Meute is an eleven-piece band from Germany, playing a style of music that I simply did not know existed. They play acoustic Techno in form of brass instruments and drums. Trumpeter Thomas Burhorn, who founded the band in 2015, says “he thought it would be interesting and spectacular, to have a live band perform the same music as a deejay, particularly minimalist techno”.
Kerberos from Tumult (2017)Written-By – Marc Romboy, Stephan Bodzin
The band’s first album “Tumult” was released in 2017, containing covers versions of existing techno artists tracks. The album was followed by extensive touring all over the world. A live album “Live in Paris” was recorded and released in 2019.
Rej from Live in Paris (2019) Written-By – Frank Wiedemann, Kristian Beyer
From 2020 to 2024 they have released another three studio albums, Puls in 2020, Taumel in 2022 and latest Empor in 2024. On these later albums, they also perform original material, written by different band members.
Vermis from Empor (2024) written by Meute tuba player Philipp Westermann
A rare example from their production is a cover of a rock band. On their 2023 single, they do a cover of Awolnation’s “Sail” from the bands first studio album “Megalithic Symphony” released in 2011. Awolnation is an American alternative/electronic rock band from Los Angeles. The “Sail” single from 2010, was a huge commercial hit, spending 79 weeks at Billboard Hot 100. In 2021 Sail received “Diamond” for sales of more than 10,000,000 units by the Recording Industry Association of America.
In 1987, then 19 years old Steven Wilson, was working on two projects. No Man Is an Island (Except the Isle of Man) with singer Tim Bowness – later renamed to just No-Man, and more importantly in this context a project called Porcupine Tree. Originally Wilson and his friend Malcolm Stocks creating a false backstory for a band. Soon, Wilson started creating a 70’s psychedelic/space rock style music, allegedly recorded by the band Porcupine Tree. In reality a Steven Wilson home studio solo effort with a little help from a few friends, including Malcolm Stocks and Alan Duffy, the latter writing some lyrics and later to become Porcupine Tree manager, press agent, and promoter until 2004.
Jupiter Island – from Tarquin’s Seaweed Farm 1989 – Remastered for “On The Sunday Of Life”, 1992 (2xLP/CD)
The first cassette album Tarquin’s Seaweed Farm was finished in 1989. Allegedly under 10 copies exists of the initial 1989 version. In 1991 Delerium Records issued another about 300 copies. Any of those tapes are off course highly collectable, if original. According to the 14-page booklet, some tracks like “No Reason To Live, No Reason To Die” was recorded live at different venues. But that was just part of the “Porcupine Tree fairy tale”.
No Reason To Live, No Reason To Die – from Tarquin’s Seaweed Farm 1989.
Tarquin’s Seaweed Farm was followed by an EP cassette “Love, Death & Mussolini” in 1990, a forerunner for the 1991 full-length cassette called “The Nostalgia Factory”. Including the first seven tracks from the EP. The only track from the EP not to be reissued elsewhere is the last track “It Will Rain For A Million Years”, although the title, funny enough, was used at a completely different track on The Nostalgia Factory
It Will Rain For A Million Years – from Love, Death & Mussolini 1990
“Tarquin’s Seaweed Farm” and “Love, Death & Mussolini” was credited with a string of different musicians:
Acoustic Guitar, Electric Guitar, Flute, Koto, Vocals – The Porcupine Tree; Acoustic Guitar, Percussion – Timothy Tadploe Jones; Organ, Electric Piano, Synthesizer, Vocals – Sir Tarquin Underspoon; etc. All Steven Wilson aliases, to give the impression of full band, following the “Porcupine Tree” back story.
At The Nostalgia Factory that changed, now The Porcupine Tree was credited with almost all instruments: Acoustic Guitar, Electric Guitar, Bass Guitar, Tambura, Flute, Vocals, Keyboards, Tape and Programming. Giving the impression of a solo artist, with a little help from studio musicians. Ironically, just before the formation of the true touring band, soon to become a reality.
