Pagina's

dinsdag 27 oktober 2009

The Dynamic Duo

Van Dyke's arrival changed everything, as Darian explains. "Another dynamic kicked in. Brian is very impressed with Van Dyke, and Van Dyke is equally impressed with Brian, so they played off each other, trying to top each other, turn each other on." Brian's confidence grew, and Van Dyke proved invaluable in boosting it when it wavered. Darian: "Part of Brian's insecurity was the fact that some of SMiLE was risky, you know... uncommercial. Take the 'Workshop' section, with all the power tools playing. Brian wasn't sure about including that, but Van Dyke said, 'We must have courage, my friend,' and so it went in."

In what Darian has subsequently described as this positive, collaborative "think tank", it wasn't long before Brian and Van Dyke were coming up with musical and lyrical ideas that would finish the incomplete parts of SMiLE. Darian describes his role during this part of the process as a 'secretary' and 'facilitator', responsible for keeping track of Brian and Van Dyke's new ideas, and ensuring that they could still be realised on stage.

With unbelievable speed, SMiLE was pulled together in Los Angeles at the end of last year. New lyrics were written for former instrumentals, and some tracks, such as 'Do You Like Worms?', were retitled. Best of all, the completed songs were strung together as three continuous pieces of music, with 'Good Vibrations' acting as a coda, an idea of Brian's that apparently harks back to a structure he had in mind for SMiLE in mid-1966. The music was kept in its original recorded key at all times, so to effect transitions between pieces in different keys, a handful of short orchestral segues were constructed in a collaborative effort between Brian, Darian, Van Dyke, and Wilson live band member Paul Mertens. Mertens also helped to score the orchestration for the second part of the song 'Surf's Up'. A 1966 version featuring Brian playing the song alone at the piano has survived, and a more produced instrumental track for the first section exists featuring percussion, basses and horns, but no similarly developed recording of the second section has ever been found. "I asked Brian what he remembered of it," says Darian, "and he said there were some strings, so we worked on that a little bit, and Van Dyke and Paul Mertens did some orchestrating."

maandag 26 oktober 2009

Studio - 4. The Myths and Legends of King Arthur and the Knights of the Round Table 1. Track listing, 2. Personnel.

Studio - 4. The Myths and Legends of King Arthur and the Knights of the Round Table

1. Track listing.

All tracks by Rick Wakeman

1.1. Side one.

  1. Arthur - 7:26
  2. Lady of the Lake - 0:45
  3. Guinevere - 6:45
  4. Sir Lancelot and the Black Knight - 5:20

1.2. Side two.

  1. Merlin the Magician - 8:51
  2. Sir Galahad - 5:51
  3. The Last Battle - 9:41

2. Personnel.

  • Rick Wakeman - Synthesizers & Keyboards, Grand Piano
  • Terry Taplin - Narrator
  • Gary Pickford-Hopkins, Ashley Holt - Vocals
  • Jeffrey Crampton - Guitars
  • Roger Newell - Bass
  • Barney James - drums
  • John Hodgson - percussion
  • The English Chamber Choir

3. References.


Studio - 3. Journey to the Centre of the Earth (album) 1. Track listing and Lyrics, 2. Personnel.

Studio - 3. Journey to the Centre of the Earth (album)

1. Track listing and Lyrics.

Music & Lyrics by Rick Wakeman

1.1. Side one.

  1. The Journey/Recollection - 21:10

1.1. The Journey.

By horse, by rail, by land, by sea, our journey starts
Two men incensed by one man's journey from the past
In Iceland, where the mountain stood with pride
They set off with their guide
To reach the mountain side

Roped as one for safety through the long descent
Into the crater of volcanic rock they went
Look up from our telescopic laair,
One star for us to share,
We continue on our prayer.

Crystals of opaque quartz, studded limpid tears,
Forming magic chandeliers, lighting blistered galleries.

1.1.1. Narration 1

Admiring shades of lava which imperceptibly passed from reddish brown to bright yellow, their way lit by crystals appearing as lighted globes, they continued through the lava gallery, which gently sloped until they reached the inter section of two roads. Without hesitation Professor Lidenbrook chose the eastern tunnel. And the journey continued through a succession of arches, appearing before them as if they were the aisles of a gothic cathedral; the walls were enhanced with impressions of Rock weeds and mosses from the Silurian epoch.


