Spirit Of John Morgan

Spirit Of John Morgan (North Devon, United Kingdom)

was a British group of Rock, specialized in the British blues, which knew a small notoriety at the end of the Années 1960 and at the beginning of the Années 1970.

It was composed in the beginning of:
John Morgan (organ, keyboards, song)
Mick Walter (percussions, song)
Gift Whitaker (guitar solo, song)
Phil Shutt (battery)

SUPER CD : Spirit Of John Morgan (1969) !!!

Love Sculpture

Love Sculpture was a British blues-rock band of the late 1960s, led by Dave Edmunds (born David Edmunds, 15 April 1943, Cardiff, South Wales), plus bassist John Williams (born John David Williams, 19 January 1946, Cardiff, Wales) and drummer Rob 'Congo' Jones (born Robert Jones, 13 August 1946, Barry, South Wales).


Love Sculpture formed in Cardiff in 1966 out of the remnants of another local band called The Human Beans, and disbanded in 1970, although Edmunds went on to enjoy solo success in the 1970s. The band itself was essentially a showpiece for Edmunds' considerable technical ability on the guitar. Love Sculpture mostly performed blues standards, slightly revved-up, but still largely reverent to the originals, releasing their debut album, Blues Helping with such songs as "Summertime", "Wang Dang Doodle" etc. They are best known for their 1968 novelty hit in the UK Singles Chart, a high speed cover version of the classical piece "Sabre Dance", by Aram Khachaturian, released on the Parlophone label (R 5744). The recording was inspired by Keith Emerson's classical rearrangements. "Sabre Dance" became a hit after garnering the enthusiastic attention of British DJ John Peel.

This was followed by a second album Forms and Feelings, with songs including: "In The Land of the Few", "Farandole", "People People", "Seagull" and the equally fast cover of Chuck Berry's "You Can't Catch Me". The U.S. version of the album also featured a recording of "Mars" from Gustav Holst's The Planets, but Holst's estate refused to license the song for the U.K. version.
They recorded three times for BBC Radio 1's John Peel sessions in 1968 (twice) and 1969.
Love Sculpture split up after a U.S. tour, having recorded two albums. Edmunds shortly went on to further number one hit success with "I Hear You Knocking", and collaborated heavily with ex-Brinsley Schwarz bassist Nick Lowe, eventually forming the band Rockpile with him.


Albums
Blues Helping - (December 1968) - Polydor
"The Stumble" (King, Thompson)
"3 O'Clock Blues" (King, Taub)
"I Believe to My Soul" (Charles, Learner)
"So Unkind" (Sehorn)
"Summertime" (Gershwin, Gershwin, Heyward)
"On The Road Again" (Jones, Wilson)
"Don't Answer the Door" (Johnson)
"Wang Dang Doodle" (Dixon)
"Come Back Baby" (Charles)
"Shake Your Hips" (Moore)
"Blues Helping" (Edmunds, Jones, Williams)

Forms and Feelings - (January 1970) - Polydor
"In the Land of the Few" (Finesilver, Ker, Edmunds)
"Seagull" (Korda)
"Nobody's Talking"
"Mars" (Holst) (US version only)
"Why (How Now)"
"Farandole" (Bizet)
"You Can't Catch Me" (Berry)
"People People" (Finesilver, Ker)
"Sabre Dance" (Aram Khachaturian)

Singles
"River to Another Day"
"Sabre Dance" - (1968) - UK #5

http://www.youtube.com/watch?v=PHe-MJtEI0M

AARON, CHRIS

CHRIS AARON

is well-known around the Midwest as a wicked rock and blues guitarist, and soulful singer with The Chris Aaron Band and then American Standard with Corey Sterling (of the Kenny Wayne Shepherd Band). He grew up on 60s and 70s music made by the guys he's now making music with. Aaron is an accomplished musician and record producer whose influences are blues legends such as BB King, Muddy Waters, John Lee Hooker, W.C. Clark, Stevie Ray Vaughn and his studio mentor Chris Shepard. Aaron has created a distinctive music style that has attracted loyal fans throughout the nation, particularly in the Midwest . His live performances are electrifying and his devotion to perfection makes the records he produces into works of art. Aaron is a widely sought-after guitarist, songwriter and record producer. He has performed and shared stages with many headliners including, Ray Charles, George Thorogood, BB King, Libba Cotton (at 10 years old), Buddy Guy, Keb Mo, Koko Taylor, Jimmie Vaughan, Jonny Lang (when Jonny was 15), W.C. Clark, pat mAcdonald, and Jackson Browne (Chris's absolute favorite record of all time is "Running On Empty"). Aaron's goal is to play amazing, original music that is timeless and never gets old to the listener! Check him out at a show near you...