Footprints – from The Nostalgia Factory 1991. Remastered for “On The Sunday Of Life”, 1992 (2xLP/CD)
Delerium Records had reprinted Tarquin’s Seaweed Farm and The Nostalgia Factory on cassette in 1991, and shortly after they signed Porcupine Tree and proposed to release the two existing cassette albums on CD. Wilson chose to release only the best tracks on a 75:47 min. album called “On the Sunday of Life..”. The album sold well, and has remained in print ever since its release. Today seen as the debut album of Porcupine Tree. One track “Radioactive Toy” was re-recorded and three tracks was shortened with about a minute each. The tracks from the cassettes not included on the debut was released in 1994 at compilation album Yellow Hedgerow Dreamscape. Mainly containing the more ambient instrumental tracks from the two cassette albums.
The re-recorded version of “Radioactive Toy” from On the Sunday of Life.., 1992
If you prefer modern recording technology and song orientated rock, these early recordings may not be for you and the later albums will be the way to go. But for people like me, loving the early 70’s music, these old Wilson cassettes is a gold mine. Great music and at the same time very good fun. Sadly, they are hard to come by, but at least everyone can find most of the tracks on the two mentioned CD releases.
The Cross & Hole – from Tarquin’s Seaweed Farm 1989
This post was originally made January 12, 2014. As I reread it, I decided to repost it with more content.
It’s a beautiful and very cold morning around here, sunshine but very windy. And what could be more perfect for such a Sunday morning than: “Joni Mitchell – Don Juan’s Reckless Daughter”. Not a single track or one side, but the complete double album.
“Don Juan’s Reckless Daughter” is Joni Mitchell’s ninth solo album, but it is as much a collaboration with one of the best bassists Jazz have ever seen, Jaco Pastorius. The album is the culmination of Joni’s earlier efforts to combine her folk tradition, with other styles. On Don Juan’s her masterful poetry, her catchy folk songwriting, and the fusion with Jazz, reaches new heights.
Joni Mitchell, (born Roberta Joan Anderson, 1943), is a Canadian musician, and painter.
Starting out as a folk singer songwriter, but exploring various other styles through her career. She has worked with a series of notable musicians, from Peter Gabriel to Herbie Hancock, and even more have been inspired by her works.
Besides Mitchell and Jaco, percussionist John Payne Guerin appears as the only permanent musician on the album. As he would do on all her late 1970’s albums. But the albums also contain guest appearances from a long string of musicians, most notable maybe Weather Report’s Wayne Shorter.
Originally posted 2014/01/31, but due to a major update with newer content, chose to repost instead of edit.
“Dangerous Curves” is a track first found on the “Level Five EP”, released in 2001.
This version got an intro of Adrian Belew’s spoken words, and a wonderful clean sound, despite the fact that it is live. The version is very personal to me, as I used it as opening music on a home video, originally filmed by my father on a family trip to Japan, the journey where I also bought said “EP”, he died three years later on 26 of May 2005. The below video is according to King Crimson official YouTube a previously unreleased 2019 version, but it is very close to the “Level Five EP”, you can hardly tell the difference. Allegedly, they changed the ending a little to add some “drama”.
“Dangerous Curves” is a Crimson Instrumental, at the original version the mix use spoken words from the live performance right from the start. Setting a tone of psychological insecurity, a kind of inner danger. In the studio version, included at King Crimson’s last (latest) studio album “The Power to Believe” released 24 February 2003. The track is more than a minute longer. In my opinion, the hole track feels more aggressive, frantic and stressful, especially the percussions. But it the same time less “dangerous”, without the spoken words and the slightly brighter mix.
We got a last official King Crimson version of the track, from Live in Japan, 2003. Showing how the track had developed after the official release. A great live version, in my opinion again stronger that at the studio album. Especially the mid track bass riff is perfect in this version. Never the less I still prefer the original track.
In December 2024, The League of Crafty Guitarists & The Mendoza Philharmonic Orchestra performed an interesting version of “Dangerous Curves” at Teatro Independencia, Mendoza, Argentina. The League was formed in 1986 by Fripp and some of his Guitar Craft students. Fripp originally performed with the group and they released a series of albums at his label Discipline Global Mobile. The project still exits, but as far as I know, Fripp is no longer involved, beside the fact that they often play his works.