1.1.2. Narration 2

The Eastern route they had taken had come to a dead end. With three days walk back to the fork to find Arne Saknussemm's original route, they found their water rations were limited to one day. Knowing their only chance of finding water was on that route, they set off for the fork and there finally they fell almost lifeless on the third day. After sleep, they continued down the other tunnel in their quest for water, and whilst searching on his own, Hans, the guide, heard the sound of water thundering behind a granite wall, and, with a pick axe, attacked the wall so as to allow a stream of boiling water to enter and cool in their tunnel. Not only had they found life in the water but they had also found a flowing guide to the Centre of the Earth. They called the stream the Hansbach.


1.1.3. Narration 3

Replenished with the water the journey continued with haste, but somehow they find themselves separated. Professor Lidenbrook's nephew Axel found himself alone. His mind was seized with unparalleled fear and he saw memories of home flashing before him. His fiancee Grauben, his house and friends in Hamburg. He saw hallucinations of all the incidents of the journey. And, unworthy as he felt, he knelt in fervent prayer and then, in panic, he ran blindly through a tunnel only to reach a dead end, where he fell panting for breath. In the darkness he cried... voices... voices... voices... He heard voices ! He heard his uncle's voice. Due to the shape of the gallery and the conducting power of the rocks, his uncle's voice was uncannily travelling around the walls. By means of their chronometers they discovered they were four miles apart, so Axel set about the task of rejoining the Professor and their guide.


1.1,2. Recollection

Memories of a life on earth go flashing past,
Of home, of Grauben, friends of whom he's seen his last
Contemplating what his life's been worth,
While trapped beneath the earth,
An embryo at birth

Pain and fear destroy the beauty I have seen,
Of caverns, where no other man has ever been
Silurian epoch hosts me as my grave,
My final blow I wave,
A life too late to save

Crystals of opaque quartz, studded limpid tears,
Forming magic chandeliers, lighting blistered galleries

1.1,2.1. Narration 4

Suddenly the ground disappeared from beneath his feet. He fell down a vertical shaft, his head hitting a sharp rock. He lost consciousness. On opening his eyes, he found himself with the Professor and the guide, and, looking around him, he saw an ocean stretching as far as the eye could see, a giant forest of mushrooms, a line of huge cliffs, and strange clouds hung overhead, as he lay on a deeply indented shore of golden sand strewn with shells. For a moment, he thought he was back on the surface of the earth, but he soon realised that they had reached a world within a world.

1.2. Side two.

  1. The Battle/The Forest - 18:57


1.2.1. Narration 5

Having made a raft from wood taken from the giant mushroom forest, with rigging consisting of a mast made of two staves lashed together, a yard made of a third, and a sail borrowed from their stock of rugs, they set sail from the harbour - Port Grauben, named after Axel's fiancee. With a north-westerly wind propelling them along at about three miles an hour, silvery beams of light, reflected here and there by drops of spray, produced luminous points in the eddy created by the raft. Soon all land was lost to view. Five days out to sea, they witnessed a terrifying battle between two sea monsters. One having the snout of a porpoise, the head of a lizard, and teeth of a crocodile - an Ichthyosaurus. And the other, the mortal enemy of the first, a serpent with a turtle's shell, the Plesiosaurus.


1.2.2. The Battle.

Five days out on an infinite sea, they prayed for calm on an ocean free,
But the surface of the water ws indicating some disturbance.

The raft was hurled by an unseen source, two hundred feet, with frightening force
And a dark mass rising showed to be a giant porpoise

Rising out of the angry sea, towered the creatures' enemy,
And so the two sea monsters closed for battle

Crocodile teeth, lizard's head, bloodshot eye, stained ocean red
Moving close to their raft's side, the two men prayed as one and cried:
- "Save me, save me, save me, save me, ..."

The serpents' fight went on for hours, two monsters soaring up like towers
And driving down to the depths in a single motion

Suddenly, the serpent's head, shot out of the water bathed in red
And the serpentine form lay lifeless on the ocean

Crocodile teeth, lizard's head, bloodshot eye stained ocean read
Battle won, a victor's pride, the three men thanked the Lord and cried:
- "Praise God, praise God, praise God, praise God, ..."