"I just wanted to say thank you to all my friends and fans for all their wonderful support. Through the years that has been the glue that keeps me keepin on. Much love.� - Chris Aaron



DISCOGRAPHY :

_____________

Freedom 5 Miles

Born With the Blues

Arnesen Blues Band

(SWE)

Thomas Arnesen - g,voc

Björn Lundquist- bg

Kjell Gustavsson- dr

Andreas Hellkvist- kb

Anders Forsberg- kb

Thomas Arnesen brought this band together in the spring of 2002 in order to play some material that was in some way modern, yet in blues form and with a genuine blues feel. Some of the songs are his own and some are traditional standards - old favourites and new ones. Some thoroughly arranged, others more loosely.
He felt a need to develop an ambitious musical co-operation with a fixed constellation of good musicians within the area of blues music.
"Blues, with it’s traditional 12 and 8 bar form, is to me a sort of musical essence that lies at the heart of human musical perception. It’s form challenges THE musician to find a personal, original way to develop while staying within it’s rigorous confines." (Thomas Arnesen)

CD :

___

Walkin´ With My Baby
1. Boogie Man (Chuck Blackwell/Leon Russel)

2. Don´t Burn Down the Bridge (Albert King)

3. Mess of Blues (Pomus/Schuman)

4. I´m More Like the Moon (Arnesen/Arnesen)

5. Lawdy Miss Clawdy (Lloyd Price)

6. Things About Comin´ My Way (trad.)

7. Walkin´ With My Baby (Arnesen/Arnesen)

8. Rock Me (Jackson)

9. On the Other Side (Arnesen/Arnesen)

10. Confessin´ the Blues (Jay McShann)

11. Trail of Tears (Nick Lowe)

Recorded May-06 at Decibel, StockholmMastered at Mastering Room, GothenburgReleased by Blaze Records

Notes from the Press :
“I have seldom heard a more audacious band in this genre. The audience is with them from start to finish. Thomas Arnesen is a high class musician, who truly masters his instrument. His slightly jazz-flavoured style is a sheer joy to hear.”Nerikes Allehanda

“It’s about time Arnesen put´himself up front. His capacity to do so is beyond doubt. The back-up from his band is solid and unusually competent. Sometimes this quintet feels like a big band”Uppsala Nya Tidning

“Arnesen knows his traditions. His interpretations have a personal touch and the original tunes blend in very well. His voice is not rough but warm and very expressive.” Skaraborgs Allehanda
“Raw energy from the word go and Arnesen, an exceptional guitarist, has picked a formidable repertoire. Groovy and intense!”Dagens Nyheter

“A very skillful band that features Arnesen, a virtuoso guitarist, and the equally inspired pianist Forsberg soaring over the rock steady rhythm section. After gently strolling through one song, they will let rip in the next.”Karlskoga Tidning

Byzantium

BYZANTIUM (UK)

Mick Barakan: Lead Guitar
Stevie Corduner: Drums
Robin Lamble: Bass Guitar
Jamie Rubinstein: Rhythm Guitar
Martin Westwood: Head Roadie and Sound Wizard
Robin Sylvester: Sonic Overseer

"The seeds of BYZANTIUM were sewn in 1970, with Jamie Rubenstein and Nico Ramsden (who wouldn't appear until the second album) as an acoustic duo. Some recording was done with the help of friend Robin Sylvester, but sales were at best disappointing. Soon they were joined by vocalist Beverly Baxter (who it seems, never actually followed them into the studio), and Robin Lamble on bass. After some success with live gigs, Steve Corduner (a former band mate of Nico and Robin) joined on drums. Now hey had a viable band assembled. However, Jamie had reservations about the whole thing, and left. Chaz Jankel came along to fill the void. With this lineup, they were set for success.

They scored a contract with A&M, and it seemed as if the rock and roll dreams were coming true. But, as in every good rock story, problems arose. Just as the debut album (on which Jamie does appear as a guest) was released, Nico left, citing "musical differences." During this time, Jamie had been playing with Mick Barakan (another friend from school). Back through the revolving door he went, with Mick in tow. This resulted in their second album, "Seasons Changing." This time the theme was group effort, as everyone contributed to writing.

