View allAll Photos Tagged Mellotron
Lovely folk music that kind of reminds me of a lot of different bands depending on who is singing-sometimes The Go Betweens and other times when Caity Shaffer sings I am reminded of another place and time altogether. Her voice is so sweet.
Have a listen:
**All photos are copyrighted**
Fragile is the fourth studio album by the English progressive rock band Yes, released on 26 November 1971. It was the band's first album to feature keyboardist Rick Wakeman, who replaced founding member Tony Kaye after the group had finished touring their breakthrough record, The Yes Album.
The band entered rehearsals in London in August 1971, but Kaye's reluctance to play electronic keyboards led to his departure from the group. He was quickly replaced by Wakeman, whose experience with the electric piano, organ, Mellotron, and Minimoog synthesiser expanded the band's sound.
The opening track, "Roundabout", became a popular and iconic song. The artwork for the album was the band's first to be designed by Roger Dean, who would design many of their future covers and stage sets.
In 2005, Fragile was included in the musical reference publication 1001 Albums You Must Hear Before You Die. In his review for AllMusic, Bruce Eder gave the album five stars out of five. He writes: "Fragile was Yes' breakthrough album, propelling them in a matter of weeks from a cult act to an international phenomenon; not coincidentally, it also marked the point where all of the elements of the music (and more) that would define their success for more than a decade fell into place fully formed. The science-fiction and fantasy elements that had driven the more successful songs on ... The Yes Album, were pushed much harder here, and not just in the music but in the packaging of the album: the Roger Dean-designed cover was itself a fascinating creation that seemed to relate to the music and drew the purchaser's attention in a manner that few records since the heyday of the psychedelic era could match.
Happy 50th anniversary, Fragile!
Roundabout: youtu.be/uWqMX854V8o
Explored position: 47 on Monday, December 6, 2021
Trying to drown out distant sounds of fireworks in the surrounding hills of our ‘hood’. So, King Crimson is helping keep the dog relaxed in the music room, believe it or not.
'Musical instruments sans people' at the ol' We're Here! group today (yesterday). Went searching for a player piano, a
MIDI mellotron, or even a theremin (which technically, I suppose, does require some human element, even though you don't actually touch it) however, my quest was fruitless. Had to settle for the classical, candle-lit and among some pretty flowers.
Some nice music to go with those flowers and moody lighting: 'Mario Takes a Walk' - Jesse Cook.
Oxygène, recorded by French musician Jean-Michel Jarre, was released in France in 1976. It was later released in the UK the following year via Polydor, and that is the copy I still have. The cover artwork by Michel Granger makes for an interesting squared circle.
The Instrument of Troubled Dreams is an installation by Canadian artists Janet Cardiff and George Bures Miller. It was composed in and around the Oude Kerk (Old Church) in Amsterdam.
Playing the mellotron, containing spoken words and all sorts of music and sounds, creates a cinematic environment, and as a result you begin to experience the church differently.
The companion piece to "Master Builder". Titled after the song that follows "Master Builder" on Gong's seminal, 1974 album, "YOU". "A Sprinkling of Clouds" is, still, to date probably the greatest musical creation Gong has ever recorded.
Tim Blake, the band's synthesist had a unique style completely in a universe all it's own. Not so much a keyboardist of the ilk of contemporaries, Keith Emerson and Rick Wakeman, Blake's skill was not as a "player" so much as being brilliantly talented at producing scintillating, liquid, highly evocative colours and textures with VERY simple machines !!! His imagination with those "museum" instruments boggles the mind here on "A Sprinkling of Clouds".
The rest of the band's members each puts in a stunning performance, but here it's Blake's synthesizers and mellotrons that stand out as one of the most unique and imaginative offerings of both 70's and contemporary synthesizer work.
I started with an image of clouds and processed and processed and processed until I got something that I hope reflects some of the beauty of the song and gives synesthetic resonance with Tim Blakes remarkable synthesizer invention.
Music Link: "A Sprinkling of Clouds" on Gong's "YOU". I've linked up 2 versions of the song - the first being the original recording by Gong, the second a 90's remix by dj/producer, Youth. His remix is a stunning creation in itself but exceptionally respectful and sensitive to the heart and beauty of the original. It was included on a rare album called "YouRemixed" which featured many of the top dj/remixers of the 90's re-interpreting the songs on "YOU".
www.youtube.com/watch?v=f7qQ0VJmcl0
www.youtube.com/watch?v=FLdDuescqM4
ToR Oct 21, 2012.
View LARGE on black !!!
Oil on canvas. 20"x30".
Another painting inspired by mellotron music and other kinds of music which sound to my like I'm in some kind of fantastic water garden.
At the same time, I like my work to have a certain familiarity to it. Almost as if this was right in your own backyard, so to speak.
Taken last night, 12/17/08. It was a pretty boring sunset except for the last few seconds when the sky caught fire, and I almost knocked over my tripod trying to set the camera timer........ I'm glade nobody video taped my stumbling and fumbling, LOL!
Music: Porcupine Tree - Mellotron Scratch Right click and open in a new tab/window
INVITES ARE GREAT, BUT PLEASE IN MODERATION
All my public photos are free for personal use
Today I received a very cool gift in the mail. A number of months ago, on Flickr, I found the drawings of Frédéric Bach.
www.flickr.com/photos/frederic-bach/
I really liked their spontaneity and enjoyed looking at them. Frédéric is a writer besides his passion for drawing. Last week he sent me a message and a link about an album that he did the artwork for and was created by his friends. The group is called The French Taxmen and they are band from Strasbourg. The album is an homage to one of my favorite groups, okay my favorite group The Beatles. He sent me a link with a podcast interview about the album. The podcast (in French) was really good and there are samples of the music. I loved it. The songs aren’t sung. They are read. The music is a bit jazzy. My first impression were the clubs in the 1960s in Greenwich Village in New York City. Smoky, full of Beatniks all in black and snapping their fingers. One thing that I really liked about this album is that it is something I have never heard before using the music of The Beatles. I think it works really well. Also, the French accent in English gives it a very “Yellow Submarine” aura. I don’t think it would work if the lyrics were read with an English or American accent.
Here is the link to the podcast and other information:
frederic-bach.com/2021/07/07/the-french-taxmen-en-ecoute/
The French Taxman “Les Beatles”
Serge Sokil: vocal
Martin Woelfli: saxophones
Remy Goguel d’Allondans: percussion
Special guest: Jean-Baptiste Mersiol: bass, Mellotron, Harmonium, Irish bouzouki, vocals
Frédéric told me that he spoke to the band and he would send me a CD. How nice is that?
Frédéric, merci un mille fois pour le CD ! Je l'aime!
