrics Oddities
which apparently features some very early tracks.
1989 saw two firsts for the band: a vinyl album and (very occasional)
vocals. By this time the band had added John Egan to their ranks,
playing flute, leaping about on stage and uttering the occasional
vocalisation on record. The debut album was recorded in Dave
Anderson's Foel studios in North Wales. Something about the setting of
these studios, or perhaps the prolific Welsh fungi, brings out the
best in the bands who work there and without a doubt Pungent Effulgent
was one of the very best floating, alien, ethnic space-outs ever
committed to vinyl. Beginning with the wondrously hypnotic Dissolution
the album continued with a resurrection of O-I from the There Is
Nothing tape. This in turn is followed by the Asian sounding Phalarn
Dawn and the very fine reggae work out The Domes Of G'Bal. Ayurvedic
builds up from a gentle intro into something of a freakout while
further Asian sounds were explored in Kick Muck a track that had
previously appeared on Sliding Gliding Worlds The album closes in fine
tribal style with Agog In the Ether: a truly essential release. In its
original form on the Demi Monde label, the album has become hard to
find, but it was reissued in 1990, the CD featuring an extra track,
Wreltch.
If Pungent Effulgent had been good, then the follow up, Erpland was
even better. It oozed class from the sleeve, a superb psychedelic
landscape by regular cover artist Blim, inwards and still represents
the band at their very best. It opens with the deliciously floating
Eternal Wheel which develops into a powerful rocker. The standard
throughout is so high that it is almost impossible to pick out
highlights apart from the title track, a whorl of frantic sounds as
hard rocking as the band gets. Other stand out titles include the dub
track Iscence featuring the only vocals on the album, and the middle
eastern workout Valley Of A Thousand Thoughts but in reality every
track is a winner and Erpland is probably the stand out album of the
nineties, and possibly of all time.
The third album was not so good, although by anybody else's standards
it is a very fine album indeed, particularly the exceedingly
psychedelic and other worldly title track Strangeitude and the middle
eastern workouts Saucers and Bizarre Bazaar. The stand out piece,
however, was the powerful dance track Sploosh. This was used in an
advertising campaign for BMW (of all the inappropriate companies) and
presumably to coincide with this the band released it as their only
single to date. It was backed with an excellent, pulsating live
performance of The Throbbe the extra track on the CD.
Strangeitude was the last studio album for two years. In the interim,
the band filled in by releasing the live double album / single CD Live
Underslunky. This was the Ozrics least interesting album musically to
date. There was nothing wrong with the material, which featured
classic tracks such as Erpland and Snakepit nor with the sound quality
and musicianship, both of which were excellent. It was simply that at
times the music became a bit dull.
Matters were rectified somewhat with the band's next studio release,
1993's Jurassic Shift. This was the first Ozrics' album to chart,
possibly because of its packaging which was made out of reduced THC
hemp paper. Once again there was plenty of very good material, if
nothing really outstanding, but there was a feel of Ozrics-by-numbers
to it and it was disappointing in comparison with other studio albums.
Sometime during the recording of the album, Roly Wynne, who had spent
periods away from the band previously, left the band, his place being
taken by Zia Geelani. Roly currently fronts the punk band Damidge and
has played with Divine Soma Experience. Nick Van Gelder also left; he
was subsequently seen drumming for Jamiroquai for which he should be
thoroughly ashamed.
If Ozric Tentacles had seemed to be musically in long term decline,
any fears were dispelled with Arborescence. Not only was this the best
album in years, but it had the best artwork since Erpland. It starts
in fine style with the hard rocking Astro Cortex and there is an
excellent eastern sounding track Al-Salooq, a mental dance piece Dance
Of The Loomi and more laid back textures in There's A Planet Here. The
album was only marred very slightly by the title track being a little
overlong. Joie Hinton left the band after the release of the album to
concentrate on Eat Static, and Merv Pepler followed soon after. Their
replacements were the bizarrely named Seaweed and Rad from Damidge.
Seaweed had also previously played keyboards in Thunderdogs.
This revamped line-up toured heavily prior to releasing the superb
Become The Other album. This is without a doubt the finest Ozrics'
album since Erpland and features a very wide variety of music, from
the hard rocking Cat DNA with its conjunction of funky guitar and
waspish flute to the Spanish styled Vibuthi which combines delicately
picked acoustic guitar with the sounds of bells and sampled nature,
building up into a hard rocking piece towards the end. Ghedengi is a
bewitching piece, all snaking bass lines and sampled strings while
Neurochasm the best track on the album, blows you away with its solid,
hard rocking foundations and awesome soloing. The furious percussion
comes courtesy of Rad and guest musician Jim Walker of The Cheapsuit
Oroonies. The following track, Become The Other is the perfect foil to
this, very chilled and deeply relaxing. The closing track, Plurnstyle
is the last collaboration between Ed and Joie, but is also the least
inspiring piece on the album. (Chris Williams)
da "Adrift in the Ether"
>loppy
Sayonara !!
--
Gabriele Orlando --->
p...@libero.it
<<There's a chaos of visions and voices
  The moon is down
  Sad is the laugh of the clown
  now the old moon is down.>>
[Gentle Giant, The Moon is Down]


title: [Precious Cargo] : una gemma degli High Tide .