Conducted by Pablo Herrero Pondal.
Orchestrated by Juan Emilio Cucchiarelli / Joaquín Guevara
It is now more than 6 years, since I made a post in the blog. In the meantime, a lot has happened in my personal life. Most importantly I lost my beloved mother, I have gotten a dog (again), which in my life is fantastic. In general, I feel like I have changed after she died. Not a deep religious awakening or anything like that, just some small changes in my approach to life. Enough about me.
I came back to fix as many as possible of the broken YouTube links, a plan still in progress, but after reading back, I also felt like making a few new posts, over the coming weeks or months.
Vaya Con Dios consisting of singer Dani Klein, double bass player Dirk Schoufs, and guitarist Willy Lambregt. Arose out of Brussels, Flanders, the Dutch-speaking part of Belgium, in 1986. They released their first single “Just a Friend of Mine” in 1987, to some success in Belgium and France. Soon after Willy Lambregt left the band, to join Belgian rock group The Scabs.
Dani Klein and Dirk Schoufs were in a romantic relationship. They continued Vaya Con Dios and released the self-titled debut album, with guest musicians.
The Video’s for singles “Just a Friend of Mine” “Puerto Rico” and “Don’t Cry for Louie” was played frequently at MTV, and gained the band a lot of attention. Despite mix reviews, the album did quite well in mainland Europe and Scandinavia. Don’t Cry for Louie was nominated for MTV Video Music Award International Viewer’s Choice.
The 2nd album “Night Owls” from 1990, continued the bands success, now amongst the best-selling Belgium Bands. The 1st single “Nah Neh Nah” was one of the bands most cheerful songs, but it was overshined in popularity by the 2nd single “What’s a Woman?” Peaking as number one in both Belgium and the Netherlands.
In early 1991, Dani Klein and Dirk Schoufs broke up, romantically as well as professionally. Tragically on 24 May 1991, at the age of just 29, Dirk Schoufs died from an overdose of alcohol, and drugs. Never the less Dani Klein continued work on the 3rd studio album “Time Flies”. Mainly written by herself with guitarists Jean-Michel Gielen and Carmelo Prestigiacomo. This album would become Vaya Con Dios best-selling, reaching platinum in several European countries.
A last album “Roots and Wings” was released in 1995, before Dani Klein took a longer break from music, ending what could be seen as the golden years. Vaya Con Dios returned in 2005 with The Promise and the French lyric album “Comme On Est Venu..” from 2009. Before another long hiatus. In 2022 Dani Klein revisited and re-recorded older material on What’s A Woman? And in 2023 a new album “Shades Of Joy” appeared with bread new material. Still doing rather well in her homeland. I have seen Vaya Con Dios twice back in the days, both amazing performances. Dani Klein was a force on the stage.
For various reasons it been a long time since I felt like writing about what I listen too. Today relisting to Nick Mason’s “Fictitious Sports” the urge came back, mainly because it a historical and very odd album overseen by many.
What is interesting here is that Nick Mason, at the time (1981) a prosperous member of million albums selling Pink Floyd was contacted by American Jazz composer and bandleader Carla Bley and although the album is in his name the music is entirely her creation. Although she used to be a hardcore Free Jazz composer the albums land in territory that is progressive rock, but in many ways as far as you can get from Pink Floyd as imaginable. With a lot of sax, clarinet, trombone, trumpet and even tuba the sound is more in direction of so called “Canterbury Scene” not unlike early albums from Soft Machine or Gong.
This impression is off course helped by the fact that the main vocalist on the album is founding member of Soft Machine Robert Wyatt, who does an impressive job of filled in the difficult role on an album that is quite weird and which brilliance comes after more than a few hours of listening.
Yesterday I was listening to a CD “Love Addict” I picked up in Sweden sometime in the beginning of the 90’s. An album I have revisited quite often when beer bottles or wine are emptied on long summer day and nights like right now.