John Winston Ono Lennon was an English singer, songwriter and musician. He gained worldwide fame as the founder, co-lead vocalist and rhythm guitarist of the Beatles. His work included music, writing, drawings and film. {Sharing The Knowledge 5.21.24}
Pink Floyd / Atom Heart Mother
Side one:
- "Atom Heart Mother"
I. "Father's Shout"
II. "Breast Milky"
III. "Mother Fore"
IV. "Funky Dung"
V. "Mind Your Throats Please"
VI. "Remergence"
(Nick Mason, David Gilmour, Roger Waters, Richard Wright, Ron Geesin) - 23:44
Side two:
- "If" (Roger Waters) - 4:31
- "Summer '68" (Richard Wright) - 5:29
- "Fat Old Sun" (David Gilmour) - 5:22
- "Alan's Psychedelic Breakfast"
I. "Rise and Shine"
II. "Sunny Side Up"
III. "Morning Glory"
(Waters, Mason, Gilmour, WrightInstrumental, speech by Alan Styles) - 13:00
Roger Waters – bass guitar (1–3, 5), classical guitar (2), lead vocals (2), tape effects, tape collages
David Gilmour – electric guitar (1, 4–5), slide guitar (1–2), steel guitar (4–5), acoustic guitar (3–5), classical guitar (3), bass guitar, drums, percussion (4), lead vocals (4)
Richard Wright – Hammond organ (all tracks), piano (1–3, 5), Farfisa organ (1, 4), Mellotron (1), lead vocals (3)
Nick Mason – drums (1–3, 5), percussion, tape effects, tape collages, engineering (5)
John Alldis Choir – vocals
Recorded: March – August 1970 at Abbey Road Studio, London
sleeve design: Hipgnosis
Label: Harvest Records / 1970
ex Vinyl-Collection MTP
Oil on canvas. 20"x30".
Inspired by mellotron music which can sometimes sound to me like being in a water garden on another planet or in some kind of strange land.
An absolute classic instrument with an amazing organic sound. Famously used on "Strawberry Fields Forever" and countless 70s prog rock epics. A joy to play one.
Pentax Spotmatic Super Takumar 50mm f1.4 Ilford HP5 400 ID11
Jean-Michel Jarre / Équinoxe
Side one:
- "Équinoxe Part 1" – 2:23
- "Équinoxe Part 2" – 5:01
- "Équinoxe Part 3" – 5:11
- "Équinoxe Part 4" – 6:52
Side two:
- "Équinoxe Part 5" – 3:54
- "Équinoxe Part 6" – 3:15
- "Équinoxe Part 7" – 7:24
- "Équinoxe Part 8" – 5:02
[All tracks composed by Jean-Michel Jarre.]
Equipment:
ARP 2600
EMS Synthi AKS,
EMS VCS 3
Yamaha CS-60
Oberheim TVS-1A
RMI Harmonic Synthesizer
RMI Keyboard Computer
ELKA 707
Korg Polyphonic Ensemble P Polyphonic Ensemble 2000
Eminent 310U
Mellotron
ARP Sequencer
Oberheim Digital Sequencer
Matrisequencer 250
Geiss Rhythmicomputer (a custom designed programmable rhythm box)
EMS Vocoder
Recorded: January – August 1978
sleeve design: cover art by Michel Granger
Label: Disques Dreyfus
ex Vinyl-Collection MTP
perfeita pra segunda feira...
Today´s Soundtrack: Mellotron Scratch - Porcupine Tree
http://fernandodelfini.com
Genesis / Foxtrot
Side one:
- "Watcher of the Skies" - 7:23
- "For Absent Friends" - 1:48
- "Time Table" - 4:46
- "Get 'Em Out by Friday" - 8:36
- "Can-Utility and the Coastliners" - 5:45
Side two:
- "Horizons" - 1:41
- "Supper's Ready" - 23:06
[All songs composed and arranged by Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett, and Mike Rutherford.]
Tony Banks – organ, Mellotron, piano, electric piano, 12-string guitar, backing vocals
Mike Rutherford – bass guitar, bass pedals, cello, 12-string guitar, backing vocals
Peter Gabriel – lead vocals, flute, bass drum, tambourine, oboe
Steve Hackett – electric guitar, 12-string guitar, 6-string guitar
Phil Collins – drums, voices,
Studio: Island Studios, London (August - September 1972)
sleeve design: cover art by Paul Whitehead
Label: Charisma Records / 1972
ex Vinyl-Collection MTP
The Rolling Stones / Their Satanic Majesties Request
Side one:
- Sing This All Together – 3:46
(Bei den Backing Vocals sind John Lennon und Paul McCartney zu hören.)
- Citadel – 2:50
(Mit Brian Jones am Mellotron, Nicky Hopkins am Keyboard und am Cembalo.)
- In Another Land – 3:15
(Enthält eine Aufnahme des schnarchenden Bill Wyman.)
- 2000 Man – 3:07
(Brian Jones an der Elektronischen Orgel.)
- Sing This All Together (See What Happens) – 8:33
(Enthält einen Hidden Track, ein von Bill Wyman gespieltes kurzes Instrumental namens Cosmic Christmas; schneller abgespielt hört man das Lied: We Wish You a Merry Xmas.)
Side two:
- She’s a Rainbow – 4:35
(Streichinstrumente arrangiert von John Paul Jones; wiederkehrendes Instrumentalsolo und Wiederholungen im Text)
- The Lantern – 4:23
(Nicky Hopkins am Keyboard und am Mellotron.)
- Gomper – 5:08
(Brian Jones an der elektrischen Dulcimer.)
- 2000 Light Years from Home – 4:45
(Brian Jones am Mellotron, Bill Wyman am Synthesizer.)
- On With the Show – 3:39
(Brian Jones am Mellotron und an der Harfe.)
[All tracks are written by Mick Jagger and Keith Richards, except "In Another Land" by Bill Wyman.]