author: giovanni

text:
Comprato da poco , Precious cargo è una live jam in studio del 1970.
Sono tutti brani inediti , rispetto all'album 'High Tide' , uscito nello
stesso anno.
Al di là degli ottimi giudizi sui primi due dischi 'ufficiali' degli High
Tide e sull' importanza che hanno nel panorama della musica prog , Precious
Cargo è sicuramente un disco eccezionale , una gemma spesso dimenticata dai
più.
Pur essendo più spostato sul verante della psychedelia , Precious Cargo
riesce a riproporre quella straordinaria magia  che si sprigiona dalla
musica degli High Tide.
Il disco si apre con una straordinaria 'Blood Lagoon' , con la voce di Hill
in primo piano , i riffs graffianti della chitarra di Hill e i
caratteristici intrecci di chitarra e violino . Splendido poi l'assolo di
violino .Forse già il primo pezzo vale già da solo il prezzo dell' album ,
ma tutti i brani sono eccezionali.
La strumentale 'Quest' , incentrata sulle variazioni del tema di chitarra ,
sarà ripresa anche se in forma diversa nell' album Ancient Gate , dove
compare sotto il nome di Aht Variant.
Segue 'Inflight' , dove i consueti intrecci di chitarra e violino sono
sostenuti da una magnifica ritmica di Hadden.Suggestiva 'Ice Age' , con le
sue tonalità morbide e distese.
Un ultimo cenno meritano i passaggi strumentali di Exploration,con le sue
contaminazioni jazz-rock , e le atmosfere 'acide' , con il violino
'sognante' di House in grande evidenza  , di Rock Me On your Wave , brano
che chiude l' album . Unico 'neo' del disco è la cattiva qualità della
registrazione : spesso il suono del violino di House risulta come
'ovattato'.
Ringrazio tutti gli appassionati di IAMRP che mi hanno consigliato diversi
mesi fa di comprare quest'album : sicuramente un ottimo acquisto :-)
giovanni


author: stanz

text:
giovanni ha scritto:
> Comprato da poco , Precious cargo è una live jam in studio del 1970. Sono
> tutti brani inediti , rispetto all'album 'High Tide' , uscito nello stesso
> anno.Al di là degli ottimi giudizi sui primi due dischi 'ufficiali' degli

Quindi ci spartiamo i ringraziamenti io, High Tide e Matthias :-)
ciao ciao
s.


author: Blood Lagoon

text:
> Quindi ci spartiamo i ringraziamenti io, High Tide e Matthias :-)
No, me li prendo totalmente io, viste le 5 pagine che postai a luglio
proprio a Giovanni, e le filippiche che gli ho tenuto di persona a Roma 2
mesi fa per convincerlo nell'acquisto! Sono partito da Torino per
convincerlo! :-D
In più High Tide conosce Precious Cargo ed Ancient Gates, da quando gli ho
spedito un nastro lo scorso maggio ;-)
Saluti e buon anno a tutti. ;-)
--
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/
/\/\/\/\/ Blood Lagoon /\/\/\/\/
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/


author: High Tide

text:
"giovanni" <
gio...@tiscalinet.it
> ha scritto nel messaggio
news:92quib$63k$1...@lacerta.tiscalinet.it...
> Comprato da poco , Precious cargo è una live jam in studio del 1970.
> Sono tutti brani inediti , rispetto all'album 'High Tide' , uscito nello
> stesso anno.
> Al di là degli ottimi giudizi sui primi due dischi 'ufficiali' degli High
> Tide e sull' importanza che hanno nel panorama della musica prog ,
Precious
> Cargo è sicuramente un disco eccezionale , una gemma spesso dimenticata
dai
> più.
High Tide (ma guarda la coincidenza... ;-)  )
E io non mi lasco sfuggire l'occasione di rammentare qualcosa...
1) E' vero che come disse Matthias oppure Fracasso (non ricordo quale
     di preciso dei due...) il termine "Progressive" era gia' stato usato in
     England all'inizio degli anni '70, ed adottato piu' tardivamente in
seguito
     per designare un insieme (poco omogeneo...) di stili musicali che piu'
     o meno si discostano dal rock mainstream in senso "evoluto"...
2) MA mi ricordo anche *molto bene* che le prime volte che ho udito
    quel termine, e parlo della fine del 1970 e inizio 1971, esso NON era
    riferito ne' ai Nice ne' agli altri gruppi di rock "sinfonico". Guarda
tu il
   caso, una delle prime volte che lessi quel termine il giornalista cercava
   un aggettivo adatto per descrivere il secondo disco ufficiale (quello
   omonimo) degli High Tide !
3) Che "Precious Cargo" sia dimenticato da molti e' vero: addirittura esso
     non era nemmeno presente nelle liste di Gnosis, almeno quando sono
     andato a guardarci l'ultima volta. Mentre era presente il
"fondamentale"
     "Sala Borsa Novara" del Consorzio Acqua Potabile...
Giovanni:
> Pur essendo più spostato sul verante della psychedelia , Precious Cargo
> riesce a riproporre quella straordinaria magia  che si sprigiona dalla
> musica degli High Tide.
High Tide:
Anzi, ancora di piu'!!! E' proprio con questo disco che Hill, House e soci
raggiungono il vertice di quella "espressione magica": nello storico album
omonimo del 1970 si erano avvicinati a momenti, senza pero' raggiungere
i livelli profondamente suggestivi e impareggiabilmente evocativi di una
"Blood Lagoon".
Giovanni:
> Il disco si apre con una straordinaria 'Blood Lagoon' , con la voce di
Hill
> in primo piano , i riffs graffianti della chitarra di Hill e i
> caratteristici intrecci di chitarra e violino . Splendido poi l'assolo di
> violino .Forse già il primo pezzo vale già da solo il prezzo dell' album ,
> ma tutti i brani sono eccezionali.
High Tide:
Non esiste un solo brano mediocre in tutto l'album, anzi "i peggiori"
sono come minimo assai buoni. Almeno se ascoltati con un orecchio
sensibile alle atmosfere piu' che ai funambulismi tecnici (sebbene i
musicisti presenti siano tutt'altro che dilettanti) e alle belle prove
di estetica barocka (pur se le idee presenti su "Precious Cargo"
sono in genere *anche* belle secondo dei concetti abbastanza diffusi
di estetica musicale).
Giovanni:
>Unico 'neo' del disco è la cattiva qualità della
> registrazione : spesso il suono del violino di House risulta come
> 'ovattato'.
High Tide:
Purtroppo e' questo il punto debole dell'opera, che avrebbe meritato a
suo tempo una registrazione dignitosa, mentre i brani presenti furono
tutti registrati "in diretta", con una qualita' piu' simile a quella dei
dischi
"live" dell'epoca.
Giovanni:
> Ringrazio tutti gli appassionati di IAMRP che mi hanno consigliato diversi
> mesi fa di comprare quest'album : sicuramente un ottimo acquisto :-)
High Tide:
Benissimo, ora pero' bisognerebbe ripostare questo discorso circa
"Precious Cargo" anche su IAMR... parecchi su quel NG si sono
dimostrati interessati agli High Tide.
Anzi, ci penso io...
Saluti & Buona Salute
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/
/\/\/\/\/\/ High Tide \/\/\/\/\/