Never really did check out the artist “Ardis”, doing a pop/rock/reggae kinda thing with a strong accent, I assumed it was an African popstar.
This turns out to be wrong, Ardis originated from Dominica Island in the Caribbeans born in 1971, relocating to Sweden age 13, made two successful albums in Sweeden early 90’s and then disappeared from music.
The album also contains a version of one of the earliest blues standards, originally known as “Tain’t Nobody’s Biz-ness if I Do” first recorded in 1922 by Anna Meyers with the Original Memphis Five. It was soon to be recorded by a number of other artist.
Bessie Smith (1894–1937) known as the “The Empress of the Blues”, was the blues star of the 1920’s and the highest-paid black entertainer of her time, her voice so beautiful and strong that it sounds good today, even from those old recordings. Her version was “cut” in 1923.
In 1949 jump blues singer James Witherspoon revisited the tune and changed its name to “Ain’t Nobody’s Business”, he transformed the song into a more modern blues version, the foundation for most later versions like this one by Otis Spann
Now back to Ardis, Except “Ain’t Nobody’s Business” she wrote all the tracks on “Love Addict” and those creative skills are also very evident on her version of “Ain’t Nobody’s Business”, she turns the blues standart upside down to make it completely her own:
Was reading some stuff about the brilliant Keith Tippett this morning, widely known for his wonderful piano solo on King Crimsons Cat Food and contributions to Crimson albums “In the Wake of Poseidon”, “Lizard” and “Islands”. In this process I stumbled into his wife, and she will be my focus in this post.
Season Of The Witch – from debut album Open (1967)
In Australia the album was released as “Jools”, Julie Driscoll, Brian Auger & The Trinity
Love the above performance, strong voice, great grove and lots of time, absolute no stress in 1968. If anyone should be in doubt it is a cover from Donovan’s 1966 album Sunshine Superman
Julie Driscoll was born in London 1947, her first band was Steampacket featuring the later so famous Rod Stewart and also guitarist Vic Briggs (later The Animals) and keyboardist Brian Auger.
The group disbanded, Auger and Briggs formed Brian Auger & The Trinity, the group released some singles before Julie Driscoll joined for the first album in 1967. The band released the 2nd album “Definitely What!” in 1968 without Julie Driscoll, but she appeared on single releases. A cover of Dylans This Wheel’s On Fire made a top 5 UK singles hit.
Light My Fire – from Streetnoise (1969) The Doors cover (self-titled debut 1967)
Julie Driscoll appeared on their last original studio album Streetnoise released in 1969, an ambitious double album, covering a wide range of influences with some cover songs but also compositions by Julie Driscoll and Brian Auger. Haven’t had time to digest all of this but seems to be their most important contribution to music, I love it after just a single listen.
Czechoslovakia – from Streetnoise (1969) written by Julie Driscoll
Julie met Keith Tippett after she saw a gig of his at the 100 club at Oxford Street and the “Keith Tippett Group” became the backup band on her first solo album. Although titled “1969” it was released in 71. Without being a huge step in the more experimental direction she would later follow “1969” is a bit more Jazzy than her previous work and her vocals very beautiful, sometimes reminding me of my favorite Joni Mitchell moments, definitely an album worth checking out stands the test of time brilliantly.
Leaving It All Behind from “1969” written by Julie Driscoll
From this point onwards Julie uses the name Julie Tippetts on recordings, and became involved with more experimental music and improvised Jazz, working with Keith in his Centipede project, as well as preforming and recording with a variety of musicians.
Julie and Keith took part in the Rock adaption of Sergei Prokofiev’s Peter and The Wolf, with a cast of prominent names, Bill Bruford, Phil Collins, Brian Eno, Alvin Lee, Gary Moore, Cozy Powell, Manfred Mann ect.
In 1975 she released her 2nd solo album, Sunset Glow again with “Keith Tippett Group” as backup, the album now much more experimental, can hardly recognize anything from the 60’s pop singer. This is fully blown top class Jazz Rock with a female singer, quality vocals you won’t find too often.