Mick Jagger – lead vocals
Keith Richards – electric guitar
Brian Jones – Mellotron, vibraphone
Bill Wyman – bass guitar
Charlie Watts – drums
Studio: Olympic, London (9 February – 23 October 1967)
sleeve design: Michael Cooper
Label: Decca Records / 1967
ex Vinyl-Collection MTP
"Stairway to Heaven" is a song by the English rock band Led Zeppelin, released in late 1971. It was composed by guitarist Jimmy Page and vocalist Robert Plant for the band's untitled fourth studio album (often called Led Zeppelin IV). It is often referred to as one of the greatest rock songs of all time.The song has three sections, each one progressively increasing in tempo and volume. The song begins in a slow tempo with acoustic instruments (guitar and recorders) before introducing electric instruments. The final section is an uptempo hard rock arrangement highlighted by Page's intricate guitar solo accompanying Plant's vocals that end with the plaintive a cappella line: "And she's buying a stairway to heaven"."Stairway to Heaven" was voted #3 in 2000 by VH1 on its list of the 100 Greatest Rock Songs,[7] and was placed at number 31 on Rolling Stone magazine's list of "The 500 Greatest Songs of All Time". It was the most requested song on FM radio stations in the United States in the 1970s, despite never having been officially released as a single there.[8] In November 2007, through download sales promoting Led Zeppelin's Mothership release, "Stairway to Heaven" hit No. 37 on the UK Singles Chart.The recording of "Stairway to Heaven" commenced in December 1970 at Island Records' new Basing Street Studios in London.[10] The song was completed by the addition of lyrics by Plant during the sessions for Led Zeppelin IV at Headley Grange, Hampshire, in 1971.[11] Page then returned to Island Studios to record his guitar solo.The song originated in 1970 when Jimmy Page and Robert Plant were spending time at Bron-Yr-Aur, a remote cottage in Wales, following Led Zeppelin's fifth American concert tour. According to Page, he wrote the music "over a long period, the first part coming at Bron-Yr-Aur one night".Page always kept a cassette recorder around, and the idea for "Stairway" came together from bits of taped music:I had these pieces, these guitar pieces, that I wanted to put together. I had a whole idea of a piece of music that I really wanted to try and present to everybody and try and come to terms with. Bit difficult really, because it started on acoustic, and as you know it goes through to the electric parts. But we had various run-throughs [at Headley Grange] where I was playing the acoustic guitar and jumping up and picking up the electric guitar. Robert was sitting in the corner, or rather leaning against the wall, and as I was routining the rest of the band with this idea and this piece, he was just writing. And all of a sudden he got up and started singing, along with another run-through, and he must have had 80% of the words there ... I had these sections, and I knew what order they were going to go in, but it was just a matter of getting everybody to feel comfortable with each gear shift that was going to be coming.Led Zeppelin bassist John Paul Jones recalled this presentation of the song to him following its genesis at Bron-Yr-Aur:Page and Plant would come back from the Welsh mountains with the guitar intro and verse. I literally heard it in front of a roaring fire in a country manor house! I picked up a bass recorder and played a run-down riff which gave us an intro, then I moved into a piano for the next section, dubbing on the guitars.In an interview he gave in 1977, Page elaborated:I do have the original tape that was running at the time we ran down "Stairway To Heaven" completely with the band. I'd worked it all out already the night before with John Paul Jones, written down the changes and things. All this time we were all living in a house and keeping pretty regular hours together, so the next day we started running it down. There was only one place where there was a slight rerun. For some unknown reason Bonzo couldn't get the timing right on the twelve-string part before the solo. Other than that it flowed very quickly.The first attempts at lyrics, written by Robert Plant next to an evening log fire at Headley Grange, were partly spontaneously improvised and Page claimed, "a huge percentage of the lyrics were written there and then".[13] Jimmy Page was strumming the chords and Robert Plant had a pencil and paper. Plant later said that suddenly,My hand was writing out the words, 'There's a lady is sure [sic], all that glitters is gold, and she's buying a stairway to heaven'. I just sat there and looked at them and almost leapt out of my seat." Plant's own explanation of the lyrics was that it "was some cynical aside about a woman getting everything she wanted all the time without giving back any thought or consideration. The first line begins with that cynical sweep of the hand ... and it softened up after that.The lyrics of the song reflected Plant's current reading. The singer had been poring over the works of the British antiquarian Lewis Spence, and later cited Spence's Magic Arts in Celtic Britain as one of the sources for the lyrics to the song.In November 1970, Page dropped a hint of the new song's existence to a music journalist in London:It's an idea for a really long track.... You know how "Dazed and Confused" and songs like that were broken into sections? Well, we want to try something new with the organ and acoustic guitar building up and building up, and then the electric part starts.... It might be a fifteen-minute track.Page stated that the song "speeds up like an adrenaline flow". He explained:Going back to those studio days for me and John Paul Jones, the one thing you didn't do was speed up, because if you sped up you wouldn't be seen again. Everything had to be right on the meter all the way through. And I really wanted to write something which did speed up, and took the emotion and the adrenaline with it, and would reach a sort of crescendo. And that was the idea of it. That's why it was a bit tricky to get together in stages.The complete studio recording was released on Led Zeppelin IV in November 1971. The band's record label, Atlantic Records was keen to issue this track as a single, but the band's manager Peter Grant refused requests to do so in both 1972 and 1973. The upshot of that decision was that record buyers began to invest in the fourth album as if it were a single.[8] In the US, Atlantic issued "Stairway to Heaven" as a 7" promotional single in 1972.The song consists of several distinct sections, beginning with a quiet introduction on a finger-picked six-string guitar and four recorders in a Renaissance music style[18] (ending at 2:15) and gradually moving into a slow electric middle section (2:16–5:33), then a long guitar solo (5:34–6:44), before the faster hard rock final section (6:45 to 7:45), ending with a short vocals-only epilogue. Plant sings the opening, middle and epilogue sections in his mid vocal range, but sings the hard rock section in his higher range which borders on falsetto.
Written in the key of A minor, the song opens with an arpeggiated, finger-picked guitar chord progression with a chromatic descending bassline A-G#-G-F#-F. John Paul Jones contributed overdubbed wooden bass recorders in the opening section (he used a Mellotron and, later, a Yamaha CP70B Grand Piano and Yamaha GX1 to synthesise this arrangement in live performances)[16] and a Hohner Electra-Piano electric piano in the middle section.
The sections build with more guitar layers, each complementary to the intro, with the drums entering at 4:18. The extended Jimmy Page guitar solo in the song's final section was played for the recording on a 1959 Fender Telecaster given to him by Jeff Beck (an instrument he used extensively with the Yardbirds)[16] plugged into a Supro amplifier,[19] although in an interview he gave to Guitar World magazine, Page also claimed, "It could have been a Marshall, but I can't remember".[13] Three different improvised solos were recorded, with Page agonising about deciding which to keep. Page later revealed, "I did have the first phrase worked out, and then there was the link phrase. I did check them out beforehand before the tape ran." The other guitar parts were played using a Harmony Sovereign H1260 acoustic guitar and a Fender Electric XII guitar (a 12-string guitar that was plugged directly to the soundboard); these can be heard on the left and right recording channels respectively. For live versions, Page switched to a Heritage Cherry Gibson EDS-1275 6/12 Doubleneck guitar. The final progression is a i-VII-VI (natural minor) progression (Am-G-F), a mainstay of rock music.Another interesting aspect of the song is the timing of the lead-up to the famous guitar solo. While staying in 4/4 throughout this section, most of the accents shift to the eight notes. This makes the rhythm figure challenging for some musicians, but adds a feeling of anticipation to the approaching guitar solo.Sound engineer Andy Johns recalls the circumstances surrounding the recording of Page's famous solo:I remember Jimmy had a little bit of trouble with the solo on "Stairway to Heaven"... [H]e hadn't completely figured it out. Nowadays you sometimes spend a whole day doing one thing. Back then, we never did that. We never spent a very long time recording anything. I remember sitting in the control room with Jimmy, he's standing there next to me and he'd done quite a few passes and it wasn't going anywhere. I could see he was getting a bit paranoid and so I was getting paranoid. I turned around and said "You're making me paranoid!" And he said, "No, you're making me paranoid!" It was a silly circle of paranoia. Then bang! On the next take or two he ripped it out.According to Page, "Stairway to Heaven"
...crystallized the essence of the band. It had everything there and showed the band at its best... as a band, as a unit. Not talking about solos or anything, it had everything there. We were careful never to release it as a single. It was a milestone for us. Every musician wants to do something of lasting quality, something which will hold up for a long time and I guess we did it with "Stairway".[Pete] Townshend probably thought that he got it with Tommy. I don't know whether I have the ability to come up with more. I have to do a lot of hard work before I can get anywhere near those stages of consistent, total brilliance.The inaugural public performance of the song took place at Belfast's Ulster Hall on 5 March 1971.[16] Bassist John Paul Jones recalls that the crowd was unimpressed: "They were all bored to tears waiting to hear something they knew".[17] However, Page stated about an early performance at the LA Forum, before the record had even come out,[29] that:
I'm not saying the whole audience gave us a standing ovation, but there was this sizable standing ovation there. And I thought: 'This is incredible, because no one's heard this number yet. This is the first time they're hearing it!' It obviously touched them, you know. And that was at the L.A. Forum, so I knew we were onto something with that one.