text:
"High Tide" <
sa...@ummagumma.it
> ha scritto nel messaggio
news:kSm46.224899$hk4.8...@news.infostrada.it...
> Benissimo, ora pero' bisognerebbe ripostare questo discorso circa
> "Precious Cargo" anche su IAMR... parecchi su quel NG si sono
> dimostrati interessati agli High Tide.
> Anzi, ci penso io...
* Ma Stanz aveva gia' provveduto prima... ;-)



author: Matthias

text:
On Tue, 02 Jan 2001 11:56:04 GMT, stanz <stanz...@NOSPAMlibero.it>
wrote:
>Quindi ci spartiamo i ringraziamenti io, High Tide e Matthias :-)
:-)
Proprio oggi stavo cercando di ascoltare l'osceno bootleggazzo High
Tide della Lobster (adesso credo "ristampato" - si fa per dire - da
Akarma) "Interesting Times + 2" e non ho resistito oltre la seconda
canzone.
Devo rimetterlo?
NP: Devil Doll - Sacrilegium
Ciao
Matthias
----
From Genesis to Revelation
http://fromgenesis.cjb.net
Ogni martedì dalle 23.05 alle 00.30 GMT +1.00
Radio Popolare Milano 107.6 FM
Show on the web
http://www.fucine.com/fragola/

Show  on satellite Eutelsat Hot Bird 4, 13° East on 12.673 MHz V


text:
On Tue, 02 Jan 2001 15:56:00 GMT, "High Tide" <
sa...@ummagumma.it
>
wrote:
>"giovanni" <
gio...@tiscalinet.it
> ha scritto nel messaggio
>3) Che "Precious Cargo" sia dimenticato da molti e' vero: addirittura esso
>     non era nemmeno presente nelle liste di Gnosis, almeno quando sono
>     andato a guardarci l'ultima volta. Mentre era presente il
>"fondamentale"
>     "Sala Borsa Novara" del Consorzio Acqua Potabile...
Non vero, io credo di avergli messo 15.
Tuttavia i dischi entrano nel classificone solo se hanno un minimo di
votanti.
"Sala Borsa Novara" del Consorzio Acqua Potabile č una porcata che ha
ragione di esistere solo se comprata nello splendido
box-origami-cofanetto dei "gorghi del tempo".
Ciao
Matthias
----
From Genesis to Revelation
http://fromgenesis.cjb.net
Ogni martedě dalle 23.05 alle 00.30 GMT +1.00



text:
Matthias ha scritto:
> Proprio oggi stavo cercando di ascoltare l'osceno bootleggazzo High
> Tide della Lobster (adesso credo "ristampato" - si fa per dire - da
> Akarma) "Interesting Times + 2" e non ho resistito oltre la seconda
> canzone.
> Devo rimetterlo?
No, quello č brutto per default.
Prendilo e gettalo nel fiume a te piů vicino, in una notte ventosa mentre
in macchina ascolti Sacrifice dei Black Widow munito di rosario profumato
di Padre Pio ;-)
s.


text:
Blood Lagoon ha scritto:
>
> In più High Tide conosce Precious Cargo ed Ancient Gates, da quando gli ho
> spedito un nastro lo scorso maggio ;-)
Proprio nessuno si è consumato il "Reason Of Success" come in sottoscritto?
;-)
A parte questo, mi è stato detto molto e bene del solo di Tony Hill su SPM
("un 50% buono", testuali parole). Io non lo sentii se non a salti e poi lo
lasciai immotivatamente dove era. Debbo essere punito?
bye s.


text:
"Blood Lagoon" <
vec...@patrol.it
> ha scritto nel messaggio
news:YCk46.3897$FF1.2...@twister1.tin.it...
> > Quindi ci spartiamo i ringraziamenti io, High Tide e Matthias :-)
>
> No, me li prendo totalmente io, viste le 5 pagine che postai a luglio
> proprio a Giovanni, e le filippiche che gli ho tenuto di persona a Roma 2
> mesi fa per convincerlo nell'acquisto! Sono partito da Torino per
> convincerlo! :-D
> In più High Tide conosce Precious Cargo ed Ancient Gates, da quando gli ho
> spedito un nastro lo scorso maggio ;-)
High Tide:
In effetti ho conosciuto Precious Cargo ed Ancient Gates tramite i dischi
di Gianluca "Blood Lagoon" ... che si deve ritenere il piu' grande
sostenitore
del gruppo, quindi. E non solo...
Quando io nel settembre scorso mandai un Post al NG
"free.it.musica.pinkfloyd",
per segnalare le voci su di un nuovo contratto dei Pink Floyd con EMI per un
disco che dovrebbe uscire quest'anno e possibile Tour, fosti sempre tu che
con la tua infaticabile opera di scandagliamento dei siti Floydiani
reperisti
quella informazione su "Crazy Diamond Pink Floyd Fanzine" gia' in agosto.
Appena Stanz vide il mio Post sull'NG dei Pink Floyd accorse su IAMR e
IAMRP per segnalare a sua volta la (buona?) nuova.
Al che' specificai, mi ricordo, che il primo reperitore dell'informazione
eri tu. Che hai grandi meriti, ma purtroppo poco conosciuti...
Anche perché posti con molta moderazione, perfino sulle cose che apprezzi
e conosci bene. Preferisci parlarne di persona (o al limite per e-mail),
e giustamente non ti piace rimanere coinvolto in polemiche il piu' delle
volte ben poco costruttive.
Quindi, grazie ancora di avermi fatto conoscere "Precious Cargo" ed
"Ancient Gates", e anche altri dischi interessanti.
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/
/\/\/\/\/\/ High Tide \/\/\/\/\/



author: Pink Moon

text: In quale server delle news lo posso trovare free.it.musica.pinkfloyd?