1.2.2.1. Narration 6

Cumulus clouds formed heavily in the south, like huge wool packs heaped up in picturesque disorder. Under the influence of the breezes they merged together, growing darker, forming a single menacing mass. The raft lay motionless on the sluggish waveless sea and in silence they waited for the storm.


1.2.2.2. Narration 7.

For four days the storm had raged as they clung to the mast of their raft for safety. Finally, with their raft wrecked after being bashed against the reefs, they lay sheltered from the pouring rain beneath a few overhanging rocks where they ate and slept. The next day all trace of the storm had disappeared and what remained of their stock seemed intact. But checking the compass brought only heartbreak as it showed that a change of wind during the storm had returned them to just a few miles north of Port Grauben. So, deciding to try and find the original route they advanced with difficulty over granite fragments mingled with flint, quartz, and alluvial deposits, eventually reaching a plain covered with bones, like a huge cemetery. A mile further on, they reached the edge of a huge forest made up of vegetation of the Tertiary period. Tall palms were linked by a network of inextricable creepers, a carpet of moss covered the ground and the leaves were colourless, everything having a brownish hue. Exploring the forest they discovered a heard of gigantic animals, Mastadons, which were being marshalled by a primitive human being, a Proteus. He stood over twelve foot high and he brandished an enormous bough, a crook worthy of this antediluvian shepherd.


1.2.3. The Forest.

Journey on through ages gone, to the centre of the Earth
Past rocks of quartz and granite, which gave mother nature birth
Burial ground of ancient man, his life no more is seen,
A journey through his time unknown, I wonder where he's been
Wonder where he's been, wonder where he's been, wonder where he's been

The shore now gone behind the hills, a forest in our sight,
Rocks and distant mountains, bathed in waves of blinding light
Forests from far gone time, no living man has seen,
A private prehistoric world, for you and I a dream

Brownish hue dicates my eye, no colour hides their fear,
Flowers faded, dull and cold, now bleached by atmosphere
Creatures twisting under trees, huge monsters soaked with rage
Hidden deep below our earth, a frightening, bygone age

Their shepherd came, now long extinct, a huge primeval man
The three men filled with disbelief, just turned as one and ran.


1.2.3.1. Narration 8

Dumb with astonishment and amazement which bordered on stupefaction, they fled the forest. Instinctively, they made towards the Lidenbrook Sea. Discovering a rusty dagger on the beach, and the carved initials of the explorer before them on a slab of granite, they realised that thay were once again treading the route of Arne Saknussemm. Following a short sea journey around a cape, they came ashore where a dark tunnel plunged deep into rock. Venturing down, their progress was halted by a piece of rock blocking their way. After deciding to blow their way through, and setting the charge, they put out to sea for safety. With the explosion, the rocks before them opened like a curtain, and a bottomless pit appeared in the shore. The explosion had caused an earthquake, the abyss had opened up, and the sea was pouring into it. Down and down they plunged into the huge gallery, but on regaining their senses found their raft rising at tremendous speed. Trapped in the shaft of an active volcano they rose through the ages of man to be finally expelled out on a mountain-side riddled with tiny lava streams. Their journey was completed and they found themselves 3000 miles from their original starting point in Iceland. They had entered by one volcano and they had come out by another. With the blue mountains of Calabria in the east they walked away from the mountain that had returned them. The frightening Mount Etna.

2. Personnel.

3. Credits.

  • Danny Beckerman - Arrangements
  • Wil Malone - Arrangements
  • Pete Flanagan - Engineer
  • Keith Grant - Production engineer
  • Lou Reizner - Production co-ordination
  • Paul Tregurtha - Engineer

4. External links.


zondag 25 oktober 2009

Studio - 2. Sky 2, 1979-1980.[Muscic Club] July 1980.

Studio - 2. Sky 2.