The world radio premiere of "Stairway to Heaven" was recorded at the Paris Cinema on 1 April 1971, in front of a live studio audience, and broadcast three days later on the BBC.[29] The song was performed at almost every subsequent Led Zeppelin concert, only being omitted on rare occasions when shows were cut short for curfews or technical issues. The band's final performance of the song was in Berlin on 7 July 1980, which was also their last concert until 10 Dec 2007 at London's O2 Arena; the version was the longest, lasting almost fifteen minutes, including a seven and a half-minute guitar solo.Jimmy Page used a double-necked guitar to perform "Stairway to Heaven" live.When playing the song live, the band would often extend it to over ten minutes, with Page playing an extended guitar solo and Plant adding a number of lyrical ad-libs, such as "Does anybody remember laughter?", "And I think you can see that" (as seen in the film The Song Remains the Same), "Does anybody remember forests?" (As seen on the live performance in Seattle 1977), "wait a minute!" and "I hope so". For performing this song live, Page used a Gibson EDS-1275 double neck guitar so he would not have to pause when switching from a six to a twelve string guitar.By 1975, the song had a regular place as the finale of every Led Zeppelin concert. However, after their concert tour of the United States in 1977, Plant began to tire of "Stairway to Heaven": "There's only so many times you can sing it and mean it ... It just became sanctimonious."The song was played again by the surviving members of Led Zeppelin at the Live Aid concert in 1985;[ at the Atlantic Records 40th Anniversary concert in 1988, with Jason Bonham on drums; and by Jimmy Page as an instrumental version on his solo tours.By the late 1980s, Plant made his negative impression of the song clear in interviews. In 1988, he stated:I'd break out in hives if I had to sing ("Stairway to Heaven") in every show. I wrote those lyrics and found that song to be of some importance and consequence in 1971, but 17 years later, I don't know. It's just not for me. I sang it at the Atlantic Records show because I'm an old softie and it was my way of saying thank you to Atlantic because I've been with them for 20 years. But no more of "Stairway to Heaven" for me.However, by the mid-1990s Plant's views had apparently softened. The first few bars were played alone during Page and Plant tours in lieu of the final notes of "Babe I'm Gonna Leave You", and in November 1994 Page and Plant performed an acoustic version of the song at a Tokyo news station for Japanese television. "Stairway to Heaven" was also performed at Led Zeppelin's reunion show at the O2 Arena, London on 10 December 2007. This song is played a whole step lower.Plant cites the most unusual performance of the song ever as being that performed at Live Aid: "with two drummers (Phil Collins and Tony Thompson) while Duran Duran cried at the side of the stage – there was something quite surreal about that."Footage of the song being played live is preserved on the band's concert film The Song Remains the Same, featuring a performance from Madison Square Garden in 1973, and on the Led Zeppelin DVD, featuring a performance from Earls Court Arena in 1975. Official audio versions are also available on The Song Remains the Same's accompanying soundtrack, on Led Zeppelin BBC Sessions (a performance from London's Paris Theatre in 1971) and on How the West Was Won (a performance from the Long Beach Arena in 1972). There are also hundreds of audio versions which can be found on unofficial Led Zeppelin bootleg recordings."Stairway to Heaven" is often rated among the greatest rock songs of all time.[4][5][6] According to music journalist Stephen Davis, although the song was released in 1971, it took until 1973 before the song's popularity ascended to truly "anthemic" status.[34] As Page himself recalled, "I knew it was good, but I didn't know it was going to be almost like an anthem ... But I knew it was the gem of the album, sure.""Stairway to Heaven" continues to top radio lists of the greatest rock songs, including a 2006 Guitar World readers poll of greatest guitar solos.[36] On the 20th anniversary of the original release of the song, it was announced via U.S. radio sources that the song had logged up an estimated 2,874,000 radio plays – back to back, that would run for 44 years solid. As of 2000, the song had been broadcast on radio over three million times.[37] In 1990 a St Petersburg, Florida station kicked off its all-Led Zeppelin format by playing "Stairway to Heaven" for 24 hours straight.[38] It is also the biggest-selling single piece of sheet music in rock history, clocking up an average of 15,000 copies yearly.[16] In total, over one million copies have been sold.[The song's length precluded its release in full form as a single.[citation needed] Despite pressure from Atlantic Records the band would not authorise the editing of the song for single release, making "Stairway to Heaven" one of the most well-known and popular rock songs never to have been released as a single. It did, however, appear on two promotional discs in the United States, one of them featuring the 7:55 track on each side, and the other as a 7" 331⁄3 record produced for jukebox operators with "Stairway..." on one side and both "Black Dog" and "Rock And Roll" on the other. Other "single" appearances were on an Australian EP, and in 1991 as an added bonus with a 20th anniversary promo book.The group's recording of this song also appeared as the sole Led Zeppelin track in the 1977 Atlantic Records 2-LP promotional sampler album, We've Got Your Music, marking the first time that Led Zeppelin's "Stairway to Heaven" made its official debut appearance in an American-released various artists compilation collection.On the 20th anniversary of the song's release, Esquire magazine featured an article on the song's success and lasting influence. Karen Karbo wrote:It's doubtful that anyone knew it would become the most popular rock song of all time. After all, it's eight minutes long and was never released as a single. Even "Hey Jude" was shorter, was a 45, and enjoyed the benefits of comprehensible words and a sing-along chorus. But "Hey Jude" isn't the most requested song of all time on FM rock stations. Nobody ever had a "Hey Jude" theme prom or played the song at weddings and funerals like "Stairway." "Stairway" couldn't succeed today. Back in 1971, FM deejays prided themselves on digging deep into albums to come up with oddball, cultish favorites. With its near-oppressive length, erratic changes, and woo-woo lyrics, the quasi-medieval anthem was a perfect choice. It continues to be a favorite among music listeners who are younger than the song itself, listeners who, in some cases, were no doubt conceived while the tune blasted from car speakers.In 2004, Rolling Stone magazine put it at number 31 on their list of "The 500 Greatest Songs of All Time". An article from the 29 January 2009 Guitar World magazine rated Jimmy Page's guitar solo at number one in the publication's 100 Greatest Guitar Solos in Rock and Roll History.