text:
High Tide <
sa...@ummagumma.it
> wrote in message
JDo46.225566$hk4.8...@news.infostrada.it...
> "Blood Lagoon" <
vec...@patrol.it
> ha scritto nel messaggio
> news:YCk46.3897$FF1.2...@twister1.tin.it...
> > > Quindi ci spartiamo i ringraziamenti io, High Tide e Matthias :-)
> >
> > No, me li prendo totalmente io, viste le 5 pagine che postai a luglio
> > proprio a Giovanni, e le filippiche che gli ho tenuto di persona a Roma
2
> > mesi fa per convincerlo nell'acquisto! Sono partito da Torino per
> > convincerlo! :-D
> > In più High Tide conosce Precious Cargo ed Ancient Gates, da quando gli
ho
> > spedito un nastro lo scorso maggio ;-)
>
> High Tide:
> In effetti ho conosciuto Precious Cargo ed Ancient Gates tramite i dischi
> di Gianluca "Blood Lagoon" ... che si deve ritenere il piu' grande
> sostenitore
> del gruppo, quindi. E non solo..
[cut]
> Che hai grandi meriti, ma purtroppo poco conosciuti...
> Anche perché posti con molta moderazione, perfino sulle cose che apprezzi
> e conosci bene.
già , Blood Lagoon , che ho avuto modo di conoscere di persona ,  è un
grande appassionato di musica progressive , ma non solo.
A me ha stupito però la sua profonda conoscenza e interesse per il Jazz ;-)
Posta poco un po' per 'modestia' , un po' perchè , come dice bene HIgh Tide
, non ama le polemiche troppo 'accese' o poco costruttive.
 giovanni
>
>
>


text:
stanz <stanz...@NOSPAMlibero.it> wrote in message
3A51C2E1...@NOSPAMlibero.it...
> giovanni ha scritto:
>
. Unico 'neo' del disco è la cattiva qualità della
> > registrazione : spesso il suono del violino di House risulta come
> > 'ovattato'. Ringrazio tutti gli appassionati di IAMRP che mi hanno
> > consigliato diversi mesi fa di comprare quest'album : sicuramente un
ottimo
> > acquisto :-)
>
> Quindi ci spartiamo i ringraziamenti io, High Tide e Matthias :-)
Bisogna dare a Cesare quel che è di Cesare... :-)
Il ringraziamento era diretto in modo particolare a High Tide e a Blood
Lagoon soprattutto , che a luglio mi parlarono molto bene degli Alta Marea e
in particolare di Precious Cargo e Ancient Gate.Con un po' di pazienza ho
trovato i due ufficiali e Precious Cargo , mentre Ancient Gate mi è stato
portato in cassetta da Blood Lagoon , in occasione di una sua trasferta a
Roma.
Io 'in cambio'  gli ho trovato i Misunderstood e l' album solo di Hill ,
vero Blood Lagoon ? :-)
Cmq , dopo aver letto una tua retrospettiva  molto interessante sui
Catapilla ,intitolata 'Il viaggio embrionale dei Catapilla'  che avevi
postato su IAMRP , mi sono comprato Changes . Altro disco eccezionale e
altro acquisto azzeccato Quindi ringrazio anche Stanz...:-)
ciao
giovanni
>
>
>


text:
High Tide <
sa...@ummagumma.it
> wrote in message
kSm46.224899$hk4.8...@news.infostrada.it...

sì , questo fatto me lo avevi raccontato e mi era rimasto 'impresso' .Strano
che non sia magari stao usato per In the court...dei Kc !
> 3) Che "Precious Cargo" sia dimenticato da molti e' vero: addirittura esso
>      non era nemmeno presente nelle liste di Gnosis, almeno quando sono
>      andato a guardarci l'ultima volta.
bè, ho visto che tra gli album dei '70 su Gnosis Precious cargo c'è !Ha
pochi voti e un voto medio non molto alto : 9,13 . E mi pare che sia
Matthias ( con Sch per caso ?) ad alzare la media ...:-)
Mentre era presente il
> "fondamentale"
>      "Sala Borsa Novara" del Consorzio Acqua Potabile...
non conosco .
> Giovanni:
> > Pur essendo più spostato sul verante della psychedelia , Precious Cargo
> > riesce a riproporre quella straordinaria magia  che si sprigiona dalla
> > musica degli High Tide.
>
> High Tide:
> Anzi, ancora di piu'!!! E' proprio con questo disco che Hill, House e soci
> raggiungono il vertice di quella "espressione magica": nello storico album
> omonimo del 1970 si erano avvicinati a momenti, senza pero' raggiungere
> i livelli profondamente suggestivi e impareggiabilmente evocativi di una
> "Blood Lagoon".
sì , sono d' accordo : l' album ufficiale del 1970 è sicuramente di
altissimo livello . Mi riferisco in particolare a Blankman Cries again , l'
affascinante The Joke , con il suo  alternarsi di momenti duri e melodici ,
ma anche a Saneymous , un pezzo costruito sui due temi di chitarra e violino
che si intersecano di continuo.
Però ad un ascolto più attento le sonorità più psych di Precious Cargo
risultano ancora più suggestive ed originali.
> Giovanni:
> > Il disco si apre con una straordinaria 'Blood Lagoon' , con la voce di
> Hill
> > in primo piano , i riffs graffianti della chitarra di Hill e i
> > caratteristici intrecci di chitarra e violino . Splendido poi l'assolo
di
> > violino .Forse già il primo pezzo vale già da solo il prezzo dell' album
,
> > ma tutti i brani sono eccezionali.
>
> High Tide:
> Non esiste un solo brano mediocre in tutto l'album,
non ho citato 'Movie Madness' , con quelle sue strane cadenze di chitarra
che Blood Lagoon definisce 'errabonde'  ,  non perchè sia di  scarso valore
. Anzi ..
anzi "i peggiori"
> sono come minimo assai buoni. Almeno se ascoltati con un orecchio
> sensibile alle atmosfere piu' che ai funambulismi tecnici (sebbene i
> musicisti presenti siano tutt'altro che dilettanti)
... direi una menzione particolare anche ad Hadden ,che non solo sostiene i
ritmi , ma che da anche suo apporto  'timbrico' al suono di Precious.
 e alle belle prove
> di estetica barocka (pur se le idee presenti su "Precious Cargo"
> sono in genere *anche* belle secondo dei concetti abbastanza diffusi
> di estetica musicale).
...in tema di bellezza , mi piacciono molto le linee melodiche di Rock me on
your wave.
Belle e originali al tempo stesso.
> Giovanni:
> >Unico 'neo' del disco è la cattiva qualità della
> > registrazione : spesso il suono del violino di House risulta come
> > 'ovattato'.
>
> High Tide:
> Purtroppo e' questo il punto debole dell'opera, che avrebbe meritato a
> suo tempo una registrazione dignitosa, mentre i brani presenti furono
> tutti registrati "in diretta", con una qualita' piu' simile a quella dei
> dischi
> "live" dell'epoca.
Mi diceva Blood lagoon di una tua discussione con Stanz sulla
possibilità/opportunità di una reunion per riregistrarlo..
> Giovanni:
> > Ringrazio tutti gli appassionati di IAMRP che mi hanno consigliato
diversi
> > mesi fa di comprare quest'album : sicuramente un ottimo acquisto :-)
>
> High Tide:
> Benissimo, ora pero' bisognerebbe ripostare questo discorso circa
> "Precious Cargo" anche su IAMR... parecchi su quel NG si sono
> dimostrati interessati agli High Tide.
> Anzi, ci penso io...
spero che il discorso continui anche ..:-)
ciao
giovanni
>
>


