Also known as "Jethro Tull: This Is the First 20 Years". It consists interviews with fans, record company executives and frontman Ian Anderson giving a rough chronology of the band, interspersed with clips from music videos and live performances. Many of the live performances are culled from the Madison Square Garden performance during the 1978 Heavy Horses tour.
Songs / Tracks Listing 1. Living In The Past 2. To Be Sad Is A Mad Way To Be 3. The Whistler 4. Too Old To Rocn 'N' Roll 5. Teacher 6. Thick As A Brick 7. Songs From The Wood 8. Aqualung 9. Heavy Horses 10. Lap of Luxury 11. Said She Was A Dancer 12. Budapest 13. Steel Monkey 14. Jump Start
This is a film review of the career of Deep Purple from the inside, in the words of those who really matter; the band themselves. https://youtu.be/2qMXr_ZnHuo :
BBC Documentary about progressive music and the generation of bands that were involved, from the international success stories of Yes, Genesis, ELP, King Crimson and Jethro Tull to the trials and tribulations of lesser-known bands such as Caravan and Egg. The film is structured in three parts, charting the birth, rise in the UK en US and decline of a movement famed for complex musical structures, weird time signatures, technical virtuosity and strange, and quintessentially English, literary influences. It looks at the psychedelic pop scene that gave birth to progressive rock in the late 1960s, the golden age of progressive music in the early 1970s, complete with drum solos and gatefold record sleeves, and the over-ambition, commercialisation and eventual fall from grace of this rarefied musical experiment at the hands of punk in 1977. Contributors include: Yes, Genesis, Emerson Lake & Palmer, Soft Machine, Egg, King Crimson, Procol Harum, Caravan and interviews with Rick Wakeman, Steve Howe, Bill Bruford, Carl Parmer, Mont Campbell, Phil Collins, Pete Sinfield, Tony Banks, Mike Rutherford, Arthur Brown, Robert Wyatt, Gary Brooker, Mike Oldfield, Jonathan Coe, Ian Anderson, Bob Harris
Mostly Autumn is a British band from York (UK), producing music heavily influenced by classic 1970s rock. Their music contains elements of progressive rock, hard rock, folk-rock and celtic rock, and has included flute, violin, whistles and Uilleann pipes alongside traditional rock instruments. Their music has changed and evolved over the years although much of their work retains a strong 70s classic rock feel. The group formed in 1996, and have built their reputation through constant touring, never signing to a major label. The group's early influences were Genesis, Renaissance and Pink Floyd, and folk music. Later albums also included more contemporary influences.
Former members: Stuart Carver – bass (1996–2000) Bob Faulds – violins (1996–2000) Kev Gibbons – whistles (1996–1998) Allan Scott – drums (1996–1998) Heidi Widdop – lead/backing vocals (1996) Heather Findlay – lead/backing vocals, acoustic/12-string guitars, keyboards, recorders, percussion (1997–2010) Angela Gordon – flutes, keyboards, recorders, whistles, percussion, backing vocals (1999–2007) Rob McNeil – drums (1999–2000) Jonathan Blackmore – drums (2000–2003) Andrew Jennings – drums (2004–2006, 2007) Chris Johnson – keyboards, rhythm/acoustic guitars, lead/backing vocals (2005–2007) Henry Bourne – drums (2008) The Night Sky:
Mother Nature:
Discography: Albums: For All We Shared... (1998) The Spirit of Autumn Past (1999) The Last Bright Light (2001) Music Inspired by The Lord of the Rings (2001) Passengers (2003) Storms over Still Water (2005) Heart Full of Sky (2006) Glass Shadows (2008) Go Well Diamond Heart (2010) The Ghost Moon Orchestra (2012) Anthologies: Heroes Never Die – The Anthology (2002, deleted) Catch the Spirit - The Complete Anthology (2002) Pass the Clock (2009) EPs and singles: Goodbye Alone (2001) Prints in the Stone (2001) Spirits of Christmas Past (2005) A Different Sky (2008) Live albums: The Story So Far... (CD and VHS 2001) Live in the USA (CD 2003) The Fiddler's Shindig (CD 2003, DVD 2005) Live at the Canterbury Fayre (CD 2003) Live at the Grand Opera House (CD & DVD 2003) The Next Chapter (DVD 2003) The V Shows (DVD 2004, CD 2005) Pink Floyd Revisited (DVD 2004) Storms over London Town (CD 2006) Live 2009 (CD 2009) That Night in Leamington (CD & DVD 2010) Live at High Voltage (CD 2011) Still Beautiful Live 2011 (CD 2011) Sources: Wikipedia, Last.FM
