Music posted at this Blog is for your info only - please buy original CDs at your favorite shops. I wish you all good health and happy and prosperous lifes!!! Keep on Rockin`!!!
The holidays have gotten even brighter with Jethro Tull's marvelous offering for this time of year, "The Jethro Tull Christmas Album." Ian Anderson & company serve up a hearty yuletide blend of new Tull Christmas originals, including the terrific "Birthday Card At Christmas," "Last Man At The Party," and "First Snow On Brooklyn," as well as new re-recordings of old holiday-themed Tull favorites like "A Christmas Song," "Another Christmas Song," "Ring Out Solstice Bells," and the signature Tull tune, "Bouree." Along with that classic instrumental, the band give us some more wonderful instrumental tracks, like the brilliant jazz take on "God Rest Ye Merry Gentlemen," "Pavane," "Greensleeved," and the beautiful closer, "A Winter Snowscape." The band play brilliantly, and Anderson's voice and flute are still in pristine form. "The Jethro Tull Christmas Album" is a magnificent gift from one of rock's most enduring acts.
The Isle of Wight Festival of 1970 has enjoyed a bit of resurgence lately thanks to the video release of a movie of the festival, with a soundtrack, plus individual performance releases by the Who, Jimi Hendrix, the Doors and Emerson, Lake and Palmer. For ELP, this disasterous event -- the European Woodstock -- was a watershed of sorts because it was only their second gig, and amidst all the chaos and gatecrashing ruckus, their appearance was considered top-notch.
If anything, the Isle of Wight Festival clearly signaled an end of the 60's. It would be the last time the world would see Jimi Hendrix or Jim Morrison, both icons of a blossoming period abruptly shut down by the drama of Altamont. Bands like ELP and Jethro Tull would be part of a new wave -- more progressive, less in touch with the earth and man, world issues, and much more immersed in the surreal, tranquil, cosmics and bizarre. The Message of Love was now the Message of ME -- flagrantly displayed in the Isle of Wight movie that seems to center on an unruly crowd of thousands who want to get into the show, but don't want to pay the admission, and the promoters dealing with it. During all the madness, one has to wonder how in the hell half a million people made it to this tiny island off the south coast of England in the first place.
For their performance, ELP's brand of outrageousness seemed to shake the crowd out of their foul mood much more effectively than that of a whining Joni Mitchell, a frightened Kris Kristofferson or a Tiny Tim. From the potency of the instrumental "The Barbarian" (also the debut album opener, still unreleased at the time of this show) to the pacifying melody of "Take a Pebble," ELP seemed to stir up the masses. Then they launched into "Pictures At A Exhibition," the Mussorsky-composed opus that demonstrates how rock could embrace classical music, and sound bigger than the largest of orchestras. The piece climaxes with the blast of two stage-side cannons capping off the building tension hovering over the entire event.
Then it was on to more instrumentals with "Rondo" and "Nutrocker." For years to come, Keith Emerson would establish a routine of letting loose during "Rondo" by assailing his beloved Hammond organ, stabbing and riding it like a bucking bronco. If no one can remember anything about ELP, they can surely say they were one of the most theatrical bands over the course of the three-day show. "Nutrocker" is actually a lift from Kim Fowley, who borrowed the licks from "The Nutcracker Suite," another classical piece, and a favorite musical come Christmas time.
Overall, this CD exhibits an incredible amount of energy coming from the then newly-formed band. On listening to more recent live recordings of ELP, one can tell that in 1970, they were hungrier, hot shots ready to show how talented, inventive and astonishing they could be. For 8 more years, they proved just that.
The CD finishes up with comments from Emerson, Lake and Palmer themselves. Whereas some of the acts who appeared at the Isle of Wight might sooner put it behind them or not even live to tell about it, ELP recalls the event as a monumemtal moment in the history of the band. Over 25 years later, they are able to look back at the whole spectacle with a sincere fondness, and perhaps a bit of off-handed amusement as well.