From Wikipedia, the free encyclopedia

Jump to: navigation, search
Sky 2

Studio album by Sky
Released July 1980
Recorded 1979-1980
Genre Progressive rock
Length 41:17
Label Music Club

Producer Kevin Peek
Professional reviews
Yes chronology

Sky
(1979)
Sky 2

(1980)

Alternate cover



Sky lineup

John Williams
guitars

Herbie Flowers
bass

Kevin Peek
guitars

Francis Monkman
keyboards

Tristan Fry
percussion

Released: April 1980

Peak position in UK charts: 1 (July 1980)

Availability: A remastered CD was released in February 2005 on the Castle Music label (part of the Group and should be fairly easy to find. In case of difficulty, you can always try (No, I don't make money from suggesting them).

I seriously advise against buying the 1994 Music Club edition (which is also the basis for various European and Australian pressings), of which multiple copies float around on eBay at any given time) because it doesn't sound as good.

In the meantime, click on the track title to hear/download an MP3 sample from the track (roughly one minute in all cases). I don't include the full tracks for a multitude of reasons, and never will.

Short Review:Encouraged by the response to their album and tours, this double album was far more representative of a Sky concert, including studio recordings of several pieces which were already aprt of their repertoire. Existing fans were not disappointed, and the huge success of the Toccata single got them many more. Anyone buying the album having heard the single was in for a surprise, though. The sheer energy of Hotta, the descriptive power of Sahara, not to mention the silliness of Dance of the Little Fairies and Tuba Smarties, showed that this was a band capable of a lot more than making noise to a (in my opinion) badly arranged piece of one of the most famous classical pieces ever. And then there's the sheer majesty and complexity of FIFO, probably the pinnacle of Sky's output before or since. I prefer to think of it as a sonata for rock band, the finale of which, as Francis says in the notes, deserves to played out LOUD! And the icing on the cake, side three of the original LP version, featuring each musician as virtuoso, playing relevant classical repertoire entirely straight (just as they did during live performances). Magical! Agree? Disagree? Have your say in the Forum!

Studio - 1.Sky (Sky album) 1. Track listing, 2. Personnel.

Studio - 1.Sky (Sky album)

1. Track listing.

1.1. Side one.

  1. " Westway" (Flowers/Monkman)
"When we recorded this album, I was living out in West London, and the studio was in Central London. Every night, I would drive home along the Westway elevated road and listen on my car tape player to what we'd done that day. This track is such a great groove for driving and it got its name because if I put it on at the Marylebone Road end of the Westway and stuck right on the speed limit, it would finish just as I came off the other end." H.F.
  1. "ICarillon" (Flowers/Gomm)
New groups, in the excitement of doing their first album, can quite easily overkill. The idea of Carillon was to have four or five minutes of tranquillity, a piece that any student musician could play in no time at all. Carillon means a peal of bells, two or three instruments following each other with the same melody, as in the chorus.
I hoped it would stop the critics calling us clever dicks. It did. They said "Musicians of this calibre should avoid such simple songs." H.F.
  1. "Danza" (Pipo, Arr. Peek)
When John Williams rang up Kevin Peek to ask him to join Sky, Kevin was out. The message was relayed to Kevin as "someone rang to ask about guitar lessons". Despite this poor start, Kevin quickly proved his value to the group by finding Danza, a lively piece by the obscure Argentinian composer Pipo, and transforming it into a perfect vehicle for the new band.
  1. "Gymnopedie No. 1" ((Satie, Arr. Williams)
Satie is a favourite for rock transcriptions, with everyone from Blood Sweat & Tears to Gary Numan attempting it, but Sky were not attempting to rock it up. "We played it with more arpeggios than are in the famous piano version, but I took everything in that arrangement from Satie's own sketches for doing an orchestration, which he never finished." J.W.