Two hippies, the Canadian Dolly Holmes and Maik Hirschfeldt from Germany, met in London in 1970. Together they went to Berlin to perform in the musical Hair. Emtidi was founded and the duo started to play the underground clubs of the city. Their repertoire consisted of traditional acoustic folk music. Rolf-Ulrich Kaiser, later owner of the labels Ohr and Kosmische Kuriere, heard them play and offered a record contract. The possibilities of multi-track recording enabled the duo to expand their musical style on Saat. The album is a sadly little-known masterpiece -- a unique mix of folk, art rock, and psychedelic. Their first album was a low budget production, released in a very limited quantity on the minor Thorofon label. The music presented here was a somewhat ordinary kind of acoustic folk. Far more interesting and completely different was Emtidi’s classic second album ‘Saat’, made with a solid involvement from Dieter Dierks (engineer, bass, mellotron, percussion) in the Dierks Studio, Stommeln in February 1972. Here is a complete run-down of this absolutely essential album: “Walkin’ The Park” started side one - the first half of it was a quiet, lush folk song with treated acoustic guitars and electric piano, this running into a furious acid guitar solo. “Traume” was a nonsensical interlude with wordless vocals, floating keyboards, vibes and jew harp, while the long track “Touch The Sun” finished side one. For several minutes an electronically treated organ created a cosmic atmosphere similar to vintage Klaus Schulze or Ash Ra Tempel. Then the track developed into a beautiful folk ballad, which Holmes sang in her most angelic voice. “Love Time Rain”, opening side two, was a short folk-rock song recalling British groups like Fairport Convention or Steeleye Span. Tile title piece “Saat” was another acoustic showcase, but far more cosmic sounding than the previous track. The concluding track “Die Reise” was the only one with German lyrics, sung by Hirschfeldt. It could be argued that the energetic sections of this track ruined the relaxed atmosphere elsewhere on the album, but otherwise it was a great track. Luckily, this album is now available on CD on the Galaxis label.
Unfortunately Dolly Holmes soon left the band and went back to Canada. Maik Hirschfeldt moved to a village near Munich and formed a new lineup with Rudi Haunreiter, Georg Karger, and Franz Müller. Although they worked on material for an unreleased third LP for some years, they never did a gig again and finally disbanded because they never found a suitable substitute for Dolly Holmes. Maik Hirschfeldt quit the music scene; the other musicians founded the jazz-rock band Niagara and are still active in various jazz bands. Rudi Haunreiter later played the drums on some albums of dark, ambient synthesist Peter Frohmader. Maik Hirschfeldt organizes rallies in Africa and only sometimes plays guitar just for fun. (Klaus Kehrle) Personnel: Maik Hirschfeldt - Guitar, Bass, Synths, Flute, Vibes Dolly Holmes - Vocals, Keyboards, Mellotron Albums: LP: Emtidi 1971 LP: Saat 1972 (also on CD) Touch The Sun:
Wooden Shjips, as it is today, started in 2006. The band self released a 10″ and 7″ that year and started playing shows shortly thereafter. Prior to 2006, Wooden Shjips was an experiment in primitive and minimalist rock. After it imploded, Ripley Johnson, guitar and vocals, assembled the current lineup of Dusty Jermier on bass, Nash Whalen on organ, and Omar Ahsanuddin on drums.West marks the first time the band recorded in a proper studio, as well as the first time with an engineer (Phil Manley). All previous recordings, either self-released, for Holy Mountain, or Mexican Summer were done more piecemeal in the band’s rehearsal studio. West was recorded and mixed in six days at Lucky Cat Studios in San Francisco. It was mastered by Sonic Boom at Blanker Unisinn, Brooklyn, with additional mastering by Heba Kadry at the Lodge in New York. Its songs sound something akin to the icy garage rock of early Echo & the Bunnymen crossed with the sun-bleached tremolo-punk of The Scientists. There are hints of krautrock, the trance-inducing organ haze of Suicide, Deerhunter style dance-drone, classic desert-fried garage psych and the mysterious, obscure Japanese lysergic-rock band Les Rallizes Denudes all mixed into one explosive whole on Wooden Shjips self-titled Holy Mountain debut. The over riding theme for the