The Great Society was a 1960s San Francisco rock band in the burgeoning Haight Ashbury folk-psychedelic style pervasive during the time of its existence, 1965 to 1966. The band was also known as "The Great! Society." Remembered as the original group of model turned singer Grace Slick, the initial line-up of the band also featured her then-husband Jerry Slick on drums, his brother Darby Slick on guitar, David Minor on vocals and guitar, Bard DuPont on bass, and Peter Vandergelder on saxophone. Minor and DuPont would not remain with the band for the duration.
In the late summer of 1965, after seeing a new band called Jefferson Airplane at The Matrix club, Grace and Jerry decided to start their own group, assembling it fairly quickly. The band made its debut at the Coffee Gallery in San Francisco's North Beach section on October 15, 1965, and continued to perform throughout 1966.
The band released only one single during its lifetime in 1966, "Somebody to Love" (originally titled "Someone to Love"), written by Darby, backed with "Free Advice." Issued on Autumn Records' tiny North Beach subsidiary label, the single made little impact outside of the Bay Area, but the association with Autumn did lead the band to working with staff producer Sylvester Stewart, still in the process of forming his own band, Sly and the Family Stone. Purportedly, Stewart would eventually walk out as the band's producer during a demo session after it took Great Society over 50 takes just to get one song right.
Momentum for the band began to build as they started opening for Jefferson Airplane and other successful local bands, with Columbia Records offering the Great Society a recording contract. By the time the contract arrived in the mail, however, Grace had been spirited away to replace departing vocalist Signe Toly Anderson in the Airplane, taking "Somebody to Love" and her own composition "White Rabbit," one of Great Society's live showcases, with her. As both the visual and musical focal point, the band could not survive without its lead singer, and disbanded in the fall of 1966. Grace and Jerry would divorce as well.
Columbia would eventually release tapes of live performances by Great Society as two separate albums in 1968 after Grace found fame, repackaging both as a double LP in 1971. In 1995, Sundazed issued a compilation disc featuring the band's lone single amidst unreleased studio session material.
Notably, "The Great Society" was a popular name for musical groups in the 1960s, due to the popularity of the term as used by the Lyndon Johnson administration in Washington, D.C. One so-named four-man group, based in Dallas, Texas, consisted of two British and two American musicians. The group lasted three years, toured extensively in the United States and Canada, then disbanded in 1969. On one occasion, in Ft. Worth, Texas, The Great Society (with Grace Slick) and the British/American version performed on opposite sides of the city on the same evening.
The two American members of that group were Steve Holder (bass) and Preston Thomas (percussion). The British members were Ronnie Deangele (rhythm guitar) and Richard Thomas (lead guitar). All four are successful in other fields today.
"Black Widow may have enjoyed a reasonably long and defiantly varied career. But to anyone who cares, they will be remembered for just one song, "Come to the Sabbat" -- not a hit single, but a standout on a cheapo label compilation in the early '70s, and destined to live on for decades after the band. Naturally, the accompanying Sacrifice album has bounced along in its wake, first as an increasingly expensive vinyl collectors' item, more recently as a regular on the CD reissue circuit, and here it comes again, this time bearing more primal Black Widow than you could ever have dreamed of hearing. Ultimate Sacrifice: One opens, naturally, with the original seven-song album. More fascinating, however, is the chance to hear five of the seven ("Way to Power" and "Attack of the Demon" are absent) in their original demo form, where they are revealed, if anything, to be even more dramatic than on the final vinyl. "In Ancient Days" in particular profits from the looseness of the performance, while "Come to the Sabbat" packs a feel of abandonment that makes the familiar version seem quite sedate. Of course, the bonus tracks are really only of interest if you truly worship the original record, and, once past "Come to the Sabbat," there probably aren't many people who feel that strongly. But the liners tell the band's tale well, the remastering is impressive, and if you're not doing anything next weekend, you might well want to drop by Black Widow's house. They've got somebody visiting, you know. [In 2004, Castle reissued Sacrifice on CD with five bonus tracks, retitling it Ultimate Sacrifice: One.]