Ocean And Sky (And Questions Why?) – from Sunset Glow (1975)
Written By Julie Tippetts
I will leave Julie at least for now, before this gets too long, but I’m definitely not finished listening to her voice, this was a great journey into unknown territories for me and I’m sure I might find more great music digging further into Mrs Tippett world.
In my series of early 70’s masterpieces we are usually swimming in prog rock waters, but this one is a quite different story. Some would claim it to be prog, as they would with any album they like from the 70’s, but to be honest the only thing very “prog” was the producer, former Crimson lyricist Peter Sinfield.
Roxy Music’s debut came out in 1972, a revolution to anyone following Rock Music at this point in history.
If you have to box this music it was Art/Glam Rock ala David Bowie, but then again more unfamiliar and strange than what Bowie had done at this point. Early pre-new wave ? …….forget it, fair to say Roxy was mostly just Roxy.
On top of that was the image of the 1950s-style pin-up cover, quite crazy compared to what you would expect from a rock band at the time, and then the outfits sending signals in almost any thinkable direction. Ferry in glamour suit’s sending thoughts in direction of Las Vegas, Eno with his strange omnisexual look and Andy Mackay the 1950s rock and roller, won’t see much of his “type” again until Saturday Night Fever.
But that makes Rock Music so special on this early record is something that could easily break down so many other albums, a complete lack of direction. It seems like they took numerous ideas, like a painter just blindly throwing paint on a canvas and some miracle happened to unify the pieces into something bigger.
Off course this would not be possible if the band was not composed of so many brilliant individuals, Bryan Ferry song writing and vocal is just great, Phil Manzanera, Andy Mackay and Brian Eno a dream cast to back him up, making a wonderful debut album and with it, music history.
Let’s finish with Bryan Ferry’s tribute to Humphrey Bogart:
Here’s looking at you kid – Hard to forget
Here’s looking at you kid – At least not yet
Your memory stays, it lingers ever – Will fade away never
Stephen James Howe was born in London 1947, professionally known as Steve Howe he started to play guitar at age 12, in 1964 age 17 he recorded his first single with The Syndicats: Chuck Berry’s Maybellene, the B-side was a tune co-written by Howe.
Howe left The Syndicats to join what was soon to become Tomorrow, one of the early psychedelic UK bands. On the self-titled debut album, Howe co-wrote the track “Revolution” (released before the Beatles track of the same name)
The album also contained the original edition of “My White Bicycle”, later to become a hit with Scottish hard rock band Nazareth in 1975.
The late release of the album, about a year from spring 1967 to spring 1968 saw a decline in the interest towards psychedelic rock and the album never became a success. The band split up and Howe joined Bodast.
1976 Harvest edition: “featuring Keith West and Steve Howe”
Howe was quite unfortunate again, Bodast recorded a full album for the record label Tetragrammaton but due to the financial situation of the label it was not released and the company declared bankruptcy in 1971. The album was later released as “Bodast Featuring Steve Howe – The Bodast Tapes” by Cherry Red Records in 1981, at that point mostly of historical and collectable interest.
Now it was time for Howe’s luck to change, as he would join Yes for their 3rd album, “The Yes Album” (Sometimes it is hard to imagine how a band can come up with such inspiring stuff like that album title)
Original guitarist Peter Banks left the group in May 1970, later indicating that he was fired. Anyway seem to me that it is hard to deny that the recruitment of Howe was very important in the development of “the Yes sound” building up to the world fame soon to come.
The Yes Album was released February 1971 and received positive reactions from critics – it reached no 4 in UK and no 40 in the US doing a lot better than the previous two albums.
The full band on this album was:
Jon Anderson: Vocals, Percussion
Chris Squire: Bass Guitar, Vocals
Steve Howe: Guitars, Portuguese Guitar, Vocal
Tony Kaye – Keys
Bill Bruford – Drums
Additional musicians
Colin Goldring: recorders on “Your Move”
Avant-Rock-Jazz-Punk-Classical-Metal 