[40] Since 2001, the New York City-based classic rock radio station Q104.3 has ranked "Stairway to Heaven" no. 1 on their annual "Top 1,043 Classic Rock Songs of All Time".Erik Davis, a social historian and cultural critic, commented on the song's massive success, subsequent backlash and enduring legendary status:"Stairway to Heaven" isn't the greatest rock song of the 1970s; it is the greatest spell of the 1970s. Think about it: we are all sick of the thing, but in some primordial way it is still number one. Everyone knows it... Even our dislike and mockery is ritualistic. The dumb parodies; the Wayne's World-inspired folklore about guitar shops demanding customers not play it; even Robert Plant's public disavowal of the song—all of these just prove the rule. "Stairway to Heaven" is not just number one. It is the One, the quintessence, the closest AOR will ever get you to the absolute.Page has himself commented on the song's legacy:The wonderful thing about "Stairway" is the fact that just about everybody has got their own individual interpretation to it, and actually what it meant to them at their point of life. And that's what's so great about it. Over the passage of years, you know, people come to me with all manner of stories about, you know, what it meant to them at certain points of their lives. About how it's got them through some really tragic circumstances ... Because it's an extremely positive song, it's such a positive energy, and, you know, people have got married to [the song].Robert Plant once gave $1,000 to listener-supported radio station KBOO in Portland, Oregon during a pledge drive after the disc jockey solicited donations by promising the station would never play "Stairway to Heaven". Plant was station-surfing in a rental car he was driving to the Oregon Coast after a solo performance in Portland and was impressed with the non-mainstream music the station presented. Asked later "why?" Plant replied that it wasn't that he didn't like the song, but he'd heard it before.Claims of backward masking.In a January 1982 television program on the Trinity Broadcasting Network hosted by Paul Crouch, it was claimed that hidden messages were contained in many popular rock songs through a technique called backward masking. One example of such hidden messages that was prominently cited was in "Stairway to Heaven."[44] The alleged message, which occurs during the middle section of the song ("If there's a bustle in your hedgerow, don't be alarmed now...") when played backward, was purported to contain the Satanic references "Here's to my sweet Satan" and "I sing because I live with Satan."Following the claims made in the television program, California assemblyman Phil Wyman proposed a state law that would require warning labels on records containing backward masking. In April 1982, the Consumer Protection and Toxic Materials Committee of the California State Assembly held a hearing on backward masking in popular music, during which "Stairway to Heaven" was played backward. During the hearing, William Yarroll, a self-described "neuroscientific researcher," claimed that backward messages could be deciphered by the human brain.The band itself has for the most part ignored such claims. In response to the allegations, Swan Song Records issued the statement: "Our turntables only play in one direction—forwards." Led Zeppelin audio engineer Eddie Kramer called the allegations "totally and utterly ridiculous. Why would they want to spend so much studio time doing something so dumb?"Robert Plant expressed frustration with the accusations in a 1983 interview in Musician magazine: "To me it's very sad, because 'Stairway to Heaven' was written with every best intention, and as far as reversing tapes and putting messages on the end, that's not my idea of making music."
Prayerbook.
(...instrumental...)
Instrumental title-track from the next album. ...Altho' it may have words by the time I finish mixing and stuff....
Monica's Last Prayer: Prayerbook
What do you mean it's not upbeat? Comparatively it is. *And* it has a guitar solo. :-)
Once again, all music (and lack of words) by me.
Eric Drew Feldman, or possibly not, multi-instrumentalist, Engineer, Producer, gigged with Fear, Snakefinger, Pere Ubu, Pixies, Frank Black, The Polyphonic Spree, Tripping Daisy, PJ Harvey. & Captain Beefheart and his Magic Band.
Camel / Mirage
Side one:
- "Freefall" (Peter Bardens) - 5:53
- "Supertwister" (Peter Bardens) - 3:22
- "The White Rider" (Andrew Latimer) - 9:17
Side two:
- "Earthrise" (Bardens, Latimer) - 6:40
- "Lady Fantasy"
(Peter Bardens, Andrew Latimer, Andy Ward, Doug Ferguson) - 12:45
Andrew Latimer – guitars, flute; vocals
Peter Bardens – organ, piano, Minimoog, Mellotron, Fender electric piano, Hohner clavinet, celesta; vocals
Doug Ferguson – bass
Andy Ward – drums, percussion
Studio: Island Studios, Decca StudiosAIR Studios; London (November 1973)
sleeve design: cover art by Modula
Label: Deram Records / 1974
ex Vinyl-Collection MTP
en.wikipedia.org/wiki/Mirage_(Camel_album)
The Moody Blues / A Question of Balance
Side one:
- "Question" (Justin Hayward) - 5:40
- "How Is It (We Are Here)" (Mike Pinder) - 2:48
- "And the Tide Rushes In" (Ray Thomas) - 2:57
- "Don't You Feel Small" (Graeme Edge) - 2:40
- "Tortoise and the Hare" (John Lodge) - 3:23
Side two:
- "It's Up to You" (Justin Hayward) - 3:11
- "Minstrel's Song" (John Lodge) - 4:27
- "Dawning Is the Day" (Justin Hayward) - 4:22
- "Melancholy Man" (Mike Pinder) - 5:49
- "The Balance" (Greame Edge, Ray Thomas) - 3:33
Justin Hayward - vocals, acoustic & electric guitars, mandolin
John Lodge - vocals, bass
Ray Thomas - vocals, flute, tambourine
Graeme Edge - drums, percussion, whispered vocal on "Don't You Feel Small"
Mike Pinder - vocals, Mellotron, Moog synthesizer, piano, harpsichord, maracas, acoustic guitar
Recorded: January – June 1970 at Decca Studios, West Hampstead, London
sleeve design: Phil Travers
Label: Threshold Records / 1970
ex Vinyl-Collection MTP
Genesis / Nursery Crime
Side one:
- "The Musical Box" - 10:25
- "For Absent Friends" - 1:48
- "The Return of the Giant Hogweed" - 8:09
Side two:
- "Seven Stones" - 5:08
- "Harold the Barrel" - 3:01
- "Harlequin" - 2:56
- "The Fountain of Salmacis" - 8:02
[All songs composed and arranged by Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett, and Mike Rutherford.[]
Tony Banks – organ, Mellotron, piano, electric piano, 12-string guitar, backing vocals
Mike Rutherford – bass, bass pedals, 12-string guitar, backing vocals
Peter Gabriel – lead voice, flute, oboe, bass drum, tambourine
Steve Hackett – electric guitar, 12-string guitar
Phil Collins – drums, voices, percussion, lead vocals on "For Absent Friends", shared lead vocals on "Harold the Barrel" (uncredited)
Studio: Trident Studios, London (August 1971)
sleeve design: cover art by Paul Whitehead
[The cover depicts characters and scenes based on "The Musical Box" and Coxhill, the manor house with a croquet lawn, itself based on the Victorian home Gabriel grew up in.]