Lead by Australian-born violinist and flutist Rothfield (AKA Raja Ram), keyboardist Phil Jones (Shiva Shankar) and Shambu Babaji on bass, this North-London group had very strong spiritual Indian classical music influences. Their first two albums, In Blissfull Company and their eponymous second album (they had much success riding on the popular sudden passion provoked by the BEATLES) are filled with Indian Sacred Chants and Psalms, but also much more accessible jazz-filled rock tracks full of delightful moments. Their third album Dive Deep was less spiritually oriented and contained more jazz-influenced improvisations with longer intrumental interplay tracks. After the partially live album Self some key members left to form the similar KALA, and QUINTESSENCE released on last album that was simply not quintessential anymore.
At their top , QUINTESSENCE was a magnificient group playing some superb Indian-laced psychadelic rock and are fondly remembered by all etnic fusion music afficianados and old hippies around the world.
"Jeff Simmons is a Rock musician and former member of Frank Zappa's Mothers of Invention. Simmons provided bass, guitar, and/or vocal for the group between 1970 and 1971. He left The Mothers just prior to the filming of 200 Motels in mid 1971. Jeff later returned to the group for a time during 1972 and 1973. Zappa and Mothers albums he appeared on include Chunga's Revenge (1970), Waka/Jawaka (1972), Roxy & Elsewhere (1974).
Years later Zappa released a number of archival recordings that feature Jeff including You Can't Do That on Stage Anymore, Vol. 1 (1988), You Can't Do That on Stage Anymore, Vol. 6 (1992), and Playground Psychotics (1992). Jeff also appears in the Zappa movie The True Story Of Frank Zappa's 200 Motels (1989). Numerous Zappa bootleg recordings from this era also feature Simmons.
Jeff's music career began in Seattle, Washington. In 1967 he became a member of the group 'Ethiopia' which soon changed its name to 'Easy Chair'. They recorded a 1 sided, 3 song album and achieved local recognition. Easy Chair was then booked as the opening act for an August 1968 concert by The Mothers of Invention at the Seattle Center Arena (renamed in 1995 to Mercer Arena.) During the soundcheck Easy Chair was discovered by Zappa, who recognized that the group's musical and lyrical aesthetic was compatible with his own. Only about 1000 copies of locally produced Easy Chair record were pressed. It is now a highly valued collectible.
Easy Chair went to Los Angeles and appeared at more Zappa live performances. They also auditioned for Zappa's Bizarre and Straight record labels, but after unexpected delays the group broke up before any recordings were released.
Simmons stayed in Los Angeles and completed two solo albums for Straight. He co-composed the soundtrack for the biker film Naked Angels (1969). His second album Lucille Has Messed My Mind Up (1969), featured Zappa as producer. Zappa wrote two songs and played lead guitar under the pseudonym La Marr Bruister. The engineer was Chris Huston, who also worked on Led Zeppelin II at about the same time. Lucile was voted the 2nd best album on Straight Records by Mojo Magazine. Both albums were re-issued on CD in 2007 by World In Sound Records.
Simmons is one of only a handful of musicians to share a songwriting credit with Zappa. Their co-laboration Wonderful Wino appears on Lucille Has Messed My Mind Up and on Zappa's 1976 album Zoot Allures. The title song of the album Lucille Has Messed My Mind Up was also re-recorded in a completely different arrangement on Zappa's 1979 album Joe's Garage. During a 1982 guest DJ spot on UK's BBC Radio 1 Zappa played some of his favorite songs including Simmons' I'm In The Music Business.
Jeff continued to play music with various groups in the Seattle area during the 1980s. He appeared in the 1988 movie Rock and Roll Mobster Girls which was produced on video tape in Seattle during the very early stages of the Grunge music scene. Jeff Simmons' most recent work is Blue Universe (2004).