album (as indicated by the title) is the American West, and all of the mythology, romanticism, and idealism that it embodies. The band members grew up on the East Coast, so for a long time the history and literature of the West was an abstraction and a fascination for them. Part of the allure of the West, which is part of the myth, is the concept of Manifest Destiny, the vastness, and the possibilities for reinvention, which is not to say that is what each song is specifically about, but it was very much an undercurrent during the songwriting of the album. The artwork also touches on the same theme by using an iconic structure that is both a gateway in a literal and metaphorical sense. It is easy to see why these would appeal to Wooden Shjips, as their music lends itself to exploration. It is both transformative and transporting, the sum being far greater than it’s parts. The steady driving rhythms are the elliptical motion machine driven by the often thick and distorted guitar lines, melodic and boundless. Where they may lead cannot be anticipated but following them is exhilarating. It is all about getting there, the destination, while the experience of getting there is an adventure. It is the guitar lines that guide both the listener and the band on the literal and metaphorical journey into the vastness. The ghostly vocals, obscured by dense layers of instruments surrounding them, are alluring with their airy mystery. This elusive quality further draws the listener in, while they attempt to grasp at their meaning. While indebted to both the psych music of the ‘60s and mid-‘70s, electric Neil Young, and even the induced travels of Spacemen 3, the Wooden Shjips’ music is modern and in every way their own. Westis an epic journey to the edge and beyond. Ripley Johnson also plays with Moon Duo. Members: Eric "Ripley" Johnson - guitar and vocals Dusty Jermier - bass, Nash Whalen - organ Omar Ahsanuddin - drums
Albums: Wooden Shjips (Holy Mountain) - 2007 Vol. 1 (compilation of hard-to-find singles) (Holy Mountain) - 2008 Dos (Holy Mountain) - 2009 Vol. 2 (compilation of hard-to-find singles) (Holy Mountain) - 2010 West (Thrill Jockey) - 2011 Shine Like Suns:
During the late 60's, Bobby Callender was one of the most mythical figures in popular music. Conceptually his musical universe delivers all the originality of an artistic freedom, really awakened of alternative lifestyle, cross cultures and psychedelic "civilization". Callender is an afro American who turned to mystic and reaches himself into Indian raga, philosophies from the East. The two albums he recorded under his name ("Rainbow" in 1968, "The Way" in 1971) are currently seen as the two logical sides of a grandiloquent project including numerous musicians from the jazz and raga scenes. Among the featured musicians we can quote the famous "India raga style" guitarist Collin Walcott. Bobby Callender composes almost all titles and make some recitations. "Rainbow" released in 1968 is a fantastic effort, really amazing, played freely with numerous dialogues between sitar and tabla, with subtle adds of violin, piano and bass (electric). The main elements of composition are the rhythm, very structured, complex and the improvisational jazz / "raga" which introduces us in a spiritual and floating psychedelic atmosphere. The two albums are really conceptual, developing short, esoteric tales mostly served by basic themes of eastern instrumentations and odd, spoken words. Bobby Callender's musical signature is a perfect illustration of free form "ethnic" jazz improvisations in adequacy with the growing effervescence of the 60's "acid", psychedelic philosophies. Rainbow (full album, 1968): https://youtu.be/tkSmuO0PX0E :
Tomorrow (previously known as The In Crowd and before that as Four Plus One) were a 1960s psychedelic rock band formed in London (England). Despite critical acclaim and support from DJ John Peel who featured them on his "Perfumed Garden" radio show, the band was not a great success in commercial terms. They were among the first psychedelic bands in England along with Pink Floyd and Soft Machine. Tomorrow recorded the first ever John Peel show session on BBC Radio 1 on 21 September 1967. History: Film director Michelangelo Antonioni intended to feature the band in his 1966 film Blowup, but instead used The Yardbirds. However Tomorrow did appear in the 1967 film Smashing Time under