Label: Charisma Records / 1971
ex Vinyl-Collection MTP
Jethro Tull / Aqualung
Side one: Aqualung
- "Aqualung" (Ian Anderson, Jennie Anderson) - 6:34
- "Cross-Eyed Mary" - 4:06
- "Cheap Day Return" - 1:21
- "Mother Goose" - 3:51
- "Wond'ring Aloud" - 1:53
- "Up to Me"3:15
Side two: My God
- "My God" - 7:08
- "Hymn 43" - 3:14
- "Slipstream" - 1:13
- "Locomotive Breath" - 4:23
- "Wind-Up" - 6:01
Ian Anderson – lead vocals, acoustic guitar, flute, production
Martin Barre – electric guitar, descant recorder
Jeffrey Hammond (as "Jeffrey Hammond-Hammond") – backing vocals (on "Mother Goose"), bass guitar, alto recorder, odd voices
John Evan – piano, organ, Mellotron
Clive Bunker – drums and percussion
Studio: Island Studios, Basing Street, London
sleeve design: Burton Silverman
Label: Chrysalis/Island Records Ltd.
ex Vinyl-Collection MTP
en.wikipedia.org/wiki/Aqualung_(Jethro_Tull_album)
New Riders of the Purple Sage / Brujo
Track listing:
- "Old Man Noll" (John Dawson) – 2:44
- "Ashes of Love" (Jack Anglin, Johnnie Wright) – 2:14
- "You Angel You" (Bob Dylan) – 2:43
- "Instant Armadillo Blues" (Dawson) – 2:52
- "Workingman's Woman" (Troy Seals, Will Jennings, Don Goodman) – 2:44
- "On the Amazon" (Skip Battin, Kim Fowley) – 3:34
- "Big Wheels" (Battin, Fowley) – 3:00
- "Singing Cowboy" (Battin, Fowley) – 3:57
- "Crooked Judge" (Robert Hunter, David Nelson) – 2:59
- "Parson Brown" (Dawson) – 3:06
- "Neon Rose" (Battin, Fowley) – 4:24
John Dawson - guitar, vocals
David Nelson - guitar, mandolin, vocals
Spencer Dryden - drums, vocals
Skip Battin - bass, vocals
Buddy Cage - steel guitar
Neil Larson - keyboards
Mark Naftalin - keyboards
Ed Freeman - mellotron
Dan Patiris - English horn
Armando Peraza - bongos
sleeve design: Gage Taylor
Label: Columbia Records / 1974
ex Vinyl-Collection MTP
David Bowie / Scary Monsters
Side one:
- "It's No Game (No. 1)" (Bowie, trans. Hisahi Miura) – 4:20
- "Up the Hill Backwards" – 3:15
- "Scary Monsters (and Super Creeps)" – 5:12
- "Ashes to Ashes" – 4:25
- "Fashion" – 4:49
Side two:
- "Teenage Wildlife" – 6:56
- "Scream Like a Baby" – 3:35
- "Kingdom Come" (Tom Verlaine) – 3:45
- "Because You're Young" – 4:54
- "It's No Game (No. 2)" – 4:22
David Bowie – vocals, synthesizers, mellotron, electric piano, piano, synth-bass, sound effects, backing vocals, saxophone
Dennis Davis – drums
George Murray – bass
Carlos Alomar – rhythm and lead guitars
Studio: The Power Station, New York City; Good Earth, London (February–April 1980)
sleeve disign: Mick Haggerty
Label: RCA (Club Edition) 1980
ex Vinyl-Collection MTP
en.wikipedia.org/wiki/Scary_Monsters_(and_Super_Creeps)
Jefferson Starship / Spitfire
Side one:
- "Cruisin'" (Charles Hickox) - 5:27
- "Dance with the Dragon" (Paul Kantner, Craig Chaquico, Pete Sears) - 5:02
- "Hot Water" (Pete Sears) - 3:17
- "St. Charles" (Paul Kantner, Craig Chaquico) - 6:38
Side two:
- "Song to the Sun: Part I: Ozymandias / Part II: Don't Let It Rain" (Paul Kantner, Craig Chaquico, John Barbata, David Freiberg, Pete Sears, Grace Slick) - 7:15
- "With Your Love" (Marty Balin, Joe Covington, Vic Smith) - 3:33
- "Switchblade" (Grace Slick) - 4::01
- "Big City" (John Barbata, Joel Scott Hill, Chris Ethridge) - 3:20
- "Love Lovely Love" (Jesse Barish) - 3:31
Grace Slick – lead and backing vocals, piano
Marty Balin – lead and backing vocals
Paul Kantner – lead and backing vocals, rhythm guitar
Craig Chaquico – lead guitar, backing vocals
David Freiberg – keyboards, lead and backing vocals, ARP synthesizer, bass
Pete Sears – bass, piano, Mellotron, keyboards, organ, Moog
John Barbata – drums, percussion, backing and lead vocals
Studio: Wally Heider Studios, San Francisco (March 1976)
sleeve design: Cover art by Shusei Nagaoka
Label: Grunt Records / 1976
ex Vinyl-Collection MTP
en.wikipedia.org/wiki/Spitfire_(Jefferson_Starship_album)
Genesis / The Lamb Lies Down on Broadway
Side one:
- "The Lamb Lies Down on Broadway" - 5:01
- "Fly on a Windshield" - 2:45
- "Broadway Melody of 1974" - 2:11
- "Cuckoo Cocoon" - 2:12
- "In the Cage" -8:17
- "The Grand Parade of Lifeless Packaging" - 2:49
Side two:
- "Back in N.Y.C." - 5:42
- "Hairless Heart" - 2:07
- "Counting Out Time" - 3:43
- "Carpet Crawl" - 5:17
- "The Chamber of 32 Doors" - 5:47
Side three:
- "Lilywhite Lilith"- 2:50
- "The Waiting Room" - 5:19
- "Anyway"3:17
- "Here Comes the Supernatural Anaesthetist" - 2:51
- "The Lamia" - 7:00
- "Silent Sorrow in Empty Boats" - 3:00
Side four:
-"The Colony of Slippermen" - 8:20
a. "The Arrival"
b. "A Visit to the Doktor"
c. "The Raven"
- "Ravine" - 2:05
- "The Light Dies Down on Broadway" - 3:33
- "Riding the Scree" - 4:08
- "In the Rapids" - 2:23
- "it" - 4:23
(All tracks written by Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett and Mike Rutherford)
Peter Gabriel – lead vocals, flute, varied instruments, "experiments with foreign sounds"
Steve Hackett – acoustic and electric guitars
Mike Rutherford – bass guitar, 12-string guitar
Tony Banks – Hammond T-102 organ, RMI 368x Electra Piano and Harpsichord, Mellotron M-400, ARP Pro Soloist synthesizer, Elka Rhapsody string synthesizer, piano
Phil Collins – drums, percussion, vibraphone, backing vocals, second lead vocal on "The Colony of Slippermen" and "Counting out Time"
Brian Eno – Enossification (vocal treatments) on "In the Cage" and "The Grand Parade of Lifeless Packaging
Recorded: August–October 1974
at Glaspant Manor Studio, Carmarthenshire, Wales
sleeve design: Hipgnosis; George Hardie (Band's Logo)
Label: Charisma Records / 1974