text:
Matthias <
mschel...@tin.it
> wrote in message
po345t8j1lskv139d...@4ax.com...
> On Tue, 02 Jan 2001 15:56:00 GMT, "High Tide" <
sa...@ummagumma.it
>
> wrote:
>
> >"giovanni" <
gio...@tiscalinet.it
> ha scritto nel messaggio
>
> >3) Che "Precious Cargo" sia dimenticato da molti e' vero: addirittura
esso
> >     non era nemmeno presente nelle liste di Gnosis, almeno quando sono
> >     andato a guardarci l'ultima volta. Mentre era presente il
> >"fondamentale"
> >     "Sala Borsa Novara" del Consorzio Acqua Potabile...
>
> Non vero, io credo di avergli messo 15.
mi pare 14.. , hai tu l' acronimo Sch ?Il tuo è il voto più alto ..:-)
> "Sala Borsa Novara" del Consorzio Acqua Potabile è una porcata che ha
> ragione di esistere solo se comprata nello splendido
> box-origami-cofanetto dei "gorghi del tempo".
mah..non la conosco .
>
> Ciao
> Matthias
> ----
> From Genesis to Revelation
>
http://fromgenesis.cjb.net
> Ogni martedì dalle 23.05 alle 00.30 GMT +1.00



text:
Blood Lagoon <
vec...@patrol.it
> wrote in message
YCk46.3897$FF1.2...@twister1.tin.it...
> > Quindi ci spartiamo i ringraziamenti io, High Tide e Matthias :-)
>
> No, me li prendo totalmente io, viste le 5 pagine che postai a luglio
> proprio a Giovanni,
hai ragione : le pagine che mi avevi postato erano veramente 'complete ' e
me le sono stampate con piacere !
e le filippiche
...filippiche che alla fine hanno fatto effetto ,perň  :-)
che gli ho tenuto di persona a Roma 2
> mesi fa per convincerlo nell'acquisto! Sono partito da Torino per
> convincerlo! :-D
č vero , adesso vedremo quando verrň a Torino , se mi troverai qlc altro Cd
all'altezza di Precious Cargo :-)
> In piů High Tide conosce Precious Cargo ed Ancient Gates, da quando gli ho
> spedito un nastro lo scorso maggio ;-)
> Saluti e buon anno a tutti. ;-)
approfitto anch'io per fare gli auguri a tutti :-))
per Blood Lagoon : aspetto le tue risposte , a presto .
giovanni



text:
"Pink Moon" <
sc...@mbox.thunder.it
> ha scritto nel messaggio
news:92ta6u$18o$2...@fe1.cs.interbusiness.it...
> In quale server delle news lo posso trovare free.it.musica.pinkfloyd?
High Tide:
Il punto essenziale e' quale Provider utilizzi!
In pratica puoi accedere a "free.it.musica.pinkfloyd" certamente tramite
LIBERO, e *forse* tramite TISCALINET.
Il server delle News e' ovviamente quello determinato dal Provider:
usando io Libero, si tratta allora di "
news.libero.it
".
Di sicuro NON puoi accedere a quel NG tramite collegamento
con TIN (ClubNet o Premium che sia...), e forse anche con
tutti gli altri Providers tranne i due citati.
E veramente vedo ora che tutti i Post presenti su quell'NG  vengono
dal Server di Libero...
Sappi che esistono ANCHE questi altri NG:
free.it.musica.canterbury
free.it.musica.king.crimson
free.it.musica.rock.progressive
free.it.musica.genesis
(benche' al momento non ci sia nessuno, ahime', tranne qualcuno sul NG
dei Genesis)
Per tutti i suddetti NG vale la regola che con Libero ci entri, con gli
altri probabilmente no. Tranne forse TiscaliNet.



text:
> Proprio nessuno si è consumato il "Reason Of Success" come in
sottoscritto?
> ;-)
Io. ;-) Bello no ?
> A parte questo, mi è stato detto molto e bene del solo di Tony Hill su SPM
Bello si. Almeno ad un primo ascolto. Me lo devo ancora masticare un po'.
> Io non lo sentii se non a salti e poi lo
> lasciai immotivatamente dove era. Debbo essere punito?
Sulla pubblica piazza!
Ciao



text:
> High Tide:
> In effetti ho conosciuto Precious Cargo ed Ancient Gates tramite i dischi
> di Gianluca "Blood Lagoon" ... che si deve ritenere il piu' grande
> sostenitore del gruppo, quindi.
La mia risposta era puramente scherzosa. C'č altra gente (pochi) che
fortunamente ascolta gli High Tide.
> E non solo...
> Quando io nel settembre scorso mandai un Post al NG
> "free.it.musica.pinkfloyd",
> per segnalare le voci su di un nuovo contratto dei Pink Floyd con EMI per
un
> disco che dovrebbe uscire quest'anno e possibile Tour, fosti sempre tu che
> con la tua infaticabile opera di scandagliamento dei siti Floydiani
> reperisti
> quella informazione su "Crazy Diamond Pink Floyd Fanzine" gia' in agosto.
Un puro caso.....
> Al che' specificai, mi ricordo, che il primo reperitore dell'informazione
> eri tu. Che hai grandi meriti, ma purtroppo poco conosciuti...
Ma per caritŕ. Tanto se i Pink Floyd fanno il nuovo disco, veniamo a saperlo
di sicuro.
> Quindi, grazie ancora di avermi fatto conoscere "Precious Cargo" ed
> "Ancient Gates", e anche altri dischi interessanti.
Quali ?
Ciao
--
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/
/\/\/\/\/ Blood Lagoon /\/\/\/\/
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/