1.2. Side two.

  1. "Cannonball" (Monkman)
"This was one of my earliest attempts to find a fusion of rock and classical that would work for the band, and we often played it live as an encore. We must have thought it worked, because we put it out as a single before Toccata. Recently, in Russia, I heard it being used as the title music for a Russian TV current affairs programme, but I still don't know if I get paid a royalty for that." F.M.
  1. "Where Opposites Meet" (Monkman)
"As a group, we all came from different disciplines, and that's what Francis was thinking about when he wrote this piece. We were opposites in terms of background, but the music is the point at which we all meet." H.F. "Herbie's idea is interesting, but I was actually thinking about the Zen concept that infinity is the point where opposites meet. When we started the band, we were faced with a real problem about what kind of music would be appropriate for players from such diverse backgrounds. I was living in Greenwich at the time, and I laid back on my couch and tried to imagine myself in an audience watching us play. The opening sequence of Where Opposites Meet is the music I imagined then." F.M.
There are five "movements" and the piece takes up the whole of Side 2 of the original LP/Cassette release, lasting almost 20 minutes. The extract presented here is from Part Four.
  1. "Dies Irae" (Monkman)
(not on original LP/Cassette release)
This free setting of a well-known plainchant melody was released as a single in the summer of 1980. Intriguingly, the Dies Irae theme also makes an appearance in Berlioz's March To The Scaffold (from Symphonie Fantastique) which was the b-side of the same single. However, March To The Scaffold eventually appeared on SKY 4 so, by reverse logic, we feel it is appropriate for Dies Irae finally to make its album debut on this re-release. F.M.
Not to mention because the original album was somewhat on the short side in terms of duration and needed something more to fill a CD.
Actually, to be utterly sad and pedantic, the theme doesn't appear during March to the Scaffold, but the last movement of the Symphonie Fantastique.

2. Personnel.


Studio - 1.Sky (Sky album)

Studio - 1.Sky (Sky album)

From Wikipedia, the free encyclopedia

Jump to: navigation, search
Sky

Studio album by Sky
Released May 1969
Recorded 1968-1969
Genre Progressive rock
Length 41:17
Label Music Club

Producer Kevin Peek
Professional reviews
Yes chronology

Sky
(1979)
Sky 2

(1980)

Alternate cover



Sky

Tristan Fry
drum kit & percussion

Kevin Peek
acoustic
& electric guitars

Francis Monkman
piano, synths
& harpsichord

Herbie Flowers
electric & string bass

John Williams
acoustic
guitars

Originally Released: May 1979

Peak position in UK charts: 2 (June 1979)

Availability: A remastered CD was released in February 2005 on the Castle Music label (part of the Group and should be fairly easy to find. In case of difficulty, you can always try (No, I don't make money from suggesting them).

Even if you own or are planning to buy the 1994 Music Club edition (which is also the basis for various European and Australian pressings), of which multiple copies float around on eBay at any given time), I seriously advise buying the new remastered one as well, because it sounds much better. (The newly remastered version does not include the bonus track of Dies Irae.)

In the meantime, click on the track title to hear/download an MP3 sample from the track (roughly one minute in all cases). I don't include the full tracks for a multitude of reasons, and never will.

Yes (Yes album), 1968-1969.[Atlantac Records] July 25, 1969.

Yes (Yes album)

From Wikipedia, the free encyclopedia

Jump to: navigation, search
Yes
Studio album by Yes
Released July 25, 1969
Recorded 1968-1969
Genre Progressive rock, psychedelic rock
Length 41:17
Label Atlantic, WEA
Producer Paul Clay
Professional reviews
Yes chronology

Yes
(1969)
Time and a Word
(1970)

Alternate cover
Alternative Cover

Yes is the 1969 debut album from British progressive rock band Yes, considered among the first progressive rock albums. With the original Yes line-up of vocalist Jon Anderson, bassist Chris Squire, guitarist Peter Banks, keyboardist Tony Kaye and drummer Bill Bruford, Yes was the quintet's original musical statement, one that merged harmonic beauty with heavy instrumental backing.

While many music critics regarded it as a strong initial effort, the album was not a large commercial success, due in part to the inexperience of the band and the producers. The album was also overshadowed by Led Zeppelin's debut album, released earlier that year.

Two of the eight songs on the album are covers, which the band use to demonstrate their penchant for massively reworking others' songs; The Beatles' "Every Little Thing" is turned into a grungy wall of sound with several tempo changes, and The Byrds' "I See You" becomes a jazzy psychedelic workout for Banks and Bruford to display their instrumental virtuosity.

Lester Bangs favourably reviewed the album in Rolling Stone, writing that it was "the kind of album that sometimes insinuates itself into your routine with a totally unexpected thrust of musical power."[1]