The stuff of interest to Zappa fans are: 1. Includes the songs "Lucille has messed my mind up" and "Wonderful Wino", both of which are good versions. 2. Frank plays guitar on "Lucille" and "Raye." 3. It's produced by FZ 4. Ian Underwood is on it.
jeff simmons: keyboards, bass, vocals frank zappa: lead guitar on 5, 6 craig tarwater: guitar ian underwood: saxophones ron woods: drums, percussion john kehlior: drums on 5, 6 [produced by "lamarr bruister" (frank zappa) and chris huston]
Lucille Has Messed My Mind Up: 01. appian way (j.simmons) 02. zondo zondo (j.simmons) 03. madame du barry (j.simmons) 04. i'm in the music business (j.simmons) 05. lucille has messed my mind up (lamarr bruister (f.zappa)) 06. raye (j.simmons) 07. wonderful wino (lamarr bruister (f.zappa), j.simmons) 08. tigres (j.simmons) 09. aqueous humore (j.simmons) 10. conversations with a recluse (j.simmons)
Bio "YU grupa was formed in the autumn of 1970 by brothers Dragi and Žika Jelic(guitar and bass guitar), Miodrag Okrugic (organ) and Velibor Bogdanovic (drums). In the beginning the band performed under the name Idejni Posed ("Notional Property"), given by Kornelije Kovac. In November 1970 on their concert in Sinagoga club in Zemun, disc jockey Zoran Modli asked the audience to pik a name for the band. An unknown young man suggested the name YU grupa. Consistening the name, the band continued to hold birthday concerts on November 29, the date of Federal People's Republic of Yugoslavia declaration. Their first song, "Nona", was recorded at the end of December. The song was inspired by folk music of Kosovo, and recording it YU grupa became one of the pioneers of "Balkan rock" sound. Their first concert was organised by Nikola Karaklajic and Petar Popovic, editors of the Radio Belgrade show Vece uz radio. The concert was held in Dadov theatre on January 21 1971. During the year they held a great number of concerts, mostly in Serbia. They recorded fourteen songs for the needs of Radio Belgrade, part of those songs later released on their vinyl singles. All the copies of their first single "Nona" were sold right after the release, but PGP RTB refused to release new number of copies, so Jugoton became YU grupa's record label. The band performed at the Belgrade spring festival with the song "Tajna", also performed by Zdenka Kovacicek. Songs "Drveni most", "Mali medved" and "Devojka Džoj" were hits on all of their concerts. Okrugic's song "Opus 1" was very significant, but it was not released on any YU grupa album. The band spent the summer performing at the prestigious club Lanterna in Rovinj. Those concerts brought first conflicts inside the band. After they returned to Belgrade Okrugic left the band. Guitarist Miodrag "Bata" Kostić joined the band. He was previously involved in the band's activity: he wrote some of the songs the band performed. Dragi Jelić and Kostic made an effective guitar duo, and Kostic continued to write folk-inspired hits. In March 1972 the band went on Bulgarian tour, during which they held forty concerts. Thanks to the Vece uz radio show, which had a cult status in Bulgaria, audience knew all of their songs. The others were shocked by their appearance. After they returned to Yugoslavia, they performed at the rock evening of Belgrade spring festival, performing at Dom Sindikata Hall with Korni Grupa, Time and Mladi Levi. They spent the summer playing in Rovinj's Lanterna. Concerts in Rovinj were crucial once again. After returning to Belgrade Kostic and Bogdanovic left the band. Kostic joined Jutro, and Bogdanovic formed Opus. YU grupa continued as a trio, with Ratislav "Raša" Djelmaš, a former Mobi Dik, Pop Mašina and Siluete member as the new drummer. They spent the next year playing all across Yugoslavia, winning new audience in Slovenia and Croatia. At the time, a keyboard player Tihomir "Pop" Asanovic was invited to become a new member, but he joined Novi Fosili instead. In February 1973 YU grupa went to London to purchase new equipment, and the CBS Records producers, who had an opportunity to hear their recordings earlier, organised their concert in The Marquee. Thanks to the concert the band got the term at a studio, recorded demos, and a serios cooperation with CBS records was planned. The band returned to Yugoslavia to hold a concert at Hala sportova, and holding a high