Chaz was not pleased with the new direction, and left the band (he would end up backing Ian Drury). A&M seemed to share Chaz's opinion, and dropped BYZANTIUM from the label.They toiled on their own for a while, even pressing another album, that was unfortunately never available for sale. They toured, and continued to draw crowds. In 1975 they played their last show where they started, at the Roundhouse.

Crazy World of Arthur Brown

Crazy World of Arthur Brown
is a psychedelic rock band of Arthur Brown.
The song "Fire" (released as a single and in the 1968 album) was one of the one-hit wonders in the UK of 1960s.
Crane and Palmer went on to form Atomic Rooster, Nicholas went on to Khan [1] (as Nicholas Greenwood), Theaker to Love and then Rustic Hinge, and Brown to Kingdom Come.



Personnel
Arthur Brown – vocals
Vincent Crane – organ, organ bass pedals
Sean Nicholas – bass guitar (1968)
Drachen Theaker – drums (album)
Carl Palmer – drums (US tour)
Jeff Cutler - drums (second US tour only)



Discography
1967: Devil's Grip / Give Him a Flower
1968: Fire / Rest Cure
1968: The Crazy World of Arthur Brown
1968: Nightmare / Music Man / What's Happening
1988: Strangelands (recorded 1969)
2002: Tantric Lover (CD, UK, Voiceprint Records), original year: 2000
2003: Vampire Suite (CD, USA, Track Records)
2007: Voice Of Love (CD, Zoho Music)

Premiata Forneria Marconi

Premiata Forneria Marconi

is an Italian progressive rock band that achieved a high level of popularity in the 1970s, with success in both the British and American charts. They were the first Italian band to have success abroad. Between 1973 and 1977 they released 5 albums with English lyrics for the international market. They also had several successful European and American tours, even playing at the popular Reading Festival in England and appearing on a very popular national television program in the U.S.A.

Band Members
Current
Franco Mussida: acoustic guitar, electric guitar, 12 string guitar, mandolin, vocals (1970 - present]])
Franz Di Cioccio: drums, percussion, lead and backing vocals (1970 - present)
Patrick Djivas: bass, programming (1974 - present)
Lucio Fabbri: violin, keyboards (1979-1987)( 2000 - present )
Gianluca Tagliavini: piano, Hammond, Minimoog, other keyboards (2005-present)
Piero Monterisi: additional drums (2006-present)

Former
Giorgio Piazza: bass (1970-1974)
Mauro Pagani: flute, piccolo, violin, vocals (1970-1976)
Bernardo Lanzetti: lead vocals, rhythm guitar (1975-1977)
Gregory Bloch: violin (1976-1977 - he played on Jet Lag only but was credited as a full-time member)
Walter Calloni: additional drums (1982-1987)
Roberto Gualdi: additional drums ( 1997-2006)
Flavio Premoli: piano, keyboards, Mellotron, Moog synthesizer, lead vocals (1970 - 1980, 1995 - 2006)

Discography

Studio albums
Storia di un minuto (1972)
Per un amico (1972)
L'isola di niente (1974)
Chocolate kings (1975)

Jet lag (1977)
Passpartù (1978)
Suonare suonare (1980)
Come ti va in riva alla città (1981)
P.F.M.? P.F.M.! (1984)
Miss Baker (1987)
Ulisse (1997)
Serendipity (2000)
Dracula (2005)
Stati di immaginazione (2006)

English versions
Photos of Ghosts (1973 - version of Per un amico)
The World Became the World (1974 - version of L'isola di niente)

Live albums
Live in USA (1974, also known as Cook)
Fabrizio De Andrè / PFM - In Concerto Vol 1 (1979)
Fabrizio De Andrè / PFM - In Concerto Vol 2 (1979)
Performance (1981)
http://en.wikipedia.org/w/index.php?title=Www.pfmpfm.it&action=edit&redlink=1 (1999)
Live in Japan 2002 (2002)
Piazza del Campo (2005)

Le Orme

Le Orme
("The Footprints") is an Italian psychedelic and progressive rock band formed in 1966 in Marghera (Venice).
Their first record was for the tiny Car Juke Box label, in 1968.
They earned two gold albums, a discography critic award, an England Tour. Le Orme's most famous work, the concept album Felona e Sorona, was issued in English in collaboration with Peter Hammill of Van der Graaf Generator.
Le Orme's last three works (Il fiume, Elementi and L'infinito) show a return to a classic progressive sound, and form somewhat of a trilogy pivoting on the "becoming" of the human being.