the name of The Snarks. John "Junior" Wood was ill and was replaced by John Pearce, a clothes dealer. Again their music was not used in the film. The rock group sounds used in the film are by Skip Bifferty. The band released two singles, one of which, "My White Bicycle", was later covered by heavy rock act Nazareth, and as a novelty record by Neil the Hippy (Nigel Planer) of The Young Ones TV series. According to drummer John 'Twink' Alder, the song was inspired by the Dutch Provos, an anarchist group in Amsterdam which instituted a community bicycle program: "they had white bicycles in Amsterdam and they used to leave them around the town. And if you were going somewhere and you needed to use a bike, you'd just take the bike and you'd go somewhere and just leave it. Whoever needed the bikes would take them and leave them when they were done." Tomorrow's September 1967 single "Revolution" preceded The Beatles song "Revolution" by a year. In Joe Boyd's book White Bicycles - Making Music in the 1960s he asserts that the band's performance of the song one night at the UFO Club as the apotheosis of the 60s UK underground. Tomorrow singer Keith West is perhaps better known as a participant in Mark Wirtz's Teenage Opera project that gave him a solo hit single "Excerpt from a Teenage Opera (Grocer Jack)" and brief commercial success. Guitarist Steve Howe later joined progressive rock band Yes, whilst Twink joined The Pretty Things on their concept album, S.F. Sorrow, before forming The Pink Fairies. Members: Keith West: vocals Steve Howe: electric and acoustic guitars John "Junior" Wood: bass guitar John 'Twink' Alder: drums (Mark P. Wirtz - keyboards on the album "Tomorrow"
Discography: Singles: As The In Crowd: "That's How Strong My Love Is" / "Things She Says" (single, Parlophone R5276, April 1965) - UK No. 48[4] "Why Must They Criticise" / "I Don't Mind" (single, Parlophone R5364, November 1965) "Stop, Wait A Minute" / "You're On Your Own" (single, Parlophone R5328, September 1965) As Tomorrow: "My White Bicycle" / "Claramount Lake" (single, Parlophone R5597, May 1967) "Revolution" (Hopkins/Howe) / "Three Jolly Little Dwarves" (single, Parlophone R5627, September 1967) Albums: As Tomorrow: Tomorrow (Parlophone, February 1968) 50 Minute Technicolor Dream (RPM 184, 1998) Source: Wikipedia
Finch (1974–1978) was a Dutch progressive rock group that continued to be known internationally years after their final concert on 14 November 1978 at the Nederlands Congres Centrum in The Hague.
History: Finch was established by bass player Peter Vink (Vink meaning finch in Dutch) and drummer Beer Klaasse. Guitarist and composer Joop Nimwegen, who had worked with Vink in the Dutch formation Q65, soon joined. For lack of a good singer, Finch decided to build a repertoire of instrumental rock. Keyboardist Paul Vink joined, but was soon replaced by Cleem Determeijer, then a student at the Rotterdam Academy of Music. The first album, Glory Of The Inner Force, was published in Finch's native Netherlands, as well as by ATCO/Atlantic in the United States. On both sides of the ocean the album received positive reviews. The second album, Beyond Expression, became a Record of the Week on Radio Veronica, a popular Dutch seaborn station. Finch started to make a name for itself and began to attract crowds to their concerts in the Netherlands, Belgium, and Germany. Determijer wanted to concentrate on his piano studies and was replaced by Ad Wammes. Beer Klasse was replaced by Hans Bosboom, as Klaase was busy with his own business in leather goods. A third album, Galleons Of Passion was published in the Netherlands and the UK, after which Hans Bosboom left, citing personal circumstances, and was replaced by Fred van Vloten. The frequent personal changes in the rock group made it impossible to continue. In 1978 the partnership was discontinued when Joop van Nimwegen decided to quit. A posthumous live album, called The Making of Galleons of Passion/ Stage '76, containing demos, unreleased takes, and live material was released in 1999. Finch's four albums continue to attract the interest of those who enjoy early classic and progressive rock. Joop van Nimwegen has played in the pit orchestra of many Dutch stage musicals over the years. In 2012 Ad Wammes reformed his old pre-Finch band Montoya with Henk Hager (ex-Diesel) as vocalist / bass player. Fred van Vloten died in 2008.