position on Yugoslav rock scene, the band blenched the career in England. In the summer their debut self-titled album YU grupa was released. The album brought numerous hits: blues-oriented "More", "Trka", Cudna šuma", and their cult ballad "Crni leptir". In November Kostic returned to the band. At the beginning of 1974 YU grupa took part on the recording of Srdjan Marjanovic's debut LP Srdjan Marjanovic i prijatelji, and later released their second studio album Kako to da svaki dan? ("How Come Every Day...?"). The album was musically more diverse, but it did not consist from the numerous hits as the previous one. At the end of the year Dragi Jelic went to the army, and until he returned YU grupa performed as trio. In 1975 best Yugoslav guitarists took part in Kongres rock majstora ("Congress of rock masters") concert. Kostic, Žika Jelic and Djelmaš performed with Vedran Božic, Josip Bocek and Goran Bregovic, and the double album Kongres rock majstora was released. Dragi returned in June 1975, and Kostic left the band conventionally. The band negotiated with a keyboard player Oliver Mandic, but the cooperation was not agreed. At the beginning of 1976, they released YU grupa III, featuring hits "Oprosti ljubavi", "Novi zvuk" and "Ja moram dalje". In September 1976 a compilation album YU zlato ("YU gold"), which featured their single songs, was released. The same year, Djelmaš left the band and formed Zebra. Dragan Micic replaced Djelmaš, and at the end of 1976 guitarist Nedžat Maculja joined the band. In 1977 they went on the Soviet Union tour, during which they held sixty-four concerts. The same year they released their fourth studio album Medju zvezdama ("Among the Stars"). Album featured Bata Kostic as a guest musician. In 1978 YU grupa performed at the pop oriented festival in Opatija, and their song "Spali svoja secanja" was released on the festival album Opatija 78. At the end 1978 Kostic once again became the member of the band, and a former Mama Co Co and Ribeli member Dragoljub Djuricic (drums) and a former Zdravo member Dragan Jankovic (keyboard) joined YU grupa. This lineup held another Soviet Union tour. The next album Samo napred... ("Ride on..."), released in 1979, featured hits "Identitet, "Udaj se dobro", "Ideš mi na nerve", "Autobus za raj". Album featured Laza Ristovski, Bebi Dol and Sladjana Miloševic as guest musicians. At the time of New Wave expansion YU grupa's popularity began to decrease. At the end of 1981 their van with a part of the equipement burned down, and Žika Jelic was injured. After this incident YU grupa disbaned. The Jelic brothers started organising concerts, Djuricic became a member of Leb i Sol and Midorag Kostic became a Radio Belgrade editor. Late 1980s and 1990s At the end of the 1980s Bijelo Dugme made enormous success with their folk-oriented songs, and the band leader Goran Bregovic suggested the Jelic brothers, the pioneers of Yugoslav folk-rock sound, to reunite YU grupa. Although they occasionally performed during the 1980s, YU grupa officialy reunited in 1987. They released their comeback album Od zlata jabuka ("Golden Apple"), with the tittle track inspired by folk music as the main hit. Album featured keyboard player Saša Lokner as a guest musician. YU grupa performed at the Rock legends concert, alongside Indexi, Drago Mlinarec, Korni Grupa, Time and Radomir Mihajlovic Tocak. Live versions of YU grupa's Cudna šuma", "U tami disko kluba", "Crni leptir" and a medley compiled of "Nona", "Kosovski božuri" and "Sama" were released on the double live album Legende YU Rocka ("Legends of YU Rock"). In November 1988, YU grupa released Ima nade ("There is Hope"). Biggest hits were "Mornar" and power ballad "Dunavom šibaju vetrovi". This album was followed by Tragovi ("Traces"), recorded with Djelmaš on the drums once again, and featuring Pera Joe, Saša Lokner and Nikola Djuturilo as guests. 2000s In 2005, with Igor Maleševic as the new drummer, YU grupa released its latest studio album with a symbolic title Dugo znamo se ("We Know Each Other for a Long Time"). The album was mostly hard rock-oriented, and did not feature many folk music elements. "Pustinja", "Zamolicu te", "Bože, spasi me" became immediate hits. In 2007 the band released its first official live album Live. In 2008 drummer Slobodan Jurišic; replaced Maleševic.