The 1966 founders of the band were Aldo Tagliapietra (voice, guitars), Nino Smeraldi (guitars), Claudio Galietti (guitar, bass) and Marino Rebeschini (drums). After the single "Fiori e colori" (1967), Rebeschini left and was replaced by Michi dei Rossi. In 1968 they issued a second single, "Senti l'estate che torna". At the same time a new musician, Toni Pagliuca, joined the group. This line-up was responsible of the first LP, Ad gloriam (1968), a pop-psychedelic work that scored little success.
The following year, Gallietti left also, and Le Orme found what was to be considered their "classic" line-up, which issued their most renowned progressive LPs of the 1970s (Uomo di pezza, Felona e Sorona and Contrappunti).
The last two works saw the collaboration of producer and piano player Gian Piero Reverberi.
The group split up in the early 1980s, but reformed in 1986. In 1992 Pagliuca left the band, and was replaced by Michele Bon.
Discography
Ad Gloriam (1968)
L'aurora (1970)
Collage (1971)
Uomo di pezza (1972)
Felona e Sorona (1973)
Contrappunti (1974)
In concerto (1974)
Smogmagica (1975)
Verità nascoste (1976)
Storia o leggenda (1977)
Florian (1979)
Piccola rapsodia dell'ape (1980)
Venerdì (1982)
Orme (1990)
Biancaneve (1995)
Amico Di Ieri (1997)
Il fiume (1999)
Elementi (2001)
L'infinito (2004)

Members:

Aldo Tagliapietra, Michi Dei Rossi, Toni Pagliuca, Tolo Marton, Germano Serafin

Wicked Minds

Lucio Calegari - electric & acoustic guitars; tambourine; vocals

Paolo Negri - keyboards & piano

JC - lead & backing vocals

Enrico Garilli - bass

Ricky Lovotti- Hands, Feet, Snare Bassdrum & Tom, Floor Tom, Sticks & Cymbals

Andrea Concarotti- drums

Patrizio Borlenghi - flute

WICKED MINDS is a young Italian band, and "From the Purple Skies" is their debut album. In the CD press kit their music is described as seventies' Hard Rock with psychedelic and progressive elements and is compared to Warhorse, Arzachel, Waterloo, and a few other bands, which are unknown to me.

I liked most of the albums that I received for my review this autumn, and I have even forgotten when I heard something ordinary for the last time (not counting the latest by Yoke Shire, of course). This gladdens me very much, though I feel I must be especially objective when writing one positive review after another. Which demands from me much more attention when listening to music, so I often resort to a few repeated listens, which, in its turn, takes more time than usual. Reiterations in the reviews are also inevitable in such cases. And how would I avoid them, without losing the authenticity of my words, if I meet the same phenomenon in different works? As you will see below, the situation around the purity of a style on this recording and those on the latest albums by The Black and Zess are identical. (By that, however, any similarities between the bands are ending.) Well, Wicked Minds present the listener ten songs with English lyrics, all being at once filled with the distinctive English spirit and what I would call the '70s' magic. Really. Apart from the band's own compositions, there are the renderings of Pentagram's Forever My Queen and Uriah Heep's very first hit Gypsy. I think I'd better tell you right now that both of them sound heavier than the originals and are more diverse than them, at least. Otherwise I would have called in question their inclusion in the album, which, by the way, is monstrously long at 78+ minutes. I don't find the outfits that are mentioned in the CD press kit as being kindred with Wicked Minds to be really suitable for the comparison. Whereas the names of the band's real teachers in absentia are too well known to leave them overboard: Uriah Heep, Deep Purple, and Pink Floyd. The album opens with the title track, on which the band as if decided to show that they are easily able to be on par with their favorites. Having managed to unite the three different styles into one cohesive whole, they played the mixture at an extremely high speed. This is progressive Hard Rock, not Prog-Metal, and I don't know any Hard Rock band that would have played as fast as Wicked Minds did on the opening number. It is performed so masterfully and is so impressive that the fact of its derivativeness loses any relevance. The Elephant Stone displays a similar picture. However, the Pink Floyd influence is absent, while the band's original compositional thinking becomes more apparent. There is a rather long episode with purely symphonic textures, provided by passages of acoustic guitar and solos of Hammond, which does not evoke any associations, to say the least. Apart from the last cut (and not counting the renditions, of course), all the following tracks are absolutely free of influences, and just all of them without exception are outstanding, from any standpoint. All the terms and epithets I've used when described Zess's sudden turn to a completely original sound are topical in this case, too, though I must add that the level of progressiveness of Wicked Minds' music is much higher. The style is either progressive Cathedral Metal with elements of symphonic Art-Rock as on Across the Sunrise, Forever My Queen, Rising Above, Queen of Violet, and Gypsy or a balanced blend of these genres as on Drifting and Space Child. Both of the latter songs feature a guest flute player, as well as Return to Uranus. This 18-minute epic is like a container of all the textures, original and derived, that are available on the previous tracks. Finally, I'd like to mention that the band's keyboard equipment consists exclusively of vintage models: Hammond, Moog, Mellotron, Rhodes, and Grand Piano. They are used nearly everywhere on the album, so I would say its sonic palette is unbelievably rich in symphonic colors. Generally, the music is so inflammatory and driving that I can't stop myself from playing the CD at least once a day.