Beyond The Bizzare:
Discography: Albums: Glory Of The Inner Force (1975), Negram (Netherlands) + ATCO/Atlantic (USA) Beyond Expression (1976), Negram (Netherlands) Galleons Of Passion (1977), Bubble (Netherlands) + Rockburgh (UK) The Making Of... Galleons Of Passion/ Stage '76
Past members: Joop van Nimwegen, Peter Vink, Beer Klaasse, Paul Vink, Cleem Determeijer, Ad Wammes, Hans Bosboom, Fred van Vloten
Circus Maximus was a United States band (Texas) in the late 1960s, who combined influences from folk music, rock, and jazz into a form of psychedelic rock.
History:
The band, originally called the Lost Sea Dreamers (Vanguard Records insisted on a name change, as the initials "LSD" were considered too linked to the drug culture), was formed in 1967 by Bob Bruno and Jerry Jeff Walker. Bruno's song "Wind", from their eponymous first album, became a minor hit in the United States, particularly through airplay on "progressive" FM radio stations. This track was a great favorite on Boston radio including Dick Summer's seminal "Night Light" program on WBZ-AM, and also on WBCN-FM.
In late December 1967, they performed in an unusual pair of "Electric Christmas" concerts together with the New York Pro Musica, an ensemble devoted to performing early music. The 80-minute performance in New York City (rehearsed in the nightclub Electric Circus where Circus Maximus were in residence much of that month, but performed at Carnegie Hall) included a light show by Anthony Martin and electronic music by Morton Subotnick; the groups performed both together and separately. The material performed together included a reworking of 14th-century composer Guillaume de Machaut's "La douce dame jolie" as an English-language song "Sweet Lovely Lady" and a Bruno original "Chess Game" that, unbeknownst to Bruno himself but noted by John White, director of the Pro Musica, strongly echoed the "Romanesca", a piece first written down in 16th-century Spanish lute books.
The concert was not a critical success. Donal Henahan, writing in the New York Times, said that it "fell somewhat short of being the total-environmental trip that was promised… the night summed up most of the esthetic ideas now in the air: incongruity, simultaneity, games theory, the put-on, the parody, the Trip… and the effort to create a 'Total Environment' in which all the senses can come into play." Henahan opined that the concert's commercial success showed a break-down in the separation of classical and popular audiences.
Bruno's interest in jazz apparently diverged from Walker's interest in folk music, and by July 1968, the band had broken up and Walker was appearing at the Bitter End in Greenwich Village, sharing a bill with Joni Mitchell. Bassist Gary White went on to write Linda Ronstadt's first solo hit, "Long, Long Time."
Robert Shelton included the Circus Maximus album Neverland Revisited in a November 1968 list selected to represent "the breadth… of today's rock".
Members:
Jerry Jeff Walker: rhythm guitar and vocal (credited on first album as "Jerry Walker")
Bob Bruno: lead guitar, organ, piano, vocal
David Scherstrom: drums
Gary White: bass
Peter Troutner: vocal and tambourine; also some guitar work
Wind:
Discography:
- Circus Maximus, Vanguard VRS-9260 (mono) and VSD-79260 (stereo) (1967)
Quadrophenia is a stage musical based on the sixth studio album by English rock band The Who, released on 19 October 1973, and a film of the same name, released in 1979. The album was the group's second full-length rock opera, and the story reveals social, musical and psychological events from an English teenager's perspective. The music and songs were composed by Pete Townshend and the story is set in London and Brighton in 1964 and '65. The name of the musical is a variation on the popular usage of the medical diagnostic term "schizophrenia" as dissociative identity disorder, which reflects the four distinct personalities of Jimmy, the story's protagonist.