text:
> già , Blood Lagoon , che ho avuto modo di conoscere di persona,
Quando sono venuto a far danni (al mio stomaco e fegato) a Roma. Sui negozi
di dischi eri abbastanza preparato. La prox volta ti voglio più puntuale
sulle osterie. Oddio, da coso lì come si chiamava ? Abbiamo magnato più che
bene.
> A me ha stupito però la sua profonda conoscenza e interesse per il Jazz
;-)
Passione Giò, la conoscenza profonda è un'altra cosa.
> Posta poco un po' per 'modestia' , un po' perchè , come dice bene HIgh
Tide
> , non ama le polemiche troppo 'accese' o poco costruttive.
Un po' per la mancanza di tempo ed un po' perche di prog non ho poi
moltissime conoscienze, se si escludono i grandi nomi e quelli subito
dietro. Per il resto ci sono già Napra, Moroni ed altri.
Non dirmi che adesso ho un po' più di tempo........
Ciao
--
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/
/\/\/\/\/ Blood Lagoon /\/\/\/\/
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/


text:
> è vero , adesso vedremo quando verrò a Torino , se mi troverai qlc altro
Cd
> all'altezza di Precious Cargo :-)
Basta stazionare tra camera mia, l'ingresso e lo sgabuzzino. ;-)
> per Blood Lagoon : aspetto le tue risposte , a presto .
Spedite un'ora fa :-)



text:
> No, quello č brutto per default.
> Prendilo e gettalo nel fiume a te piů vicino, in una notte ventosa mentre
> in macchina ascolti Sacrifice dei Black Widow munito di rosario profumato
> di Padre Pio ;-)
Vada per i Black Widow, ma lasciamo stare Padre Pio eh ?
--



text:
> Io 'in cambio'  gli ho trovato i Misunderstood e l' album solo di Hill ,
> vero Blood Lagoon ? :-)
E qui bisogna dare a Stanz quel che è di Stanz. Oddio sapevo dei
Misunderstood, ma non li avevo mai ascoltati e Stanz mi postò qlc
impressione.



text:
> >3) Che "Precious Cargo" sia dimenticato da molti e' vero: addirittura
esso
> >     non era nemmeno presente nelle liste di Gnosis, almeno quando sono
> >     andato a guardarci l'ultima volta. Mentre era presente il
> >"fondamentale"
> >     "Sala Borsa Novara" del Consorzio Acqua Potabile...
>
> Non vero, io credo di avergli messo 15.
> Tuttavia i dischi entrano nel classificone solo se hanno un minimo di
> votanti.
Appunto. Se compare il Consorzio e Precious no, vuol dire che per lo meno è
più conosciuto il primo, al di là dell'effettivo valore artistico.
Comunque grazie per avergli messo 15 ;-)
Ciao
--
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/
/\/\/\/\/ Blood Lagoon /\/\/\/\/
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/
>
> "Sala Borsa Novara" del Consorzio Acqua Potabile è una porcata che ha
> ragione di esistere solo se comprata nello splendido
> box-origami-cofanetto dei "gorghi del tempo".
>
> Ciao
> Matthias
> ----
> From Genesis to Revelation
>
http://fromgenesis.cjb.net
> Ogni martedì dalle 23.05 alle 00.30 GMT +1.00



text:
> High Tide (ma guarda la coincidenza... ;-)  )
> E io non mi lasco sfuggire l'occasione di rammentare qualcosa...
> 1) E' vero che come disse Matthias oppure Fracasso (non ricordo quale
>      di preciso dei due...) il termine "Progressive" era gia' stato usato
in
>      England all'inizio degli anni '70, ed adottato piu' tardivamente in
> seguito
>      per designare un insieme (poco omogeneo...) di stili musicali che
piu'
>      o meno si discostano dal rock mainstream in senso "evoluto"...
> 2) MA mi ricordo anche *molto bene* che le prime volte che ho udito
>     quel termine, e parlo della fine del 1970 e inizio 1971, esso NON era
>     riferito ne' ai Nice ne' agli altri gruppi di rock "sinfonico". Guarda
> tu il
>    caso, una delle prime volte che lessi quel termine il giornalista
cercava
>    un aggettivo adatto per descrivere il secondo disco ufficiale (quello
>    omonimo) degli High Tide !
Ricordo che me ne parlasti mesi fa. Discutendo questa cosa con Enrico (il
mio amico Bianco che conoscesti a Legnano), mi fece notare nel libretto di
Genesis Archives 67-75, la riproduzione di un articolo, riguardante Trespass
o Nursery Crime (non ricordo bene), dove si parlava di Progressive Rock.
Quindi si era nel 70 o 71.
> 3) Che "Precious Cargo" sia dimenticato da molti e' vero: addirittura esso
>      non era nemmeno presente nelle liste di Gnosis, almeno quando sono
>      andato a guardarci l'ultima volta. Mentre era presente il
> "fondamentale"    "Sala Borsa Novara" del Consorzio Acqua Potabile...
Ma va ? E un fondamentale ? Cazzo vivo a fare ?
Ciao
--
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/
/\/\/\/\/ Blood Lagoon /\/\/\/\/
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/


author: napra

text:
"Blood Lagoon" <
vec...@patrol.it
> ha scritto
> Ma per carità. Tanto se i Pink Floyd fanno il nuovo disco, veniamo a
saperlo
> di sicuro.
>
figurati, esce per la mellow records...
napra


text:
> > Ma per carità. Tanto se i Pink Floyd fanno il nuovo disco, veniamo a
> saperlo
> > di sicuro.
> >
> figurati, esce per la mellow records...
Cazzo, bel colpo. Moroni vende un sacco dischi senza colpo ferire. Ottimo!