The conclusion on Wicked Minds' debut outing won't be verbose. Although some derivativeness has been found, "From the Purple Skies" is the most impressive and simply the best progressive Hard Rock album I've heard in many years.

Albums
Return to Uranus (CD - 1999 )

From the purple Skies (CD - 2004 )

Witchflower (Compilation - 2006 )


Live At Burg Herzberg Festival 2006 (Live - 2007 )

Blindside Blues Band

BLINDSIDE BLUES BAND

MIKE ONESKO-GUITARS,VOCALS

SCOTT JOHNSON-GUITARS

JEFF MARTIN-DRUMS

AYNSLEY DUNBAR-DRUMS

EMERY CEO-DRUMS

GREGG CHAISSON-BASS GUITAR

KIER STAEHELI-BASS GUITAR

JAMES LOMENZO-BASS GUITAR

MARK CHOLEY BASS GUITAR

BILL GRESSOCK-GUITARS

MIKE VARNEY-GUITARS

MICHAEL BARRICK-BASS GUITAR

MARK TAVERNA-BASS GUITAR

CHRIS BORAS-BASS GUITAR

DISCOGRAPHY :

BLINDSIDE BLUES BAND-1993

BLINDSIDED-BLINDSIDE BLUES BAND-19994

MESSENGER OF THE BLUES -19995

CREAM OF THE CROP A TRIBUTETO CREAM- 1994

MIKE ONESKO'S BLINDSIDE BLUESBAND TO THE STATION-1996

SONGS FROM THE BETTER BLUESBUREAU-1994

FIT FOR A KING-1994 (VARIOUS ARTISTSMIKE ONESKO-ALBERTS JAM)

HATS OFF TO STEVIE RAY-1994 (VARIOUS ARTISTS MIKE ONESKO-LAST STEVIE JAM)

MIKE ONESKO'S GUITAR ARMYARMAGEDDON-2001

MIKE ONESKO BLUES BAND-SMOKEHOUSE SESSIONS-2004

GYPSY BLOOD HENDRIX TRIBUTE VOLUME II-2004-VARIOUS ARTISTS

BLINDSIDE BLUES BANDLONG HARD ROAD-2005

BLINDSIDE BLUES BAND- KEEPERS OF THE FLAME-2007

Birth Control

Birth Control
is a German Krautrock band known for their progressive hard-rock sound and provocative album covers.

Birth Control formed in the middle of 1968 in Berlin from two other bands, the Earls and the Gents. The initial members were: Bernd Koschmidder (bass), Reinhold Sobotta (organ), Rolf Gurra (saxophone and vocals), Fritz Groeger (vocals), Klaus Orso (guitar), Reiner Borchert (guitar), and Hugo Egon Balder (percussion).

The name of the band was a response to Pope Paul VI's declaration that contraceptives were sinful.

Their 9'47" lasting single Gamma Ray (1975) is still an international discotheque hit.

After a series of disappointing albums in the early 1980s, the group disbanded, but reunited in 1993 with new members. The band continues to tour in Germany and release new albums periodically.