Music: Pete Townshend Lyrics: Pete Townshend Book: Pete Townshend Basis: Quadrophenia rock opera by The Who
History: After the rock opera was released in 1973, The Who attempted to perform the album on a supporting tour. However, the effort turned out to be disastrous because of the complexity of the production. The album's music made extensive use of synthesizers and sound effects, which meant the group had to work to backing tapes for live performance. The band was constrained by playing to the tapes, and early performances were plagued by tape malfunctions. The band soon abandoned the rock opera in favor of their other hit songs. In 1994 Roger Daltrey, lead singer of The Who, celebrated his 50th birthday by performing a two-night spectacular of Who music at Carnegie Hall, followed by a major tour. This tour attracted attention to songs from The Who's Quadrophenia and gathered support for the staging of a major tour of the rock opera in 1996-1997. In 1996 Pete Townshend was approached to produce Quadrophenia for The Prince's Trust concert at Hyde Park, London. He at first planned to perform the opera as a solo acoustic show using scenes from the film on backing screens, but after receiving offers of financing from Vespa, Townshend decided on a full-out production. The opera was performed with a large backing band, including John Entwistle on bass, Pete Townshend on acoustic guitar and vocals, Zak Starkey on drums, Rabbit Bundrick and Jon Carin on keyboards, Simon Townshend and Geoff Whitehorn on guitar and special guests including Phil Daniels as the Narrator/Jimmy, Gary Glitter as The Rocker, Adrian Edmonson as the Ace Face/Bellboy, Stephen Fry as the hotel manager, Trevor McDonald as the newsreader and Pink Floyd's David Gilmour as the bus driver. Gilmour also played additional lead guitar for that performance. A horn section and backing vocalists were included, along with other actors. Afterward, Townshend decided to take the production on tour in 1996-1997 as The Who. For the subsequent tour of the UK and the US, Daniels was replaced by a filmed narrative, and Gilmour's role as the bus driver was taken over by Simon Townshend. Gary Glitter and P.J. Proby made guest appearances as The Godfather, and Billy Idol also guested as the Ace Face/Bellboy. Development as a stage musical: In November 2005, Luna C Productions staged a theatrical version of Quadrophenia in Los Angeles, starring Stephen Shareaux as Jimmy. Additional performances were produced in March and November 2006. In February 2007, students from the Royal Welsh College of Music & Drama staged "the first independent theatrical production of Quadrophenia blessed by Pete Townshend" at the Sherman Theatre in Cardiff, Wales. This production was reworked, recast and expanded by Director Tom Critchley and playwright Jeff Young into a successful full-scale UK Tour which launched at the Theatre Royal, Plymouth in May 2009. The four Jimmys were played by Ryan O'Donnell, Rob Kendrick, Jack Roth and George Maguire. Actor Ryan O’Donnell received a 2009 nomination for "Best Performance in a Musical" from the TMA Theatre Awards for his performance as Jimmy in the stage version of Quadrophenia. Trailer:
Quadrophenia is the soundtrack album to the 1979 film Quadrophenia which refers to the 1973 rock opera Quadrophenia. It was initially released on Polydor Records in 1979 as a cassette and LP and was re-released as a compact disc in 1993 and 2001. The album was dedicated to Peter Meaden, a prominent Mod and first manager of The Who, who had died a year prior to the album's release. The album contains ten of the seventeen tracks from the original rock opera Quadrophenia (as not all of the tracks were used in the film). These are different mixes than those that appear on the 1973 album as they were remixed in 1979 by John Entwistle. The most notable difference is the track "The Real Me" (used for the title sequence of the film) which features a different bass track, more prominent vocals and a more definite ending. Most of the tracks are also edited to be slightly shorter. The soundtrack also includes three tracks by The Who that did not appear on the 1973 album - "Four Faces, "Get Out and Stay Out" and "Joker James." The latter two songs marked Kenney Jones's first on-record appearance with the Who after taking over on drums for the late Keith Moon.