ex Vinyl-ollection MTP
King Crimson / In the Court of the Crimson King
Side one:
- "21st Century Schizoid Man" (Robert Fripp, Ian McDonald, Greg Lake, Michael Giles, Pete Sinfield) - 7:24
- "I Talk to the Wind" (Ian McDonald, Pete Sinfield) - 6:04
- "Epitaph" (Fripp, McDonald, Lake, Giles, Sinfield) - 8:49
Side two:
- "Moonchild" (Fripp, McDonald, Lake, Giles, Sinfield) - 12:13
- "The Court of the Crimson King"
(Ian McDonald, Pete Sinfield) - 9:26
Robert Fripp – electric and acoustic guitars, production
Michael Giles – drums, percussion, backing vocals, production
Greg Lake – lead vocals, bass guitar, production
Ian McDonald – saxophone, flute, clarinet, bass clarinet, Mellotron, harpsichord, piano, organ, vibraphone, backing vocals, production
Peter Sinfield – lyrics, illumination, production
Studio: Wessex Sound, London (June – August 1969)
sleeve design: art by Barry Godber
Label: Island Records, Atlantic Records / 1969
ex Vinyl-Collection MTP
Eloy / Ocean
Side one:
- "Poseidon's Creation" - 11:38
- "Incarnation of the Logos" - 8:25
Side two:
- "Decay of the Logos" - 8:15
- "Atlantis' Agony at June 5th - 8498, 13 P.M. Gregorian Earthtime" - 15:35
(All songs written by Eloy. Lyrics by Rosenthal)
Frank Bornemann - Electric, acoustic and processed guitars, lead vocals
Klaus-Peter Matziol - Gibson Thunderbird and Fender Fretless basses, backing vocals
Detlev Schmidtchen - Mini-Moog and ARP synthesizers, Mellotron, RMI keyboard computer, angelic voices, Hammond organ, xylophone
Jürgen Rosenthal - SONOR Genuine Rosewood drums, voice, PAiSTe cymbals, timbales, REMO Roto-Toms, temple blocks, kettle drums, tubular bells, morse key, triangles, paper, flute
Recorded September-October, 1977 at Sound-N-Studio, Cologne
sleeve design: cover art by Wojtek Siudmak
Label: EMI Electrola, Harvest Records
ex Vinyl-Collection MTP
en.wikipedia.org/wiki/Ocean_(Eloy_album)
funky jam: bolinas brown, merl saunders & friends (w/ jerry garcia)
Liner notes list the musicians on this song as follows:
# Merl Saunders - piano, mellotron strings
# Martin Fierro - saxophone
# Jerry Garcia - guitar (lead)
# Joel Cohen - guitar
# Billy Fender - rhythm guitar
# John Kahn - bass
# Gaylord Birch - drums
# Kenneth Nash - percussion
Merl departed us 11 months ago tomorrow. John Kahn, longtime bassist for the Jerry Garcia Band OD'd on heroin a few months after Garcia died.
This (as seen in the photo) is why I love the beach in September!
COMPOSERS: Bowie etc.
YEAR: 1974
LABEL: RCA 5068 (1981 NL)
TIME: 38'23
PRODUCER: Bowie
Cover painting: Guy Peellaert
COUNTRY: UK (NL print)
BOUGHT: 10.12.09 - Flea 15 €
GENRE: Glam rock
FORMAT: LP
RECORD BEFORE THIS: Monk: Best Of
RECORD AFTER THIS: Dire Straits: Communique
Tracks:
1. Future Legend (Bowie-Rodgers) 1:07
2. Diamond Dogs (Bowie) 5:56
3. Sweet Thing (Bowie) 3:38
4. Candidate (Bowie) 2:40
5. Sweet Thing (Reprise) (Bowie) 2:32
6. Rebel Rebel (Bowie) 4:30
Side 2
7. Rock & Roll With Me (Bowie-Peace) 4:02
8. We Are the Dead (Bowie) 4:54
9. 1984 (Bowie) 3:27
10. Big Brother (Bowie) 3:20
11. Chant of the Ever Circling Skeletal Family (Bowie) 2:04
David Bowie Guitar, Arranger, Composer, Saxophone, Sax (Alto & Tenor),
Vocals, Moog Synthesizer, Producer, Mellotron, Mixing,
Aynsley Dunbar Drums
Herbie Flowers Bass
Mike Garson Piano, Keyboards
Tony Newman Drums
Alan Parker Guitar (9)
Tony Visconti Strings, Arranger (9), Mixing
- My One And Only Bowie LP - so far...
just found at the flea market...
Genesis / Seconds Out
Side one:
- "Squonk" - 6:39
- "The Carpet Crawl" - 5:27
- "Robbery, Assault and Battery" - 6:02
- "Afterglow"- 4:29
Side two:
- "Firth of Fifth" - 8:56
- "I Know What I Like (In Your Wardrobe)" - 8:45
- "The Lamb Lies Down on Broadway..."- 4:59
- "...The Musical Box (Closing Section)" - 3:18
Side three:
- "Supper's Ready" - 24:33
Side four:
- "The Cinema Show" - 10:58
- "Dance on a Volcano..." - 5:09
- "...Los Endos" - 6:20
Tony Banks – RMI Electra piano, Hammond T. organ, ARP Pro Soloist, Mellotron 400, Epiphone 12-string guitar, backing vocals
Mike Rutherford – Shergold electric 12-string and bass guitar, 8-string bass guitar, Alvarez 12-string guitar, Moog Taurus bass pedals, backing vocals
Steve Hackett – Gibson Les Paul, Hokada 12-string guitar
Phil Collins – lead vocals, Premier and Gretsch drums
Chester Thompson – Pearl drums, percussio
Bill Bruford – Ludwig and Hayman drums, percussion ("The Cinema Show" only)
Recorded live 23 June 1976 at Pavillon de Paris, Paris ("The Cinema Show")
11–14 June 1977 at Palais des Sports, Paris
sleeve design: Photos by Armando Gallo, Robert Ellis, Graham Wood
Label: Charisma Records / 1977
ex Vinyl-Collection MTP
7" Single: Zomby Woof - Dora's Drive
A Dora's Drive
Written-By – H. Winter*
3:55
B Mary Walking Through The Woods
Written-By – H. Winter*, U. Herter*
4:30
de.wikipedia.org/wiki/Zomby_Woof
Zomby Woof aus dem schwäbischen Reutlingen, benannt nach dem Stück der Mothers of Invention
The Moody Blues were an English prog-rock band famous for using the Mellotron. The Mellotron was a precursor to the modern synthesizer, but instead of using solid state it used a bank of cassette tape to create the sounds.
This is The Laboratory at the Royal Horticultural Society's garden at Wisley, Surrey, England; taken in the blue hour just after sunset.
Although Tudor in style, the structure is far more recent; construction was started in 1908, and the last main stage was finished by 1916.
The gardens themselves were gifted to the RHS by Sir Thomas Hanbury in 1903, and they've been there ever since!