text:
On Wed, 3 Jan 2001 03:02:14 +0100, "giovanni" <
gio...@tiscalinet.it
>
wrote:
>bč, ho visto che tra gli album dei '70 su Gnosis Precious cargo c'č !Ha
>pochi voti e un voto medio non molto alto : 9,13 . E mi pare che sia
>Matthias ( con Sch per caso ?) ad alzare la media ...:-)
Sono io "SCH", bestiaccia! :o)
M
----
From Genesis to Revelation
http://fromgenesis.cjb.net
Ogni martedě dalle 23.05 alle 00.30 GMT +1.00



author: Il prenditore nella segale

text:
High Tide <
sa...@ummagumma.it
> wrote in message
oXy46.229713$hk4.10...@news.infostrada.it...
> Sappi che esistono ANCHE questi altri NG:
>
> free.it.musica.canterbury
> free.it.musica.king.crimson
> free.it.musica.rock.progressive
> free.it.musica.genesis
>
> (benche' al momento non ci sia nessuno, ahime', tranne qualcuno sul NG
> dei Genesis)
Sě, a quanto pare sono tutti allo sbando.
Io aggiungerei anche
free.it.musica.nick-drake   rullato per un periodo dall'immancabile Stanzani
HC


text:
Il prenditore nella segale ha scritto:
> Sě, a quanto pare sono tutti allo sbando.
> Io aggiungerei anche free.it.musica.nick-drake   rullato per un periodo
> dall'immancabile Stanzani
Avrei anche continuato a rullarlo, visto che l'ho creato io :-/
bye s.


text:
stanz <stanz...@NOSPAMlibero.it> wrote in message
3A536E31...@NOSPAMlibero.it...
> > Sě, a quanto pare sono tutti allo sbando.
> > Io aggiungerei anche free.it.musica.nick-drake   rullato per un periodo
> > dall'immancabile Stanzani
>
> Avrei anche continuato a rullarlo, visto che l'ho creato io :-/
Lo sapevo. Dopotutto cosa si puň dire ancora su Drake? Tanto vale ascoltarsi
i dischi e chi ha orecchi per intendere intenda. Semmai utile potrebbe
essere una lista di url dove si possa trovare materiale interessante su
Drake (ma dico una lista, non tanti posts separati).
HC


text:
Il prenditore nella segale ha scritto:
> stanz <stanz...@NOSPAMlibero.it> wrote in message

Prendo atto della richiesta e rivolgo al 'popolo drakeiano' il quesito.
bye s.


author: martinick

text:
"stanz" ha scritto:
> Prendo atto della richiesta e rivolgo al 'popolo drakeiano' il quesito.
potrei creare una pagina web di link a siti drakeiani con breve commento per
ciascun sito. Ho ancora i miei bei 20 mega free su tripod. Fatemi sapere se
vi interessa...
bye
m.
NP.: Syd Barrett - The Madcap Laughs


text:
Matthias <
mschel...@tin.it
> wrote in message
01a65tsiga766tshn...@4ax.com...
> On Wed, 3 Jan 2001 03:02:14 +0100, "giovanni" <
gio...@tiscalinet.it
>
> wrote:
>
>
> >bč, ho visto che tra gli album dei '70 su Gnosis Precious cargo c'č !Ha
> >pochi voti e un voto medio non molto alto : 9,13 . E mi pare che sia
> >Matthias ( con Sch per caso ?) ad alzare la media ...:-)
>
> Sono io "SCH", bestiaccia! :o)
sě, sě...lo so che sei tu...:-)
Ma sta' Prog-fest quando la organizzi ? e dove?Son interessato a venire , se
č vicino alla Capitale...:-)
ciao
giovanni



text:
"giovanni" <
gio...@tiscalinet.it
> ha scritto
> Ma sta' Prog-fest quando la organizzi ? e dove?Son interessato a venire ,
se
> è vicino alla Capitale...:-)
700 km è vicino per i tuoi canoni?
napra


text:
On Fri, 5 Jan 2001 00:25:46 +0100, "giovanni" <
gio...@tiscalinet.it
>
wrote:
>Ma sta' Prog-fest quando la organizzi ? e dove?Son interessato a venire , se
>è vicino alla Capitale...:-)
se intendi quella della Padania si.
cmq la data dovrebbe essere a maggio....
Matthias
----
From Genesis to Revelation
http://fromgenesis.cjb.net
Ogni martedì dalle 23.05 alle 00.30 GMT +1.00



text:
martinick <
dark-...@libero.it
> wrote in message
07356.242195$hk4.11...@news.infostrada.it...
> potrei creare una pagina web di link a siti drakeiani con breve commento
per
> ciascun sito. Ho ancora i miei bei 20 mega free su tripod. Fatemi sapere
se
> vi interessa...
Mi interessa. Foto, traduzioni ben fatte dei testi ecc.
Grazie.
HC
NP: Bryter Layter


text:
napra <
na...@libero.it
> wrote in message
2R756.244955$hk4.11...@news.infostrada.it...

quindi bene che mi vada si parla di Milano....:-)
Vabbè, per il prog si può fare anche qualche sacrificio....
L'unico problema è che saremo tutti uomini , sarà una tristezza infinita
...:-DD
O Moroni porterà qlca ? :-P
gio
> >


text:
Matthias <
mschel...@tin.it
> wrote in message
lpva5tgra905gmj5v...@4ax.com...
> On Fri, 5 Jan 2001 00:25:46 +0100, "giovanni" <
gio...@tiscalinet.it
>
> wrote:
>
>
> >Ma sta' Prog-fest quando la organizzi ? e dove?Son interessato a venire ,
se
> >è vicino alla Capitale...:-)
>
> se intendi quella della Padania si.
scusa Padania ? che è la Padania ? :-)))
> cmq la data dovrebbe essere a maggio....
la data va bene...Verrò molto volentieri.
ciao
giovanni



title: proposta (sulla scorta di ciò che diceva Matthias)