Tracks: All songs performed by The Who unless noted. Side one: "I Am the Sea" – 2:03 "The Real Me" – 3:28 "I'm One" – 2:40 "5:15" – 4:50 "Love Reign O'er Me" – 5:11 Side two "Bell Boy" – 4:55 "I've Had Enough" – 6:11 "Helpless Dancer" – 0:22 "Doctor Jimmy" – 7:31 Side three "Zoot Suit" (The High Numbers) – 2:00 "Hi-Heel Sneakers" (Cross Section) – 2:46 "Get Out and Stay Out" – 2:26 "Four Faces" – 3:20 "Joker James" – 3:13 "The Punk and the Godfather" – 5:21 Side four "Night Train" (James Brown) – 3:38 "Louie Louie" (The Kingsmen) – 2:41 "Green Onions" (Booker T. & the M.G.'s) – 2:46 "Rhythm of the Rain" (The Cascades) – 2:28 "He's So Fine" (The Chiffons) – 1:52 "Be My Baby" (The Ronettes) – 2:30 "Da Doo Ron Ron" (The Crystals) – 2:09 1993 CD reissue A version of the album was released on CD in 1993 (as Songs from Quadrophenia) featuring only the tracks performed by The High Numbers and The Who. The album keeps the Who tracks in the same order as the original double album and begins with the two High Numbers tracks. (Note: Prior to deciding on the name The Who they were called The High Numbers for a short period in summer 1964.) "I'm the Face" (The High Numbers) – 2:31 "Zoot Suit" (The High Numbers) – 2:00 "I Am the Sea" – 2:03 "The Real Me" – 3:30 "I'm One" – 2:40 "5:15" – 4:51 "Love Reign O'er Me" – 5:11 "Bell Boy" – 4:57 "I've Had Enough" – 6:12 "Helpless Dancer" – 0:23 "Doctor Jimmy" – 7:32 "Get Out and Stay Out" – 2:28 "Four Faces" – 3:21 "Joker James" – 3:14 "The Punk and the Godfather" – 5:28 2000 CD reissue A version of the album was released on CD in 2000 (as Music from the Soundtrack of the Who Film Quadrophenia) restoring the track listing to its original configuration, and adding "I'm The Face" to the running order. "I Am the Sea" – 2:03 "The Real Me" – 3:28 "I'm One" – 2:40 "5:15" – 4:50 "Love Reign O'er Me" – 5:11 "Bell Boy" – 4:55 "I've Had Enough" – 6:11 "Helpless Dancer" – 0:22 "Doctor Jimmy" – 7:31 "Zoot Suit" (The High Numbers) – 2:00 "Hi-Heel Sneakers" (Cross Section) – 2:46 "Get Out and Stay Out" – 2:26 "Four Faces" – 3:20 "Joker James" – 3:13 "The Punk and the Godfather" – 5:21 "Night Train" (James Brown) – 3:38 "Louie Louie" (The Kingsmen) – 2:41 "Green Onions" (Booker T. & the M.G.'s) – 2:46 "Rhythm of the Rain" (The Cascades) – 2:28 "He's So Fine" (The Chiffons) – 1:52 "Be My Baby" (The Ronettes) – 2:30 "Da Doo Ron Ron" (The Crystals) – 2:09 "I'm the Face" (The High Numbers) – 2:29
Pulsar is a French progressive rock band formed in the early 70’ in Lyon, France. The name Pulsar was derived from the dark sun in outer space which can be found only by the sound waves it emits. Early Pulsar musicians were Jacques Roman (organ, piano, synth), Victor Bosch (drums, percussion), Gilbert Gandil (guitar, vocals) and Philippe Roman (bass). In the summer of ’74, they were joined by sound-man Gérard Trouve and lightshow operator Armand Fines and a fifth member of the group named Roland Richard on flute and keyboards. The band also needed a manager, and found it with a friend called Xavier Dubuc. Though Pulsar music is moody, mostly instrumental and very atmospheric at times, they add a symphonic edge to it. Many little musical twists give them an original style in space progressive. Dashes of Kraut & Psych meet in a Symphonic mix... Pulsar’s music was generally characterized by extended suites with a weighing atmosphere and a Pink Floyd-ish sense of grandeur and mood. They heavily utilized moog and mellotron to great effect, painting grandiose and often horrific backdrops to the mournful and sedate vocals. Pulsar sits squarely within the symphonic progressive rock movement, and their fascination with dark atmospheres mixed with symphonic tendencies makes for a sound which is actually quite unique. Pulsar Albums are milestones of Seventies Progressive rock. More info: http://www.thepulsarband.com/biography.php3
Band members: (1970–1974) Jacques Roman – synthesizer, keyboard, mellotron Victor Bosch – drums, percussion Gilbert Gandil – guitar, lead vocals Roland Richard – piano, flute Philippe Roman – bass, vocals, composition (1975–1980) Jacques Roman – synthesizer, keyboard, mellotron Victor Bosch – drums, percussion Gilbert Gandil – guitar, lead vocals Roland Richard – piano, flute Michel Masson – bass (1981–present) Jacques Roman – synthesizer, keyboard, mellotron Victor Bosch – drums, percussion Gilbert Gandil – guitar, lead vocals Roland Richard – piano, flute Louis Paralis – bass Pollen (1975):
Halloween (1977): additional personnel on the album "Halloween":
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