The Laboratory is still used for research today, as you can see from the microscopes and petri dishes usually visible through the windows ;)
At the moment there are butterflies flying around inside the new glasshouse, as part of the Butterflies in the Glasshouse event; very pretty, but rememeber to bring a lens cloth, as it's very humid in there. The display finishes on February 22nd, so if you're in the area before then I suggest you check it out!
Canon EOS 400D, Canon EF-S10-22mm f/3.5-4.5 USM @ 10mm
ISO100 f3.5 0.5s, HDR 3 exposures (+2, 0, -2).
HDR merged and tone mapped in Photomatix. Photoshop to add contrast, resize and sharpen for web.
Jethro Tull / Aqualung
Side one: Aqualung
- "Aqualung" (Ian Anderson, Jennie Anderson) - 6:34
- "Cross-Eyed Mary" - 4:06
- "Cheap Day Return" - 1:21
- "Mother Goose" - 3:51
- "Wond'ring Aloud" - 1:53
- "Up to Me"3:15
Side two: My God
- "My God" - 7:08
- "Hymn 43" - 3:14
- "Slipstream" - 1:13
- "Locomotive Breath" - 4:23
- "Wind-Up" - 6:01
Ian Anderson – lead vocals, acoustic guitar, flute, production
Martin Barre – electric guitar, descant recorder
Jeffrey Hammond (as "Jeffrey Hammond-Hammond") – backing vocals (on "Mother Goose"), bass guitar, alto recorder, odd voices
John Evan – piano, organ, Mellotron
Clive Bunker – drums and percussion
Studio: Island Studios, Basing Street, London
gatefold: Burton Silverman
Label: Chrysalis/Island Records Ltd.
ex Vinyl-Collection MTP
en.wikipedia.org/wiki/Aqualung_(Jethro_Tull_album)
Passport / Looking Thru
Trackliste:
A1 Eternal Spiral - 3:59
A2 Looking Thru - 7:58
A3 Zwischenspiel - 1:31
A4 Rockport - 3:31
B1 Tarantula - 4:48
B2 Ready For Takeoff - 4:47
B3 Eloquence - 5:12
B4 Things To Come - 2:45
(Composed and produced by Klaus Doldinger)
Bass, Guitar – Wolfgang Schmid
Drums, Percussion [Electronic Perc] – Curt Cress
Electric Piano [Fender], Organ – Kristian Schultze
Tenor Saxophone, Soprano Saxophone, Synthesizer [Moog], Electric Piano, Mellotron – Klaus Doldinger
Recorded In October 1973 at Studio Dierks, Germany
sleeve design: Wandrey's Studio
Label: Atlantic Records / 1973
ex Vinyl-Collection MTP
Genesis / Trespass
Side one:
- "Looking for Someone" - 7:08
- "White Mountain" - 6:46
- "Visions of Angels" - 6:53
Side two:
- "Stagnation" - 8:51
- "Dusk"- 4:15
- "The Knife" - 9:00
(All songs written by Tony Banks, Peter Gabriel, Anthony Phillips, and Mike Rutherford.)
Peter Gabriel – lead vocals, flute, accordion, tambourine, bass drum
Anthony Phillips – acoustic 12-string guitar, lead electric guitar, dulcimer, vocals
Anthony Banks – Hammond organ, piano, Mellotron, acoustic 12-string guitar, vocals
Michael Rutherford – acoustic 12-string guitar, electric bass guitar, nylon guitar, cello, vocals
John Mayhew – drums, percussion, vocals
Studio: Trident Studios, London (June–July 1970)
sleeve design: Paul Whitehead
(The cover showed two people looking out of a window at mountains, which represented the pastoral themes of some of the songs. Whitehead had finished the cover and then the band added "The Knife" to the running order. Feeling that the cover no longer fitted the mood of the album, they asked Whitehead to re-design it; when he was reluctant to do so, the band members inspired him to slash the canvas with an actual knife.)
Label: Charisma Records / 1970
ex Vinyl-Collection MTP
Manfred Mann's Earth Band / Solar Fire
Side one:
- "Father of Day, Father of Night" (Bob Dylan) – 9:55
- "In the Beginning, Darkness" (Manfred Mann, Mick Rogers, Chris Slade) – 5:22
- "Pluto the Dog" (Mann, Rogers, Slade, Colin Pattenden) – 2:48
Side two:
- "Solar Fire" (Mann, Rogers, Slade, Pattenden) – 5:15
- "Saturn, Lord of the Ring/Mercury, The Winged Messenger" (Mann/Mann, Rogers) – 6:31
- "Earth, The Circle Part 2" (Mann) – 3:23
- "Earth, The Circle Part 1" (Debussy/Mann) – 3:56
Manfred Mann – organ, Mellotron, Minimoog synthesiser, vocals
Mick Rogers – guitar, vocals
Colin Pattenden – bass guitar
Chris Slade – drums
Studio: The Workhouse, Old Kent Road, London (1973)
sleeve design: cover art by Fin Costello
Label: Bronze Records, Polydor Records / 1973
ex Vinyl-Collection MTP
Don't Let The Sun Go Down On Me
Available on the album Caribou
Music: Elton John
Lyrics: Bernie Taupin
Piano: Elton John
Bass: Dee Murray
Drums: Nigel Olsson
Electric and acoustic guitars: Davey Johnstone
Tambourines and bells: Ray Cooper
Mellotron: Dave Hentschel
Backing vocals: Carl Wilson, Bruce Johnston, Toni Tennille, Billy Hinsche
Horn arrangement: Del Newman
I can't light no more of your darkness
All my pictures seem to fade to black and white
I'm growing tired and time stands still before me
Frozen here on the ladder of my life
Too late to save myself from falling
I took a chance and changed your way of life
But you misread my meaning when I met you
Closed the door and left me blinded by the light
Don't let the sun go down on me
Although I search myself, it's always someone else I see
I'd just allow a fragment of your life to wander free
But losing everything is like the sun going down on me
I can't find, oh the right romantic line
But see me once and see the way I feel
Don't discard me just because you think I mean you harm
But these cuts I have they need love to help them heal
© 1974 Big Pig Music Limited
===============================
The sunset at Summer Palace, Beijing, PROC
1. "Dispossession" 5:33
2. "Chrome" 5:11
3. "We Must Bury You" 2:48
4. "Teargas" 3:22
5. "I Transpire" 5:54
6. "Tonight's Music" 4:17
7. "Clean Today" 4:22
8. "The Future of Speech" 5:38
9. "Passing Bird" 3:35
10. "Sweet Nurse" 3:53
11. "Don't Tell a Soul" 5:42
Last Fair Deal Gone Down est le cinquième album du groupe de metal suédois Katatonia, sorti en 2001 sous le label Peaceville Records. Le titre de l'album est tiré d'un morceau du chanteur de delta blues Robert Johnson. La version remastérisée sortie en 2004 contient trois titres bonus : Sulfur, March 4, Help Me Disappear.
Jonas Renkse – Chant
Anders Nyström – guitare, mellotron
Fredrik Norrman – guitare
Daniel Liljekvist – Batterie
Mattias Norrman – Basse