author: mastro gobbetto

text:
Potremmo sottoscrivere oppure mandare separatamente tutti quanti a Di
Cioccio un testo di questo genere (in cui probabilmente sono stato troppo
buono e che quindi è suscettibile di modifiche che lascio a voi). Non
servirà a niente ma almeno diciamo ciò che pensiamo....
Caro Franz,
scriviamo questa mail per "protestare" circa la concomitanza, nella giornata
del 21 settembre prossimo, fra l'avvenimento della Progvention al Bloom di
Mezzago e quello di Vercelli che vede protagonisti, oltre alla PFM, anche
Distillerie di Malto, Finisterre e Stereokimono. Ecco una serie di
considerazioni che ci hanno spinto a una simile iniziativa:
1- Gli eventi dedicati alla nostra musica, il rock progressivo, e che
mettano in evidenza gruppi emergenti o comunque poco conosciuti, si contano
sulle dita di una mano. Dunque la concomitanza di avvenimenti del genere
appare, ai nostri occhi di semplici appassionati di questo genere musicale,
come minimo una beffa. Molti di noi avrebbero volentieri partecipato ad
entrambi gli avvenimenti. Ora invece ci toccherà scegliere.
2- Ci rendiamo conto che, quella di Vercelli, è probabilmente una delle
poche occasioni che si presentano per far suonare i gruppi della nuova
scuderia "Immaginifica" e che, altrettanto probabilmente, non vi è stato
alcun dolo o dispetto nell'organizzazione concomitante dei due avvenimenti.
E' tuttavia certo che la serata di Vercelli può influire negativamente solo
sulla Progvention, e non viceversa. Uno spostamento anche solo di una
cinquantina di persone da Mezzago a Vercelli può nuocere sicuramente all'
appuntamento organizzato in Lombardia, visti i numeri (certamente non
paragonabili a quelli della PFM) con cui gli organizzatori hanno solitamente
a che fare. E un eventuale, a questo punto probabile, fallimento della
Progvention (giunta ormai alla sua terza edizione) ne pregiudicherà il
futuro, facendo venir meno un appuntamento sentito e apprezzato da molti
appassionati di rock progressivo, non solo per i suoi contenuti musicali, ma
anche per quelli umani, rappresentando lo stesso appuntamento un momento
importante di ritrovo e scambio di idee. E tutto questo senza contare il
naturale scoramento che ha colpito gli organizzatori della Progvention, che
hanno visto in parte pregiudicati i loro sforzi di questi ultimi mesi (e non
solo).
3- Detto che ormai, per questa volta, la frittata è fatta, ci auguriamo che
per il futuro non si ripetano spiacevoli infortuni di questo genere credendo
che una band gloriosa come la PFM (che tutti noi appassionati di rock
progressivo amiamo) possa, nel prossimo futuro, fungere da traino per una
rinascita dell'interesse verso questo genere musicale che, purtroppo, anche
per episodi come questo, è costretto a vivere entro una nicchia sempre più
angusta.


author: Napra

text:
--
"mastro gobbetto" <
epensarechec...@nospam.it
> ha scritto
> Caro Franz,
> scriviamo questa mail per "protestare" circa la concomitanza
minchia, che italiano
napra


text:
Napra <
pro...@libero.it
> wrote in message
qp%7b.311018$lK4.9...@twister1.libero.it...
>
>
> minchia, che italiano
>
Che c'è che non va?


text:
"mastro gobbetto" <
epensarechec...@nospam.it
> ha scritto
> Che c'è che non va?
corretto ma involuto
napra
--
And It's not the same
I get this feeling from no-one else
Show me now
Are you out of my head?
Further Away
(P. Nicholls 1993)


text:
Napra <
pro...@libero.it
> wrote in message
C108b.311140$lK4.9...@twister1.libero.it...
>
>
> corretto ma involuto
>
Ma va a cagher


text:
"Napra" <
pro...@libero.it
> ha scritto nel messaggio
news:qp%7b.311018$lK4.9...@twister1.libero.it...
>
>
> minchia, che italiano
>
>
in effetti ho scorso velocemente e ho visto alcune virgole di troppo.


text:
"mastro gobbetto" <
epensarechec...@nospam.it
> ha scritto nel
messaggio news:e3%7b.310947$lK4.9...@twister1.libero.it...
>
> Caro Franz,
> scriviamo questa mail per "protestare"
perchè tra virgolette ?


text:
ag.rippa <
vinc...@tiscalinet.it
> wrote in message
bjq55j$mso$1...@lacerta.tiscalinet.it...
>
> >
> in effetti ho scorso velocemente e ho visto alcune virgole di troppo.
>
Probabile. E' sempre stato un mio difetto. Del resto destesto quelli che
parlano senza prendersi mai una pausa


text:
ag.rippa <
vinc...@tiscalinet.it
> wrote in message
bjq56n$mth$1...@lacerta.tiscalinet.it...
>
> "mastro gobbetto" <
epensarechec...@nospam.it
> ha scritto nel
> messaggio news:e3%7b.310947$lK4.9...@twister1.libero.it...
> >
> > Caro Franz,
> > scriviamo questa mail per "protestare"
>
> perchč tra virgolette ?
>
Perché sono un esteta e cosě mi pareva assai piů bello a vedersi.....


text:
"mastro gobbetto" <
epensarechec...@nospam.it
> ha scritto
> Probabile. E' sempre stato un mio difetto. Del resto destesto quelli che
> parlano senza prendersi mai una pausa
su questo hai ragione. virgole ovunque č richiesto e basta



text:
"mastro gobbetto" <
epensarechec...@nospam.it
> ha scritto nel
messaggio news:UM08b.311105$Ny5.9...@twister2.libero.it...
>  Del resto destesto quelli che parlano senza prendersi mai una pausa
>
a scuola gli ignorantoni dei professori dicono che le virgole servono a fare
una piccola pausa,
ma in realtà vanno usate per separare dei blocchi logici.


author: blank

text:
> Perché sono un esteta e cosě mi pareva assai piů bello a vedersi.....
>
 Napra .... te lo dico ancora una volta :
Vi indicano la luna e guardate il dito !
renato


text:
"blank" <
r.scuffiett...@tin.it
> ha scritto
> Vi indicano la luna e guardate il dito !
renato, meno gangia. stai rispondendo al gobbo non a me