Discography Studio albums • YU grupa (Jugoton 1973) • Kako to da svaki dan? (Jugoton 1974) • YU grupa (Jugoton 1975) • Medju zvezdama (Jugoton 1977) • Samo napred... (PGP RTB 1979) • Od zlata jabuka (ZKP RTLJ 1987) • Ima nade (PGP RTB 1988) • Tragovi (PGP RTB 1990) • Rim (PGP RTS 1995) • Dugo znamo se (PGP RTS 2005) Live albums • Legende YU Rocka (Various artists live album, Jugoton 1988) • Live (PGP RTS 2007) Compilation albums • YU zlato (Jugoton 1976)
LINKS:
YU grupa - Kako to da svaki dan? (1974) h!!p://www.megaupload.com/?d=UP9C764W
Yu grupa - YU grupa (1973) h!!p://www.megaupload.com/?d=4N6DZ31X
VINYL RIP FROM BRAND NEW LP`s (NO CLIKS, POPS & OTHER SH.T)
Inspired by progressive rock acts from England, Vittorio Nocenzi and brother Gianni founded Banco del Mutuo Soccorso in Rome, Italy. They later recorded their eponymous debut in 1972, soon to be followed by Darwin!, and in 1973 Io sono nato libero.
Proving popular in Italy and becoming known abroad, the band signed with Manticore Records together with the Premiata Forneria Marconi. In 1975 Banco was released, a collection of translated songs together with new material, targeting the international market. Come in un'ultima cena was also translated as As in a Last Supper.
The 1970s also saw Banco del Mutuo Soccorso going in new directions, with a film soundtrack in 1976's Garofano rosso and recordings with an orchestra in 1978's …di terra. They changed their name to the simplified Banco.
The 1980s saw Banco's musical direction change towards lighter pop and shorter songs, producing some hits. Gianni Nocenzi left the band for a solo career. Other members came and went.
In the 1990s and now back to using the longer name, they started playing their 1970s material again. They performed unplugged versions of their songs live and re-recorded their first albums. New material was also produced.
Today, the band continue to play live, although no new material has been recorded since 1997.
Taste - Same (1969) The debut of the great Rory Gallagher !! If you love his work you have to check out Taste, his first band. The recording is raw, probably live to 4 track in the studio with little if any overdubbing, and not much in the way of any real production, not unlike the first couple Groundhogs albums, both in style and recording technique. "Blister On The Moon" reminds me of something Cream would have done around the time of Disraeli Gears. Rory did all the writing with the exception of a Leadbelly cover and one other traditional blues. As always, the guitar playing smokes.
Taste - On The Boards (1970) The production is FAR better than the previous Taste album. Here, Rory seems a little more relaxed with the studio environment. The guitar solos are less meandering than on the first Taste album. The songwriting is much stronger as well. This album is where Rory hits his stride as a writer. The stereo panning, and other studio tricks, although comes dangerously close to rendering this as dated sounding, is still very cool. This is probably as experimental as Rory ever got in the studio. There's even a couple of sax solos played by Rory (!). Some of the tunes get into jazz territory. It's almost a culture shock, if you've been exposed to Rory's solo output, to listen to this. It's very experimental, but it's a great experiment.
"Another record balancing between jazz-rock and Balkan folk. Yes, if you think it sounds like LEB I SOL, you're right. It does sound like that. At the moments if this was an offshoot of the band, with aliases in the line-up. As a line of comparison it's like listening to THINK FLOYD. I don't have a problem with that. If someone is stealing the style, that's fine, as long as the songs themselves aren't stolen.
There are a few things distancing this record from the LEB I SOL ones (and distancing even more from SMAK another jazz-rock/folk combo): it's more jazzy. The playing is tight, dense, perhaps too homogenic for my taste, I would rather prefer a bit of collage and a few silent moments here and there.
It's closer to, let's say, WEATHER REPORT, and therefore closer to contemporary fusion/Balkan folk scene (VASIL HADŽIMANOV). And DEN ZA DEN sound more like a combo then a group of individuals; all the instruments are bold, piano is even more daring (in jazz context), but the palette of the soundscapes is somewhat limited. Please note that Limit here still represents a huge area for improvisations.