Discography
1970 Birth Control
1971 Operation
1972 Believe in the Pill (Best of…) and Hoodoo Man
1973 Knock Knock. Who’s There, Rebirth, and Goldrock
1974 Live
1975 Plastic People
1976 Backdoor Possibilities
1977 Live, The Best Of, and Increase
1978 The Best Of (Vol. 2), Titanic, and Rock on Brain
1979 Live 79
1980 Count on Dracula
1981 Deal Done at Night
1982 Bäng
1989 Gamma Ray (Special Mix)
1990 The Very Best Of
1994 Condomium
1995 Two Worlds
1996 Jungle Life and Definitive Collection
1998 Getting There and Crazy Nights (Studio Session)
2000 Live Abortion and Live in Lachendorf
2003 Alsatian
2004 Live in Fulda
2005 35th Anniversary - Live At Rockpalast

Gravy Train

Gravy Train
Velká Británie 1969 - 1974

Obsazení:
Norman Barratt - zpěv, kytara (AB)Barry Davenport - bicí (A)J. D. Hughes - flétna, saxofon, klávesy (AB)Les Williams - baskytara, zpěv (AB)Russell Cordwell - bicí (B)Hosté (B):Jim Frank - bicí; George Lynon - kytara; Pete Solley - syntezátor; Mary Zinovieff - syntezátor, housle; Doris Fay (Gospel Ayres) - sbory; Bobby Harrison - sbory; Pat Arnold - sbory

Originalita britských rockových hledačů Gravy Train byla vystavěna na kontrastu takřka všudypřítomné hravé flétny s úporně tlučenými bicími a zvláštním způsobem valivě zkreslené kytary. Nervní skřípavý škrcený hlas Normana Barratta pak osobitost Gravy Train podtrhoval. Mně osobně zní jejich folk/heavy jako Jethro Tull přikovaní k Iron Butterfly.
U zrodu Gravy Train stál Norman Barratt, známý jako kytarista a zpěvák jenž vystřídal Jimmiho Pagea v Lord Sutch & Heavy Friends, podivuhodného to seskupení kolem nedávno zemřelého ulítlého excentrika Davida Sutche. Narodil se v roce 1949 v Newton le Willows, mezi Manchesterem a Liverpoolem. Svou hudební kariéru začal v místních skupinách The Hunters a Newton's Theory, s nimiž přesídlil koncem šedesátých let do Londýna.
Gravy Train prakticky ihned po založení v březnu 1969 (Manchester) podepisují kontrakt s progresivním labelem Vertigo a narychlo nahrávají a vydávají svou prvotinu. V případě této skupiny nemohu sloužit žádnými příběhy, nejsou prostě k dispozici, o to více se soustředím na hudbu samotnou.

Gravy Train (1970) začíná jethrotullovskou flétničkou v The New One , v polovině doslova přefiknutou Barrattovým řezákem. Zprvu podobně laděnou Dedication To Sid rozvinou dvojzpěvy Barratta a Hughese, navazující psychadelické vyhrávky ostře vazbené kytary, trilkující flétny a další alto-tenorové foukačky. Bluesovku Coast Road s gradujícím propletencem kytary, flétny a saxíků a ležérním rytmickým doprovodem považuji za jeden z vrcholů alba. Na jednoduchou rytmickou úderku Enterprise navazuje Think Of Life s parádním ústředním hardrockovým riffem, doprovázeným samozřejmě flétnou létavicí. Závěr debutu patří zbytečně natažené 16-ti minutovce Earl Of Pocket Nook, z větší části tvořené překvapivě nezáživnou instrumentální pasáží.



I druhé album je připravováno pod firmou Vertigo.
(A Ballad of) A Peaceful Man (1971) je oproti poměrně syrovému debutu od první noty slyšitelně zaoblenější a propracovanější, skladby mají svá akustická zákoutí, předehry, mezihry, objevují se orchestrální pasáže, varhany a mellotrony, až na jednu výjimku pomalé skladby jsou propojeny. Album otevírá expresivně zpívaná balada Alone In Georgia, plynule přecházející v skvěle vystavěný titulní opus, střídavě melancholický a pateticky vypjatý. V dané linii pokračuje i Jule's Delight s čarovnou flétnovou mezihrou a sólující basou. Rané Camel evokuje zprvu akustická perlivá posléze mellotronově sladkobolná, nakonec kytarově syrová Messenger, v níž Norman Barratt prokládá v pianissimech svůj skřípák niternými hlasovými polohami. Úderný riff Can Anybody Hear Me, hraný flétnou (!), plus křičící Barratt evokují vzpomínky na debut. Uriášovské chóry, santanovská rytmika, colosseovská pasáž se saxíkem - to vše zní v Old Tin Box, šťavnatá odpichovka Won't Talk About It je kombinací Jethro Tull s Who. Zklidnělá Home Again uzavírá album, patřící svou kvalitou do zlatého fondu rocku.
Během roku 1972 přesídlují Gravy Train k firmě Dawn.