Maybe, maybe, maybe there was no intention to sound Leb i Sol-like, perhaps it was sort of a coincidence. Is this too streched and naive? Well, Leb i Sol hadn't started the whole thing, SMAK did, if I'm not much mistaken. Perhaps there was a fusion-y trend in the mid-late seventies that gather more names under its blanked while many remained obscure. Such a thing won't be unusal in contemporary Macedonian musical scene - the bands gather around Makedonska Streljba folk-goth-punk movement (late 80's/early 90's) or more recent wave of world/fusion ensembles (mid-late 90's with EZGIJA; OKTOEHOS etc.). From that point of view, DEN ZA DEN have a clear place in Macedonian rock culture, and a good place at that. Even if we force the copycatting argument, Den Za Den sounds like some of BETTER Leb i Sol albums - it was issued just when thing started watering down. With or without any of the contexts, this is a very good record.
Studio Album, recorded in 1979, released in 1980
Line-up/Musicians - Vladimir Jankulovski / electric bass - Arian Dema / electric guitar, acoustic guitar, percussion - Dragiša Soldatovic / electric piano, piano, Moog synth - Dimitar Cokorovski / drums, percussion
Releases information LP RTV Ljubljana LD 0587 (1980, Yugoslavia)
1 Svadba (4:05) 2 Galeb (3:52) 3 Ciganka (3:01) 4 Žed (3:27) 5 Fatamorgana (3:59) 6 Ćočor ritam (0:58) 7 A bila je tako draga (4:03) 8 Letnja ljubav (3:24) 9 Vodopad (2:39) 10 Jutro i noč (3:53) 11 Tako treba (4:49)
"KORNI GRUPA did it again, this time under the different name: they made excellent record. "Not An Ordinary Life" was aimed for the Western market; all the titles and lyrics are in English, and the band changed it's name from KORNI GRUPA to KORNELYANS. It wasn't huge success, though. However, album do not contain any bad tracks. Overall, band moved towards the symphonic sound, compared to its predecessor, but jazz-fusion influences are still evident, as well as almost funky bass lines. Highlights of this record are synths (used more often then on "Korni Grupa") and excellent guitar work, both electric and acoustic, where electric guitar solos are pushing the boundaries in a same vein as PFM did it in their finest moments. Vocals are more than good, and English pronunciation is...not that bad, at least not for the band from behind the Iron Curtain in early seventies.
Line-up/Musicians - Kornelije Kovac / keyboards - Josip Bocek / guitar - Bojan Hreljac / bass - Vladimir Furduj / drums - Zlatko Pejakovic / lead vocals
Tracks 1. rising (2:15) 2. not an ordinary life (10:22) 3. generation 1942 (6:56) 4. fall of the land of woman (5:32) 5. temporary parting (4:00) 6. man with a white flag (11:48)
The story behind... A month ago I got from a friend vinyl rip 2 CD of Korni Grupa`s last concert in 1974. The sound was descent but not as it should be. Then I remembered that friend of mine has many LP`s in perfect condition as he used tu record LP to tape whenever he got a new album and his vinyls are still as they once were becouse he used to listen tapes and not vinyl. 5 songs from the concert were published on 2 diferent albums ("Korni Grupa - Mrtvo More" & "VA - Randevu S Muzikom"). However the sound and mastering of the albums was very much diferent no metter that material was recorded at the same concert. Here you have new rip from 2 vinyls remastered by me and posted as wav files. I also added a 20+ min very, very rare version of Jedna Zena as bonus track. Unfortunately source for that track was VBR and i did my best from material avaliable.
This is a great album and will show you one of the best bands from ex Yu performing live in concert...
Track List: 01 - Covek sa belom zastavom (6:27) 02 - Blues (10:01) 03 - Jedna zena (5:27) 04 - I ne tako obican zivot (10:48) 05 - Put za istok (19:58) 06 - Jedna zena (with Dado Topic) bonus (20:45)