Second Birth (1973). Morning Coming je zvláštní složeninou jednoduchého riffu, byrdsovských backgroundů a baskytarových prostocviků. Nezvykle tvrdou Peter označují někteří hudební publicisté za nepovedenou kopii Grand Funk Railroad. Něžná, opět westcoastově zpěvavá September Morning News pak připomíná Crosby, Stills, Nash & Young. Motorway zastupuje na trojce takzvaný progresivní rock, bohužel ne moc povedený - je to v podstatě neustálý sled pártaktových motivků, rytmických laufů a cvičebnicových instrumentálních meziher. Fields And Factories je taktéž pokusem o prokomponovaný kus, chybí však chytlavý hlavní motiv, je to opět takový neuspořádaný slepenec. Jednoduchému popěvku Strength Of A Dream se "slide" kytarou by naproti tomu pár oživujících vsuvek prospělo. Tolpuddle Episode je rodnou sestrou September Morning News. Na elpé závěrečná titulka Second Birth je klasický progresivistický kousek jaksepatří, spraví chuť. Z neznáma vyhrabané rock'n'boogie Goodtime Girl představuje Gravy Train v roli zpomalených Status Quo. Second Birth je koncepčně dosti rozhárané album, nemá tvář, je to hudební mišmaš, chtělo by se říci od každého něco ... dohromady nic, ale to by bylo přeci jenom příkré.

Přípravy čtvrtého alba se zúčastnila řada hostů, mezi nimi i hráč na syntezátory Pete Solley (Trampline, Snafu).
Staircase To The Day (1974) posunulo Gravy Train směrem k rockovému hlavnímu proudu. Dva z hostů například hrají na syntezátory. Starbright Starlight je přizdobená neagresivní hardrockovka s rozdrnčenými kytarami a doprovodnými syntíky. Zaměnitelná (např. s Nazareth z období Exercises) je i jižanská balada s piánem a slide kytarou Bring My Life On Back To Me. Hlavní motiv Never Wanted You mně taky cosi sakra připomíná - no vzpomenu si až to nebudu potřebovat - jo zrychlenou After Midnight od J. J. Calea. Titulní osmiminutový opus, inspirovaný částečně klasickou hudbou, viz. bachovské intro, se zvolna rozvíjí kolem ústředního motivu do košaté krásy, v gradujícím finále se přidávají mellotrony a chóry. Zpět na zem, soulově šponovaná hardrocková Going For A Quick One má šťávu i když je pro Gravy Train netypická. Bowiovské Barratovo zaříkávání ozvláštňuje akustickou pár-akordovou The Last Day. Cembalo a piáno kralují ve snové Evening Of My Life. Závěrečný opus Busted In Schenectady je druhým vrcholem alba - silnými motivy nabušená osmiminutovka z nezvyklými nástroji typu "cosmic clavinet", wah-wah kytarou a snad přímo z floydovské One Of These Days převzatou pulsní pádivou rytmikou. Čtvrté album sice také nemá osobitost prvých dvou, na rozdíl od předchozího však naštěstí oplývá kvalitními silnými písněmi.

Po rozpuštění Gravy Train se Norman Barratt stal aktivním věřícím a v hudební kariéře pokračoval v rámci křesťanských skupin. V roce 1977 vydal u firmy Word Records album The Prize se skupinou Alwyn Wall Band. Na přelomu sedmé a osmé dekády působil v Mandala Band a Victor Brox Blues Train. V roce 1980 formuje svůj Barratt Band a o rok později s ním vydává Playing In The City. Poté se pro evropsko-americké turné dává znovu dohromady s Larry Normanem a Alwyn Wall, nahrává s nimi Alwyn's Invisible Warfare (1982) a živák Friends On Tour (198?). Časem obnovuje Barratt Band a vydává dvě další elpé Voice (1983) a Rock For All Ages.
Znechucen poměry u CCM se posléze Barratt omezuje na hraní v kostele ve svém bydlišti, jako studiový hráč spolupracuje mj. s Paulem Youngem ze Sad Café, Mike Rutherfordem z Genesis a Andy Prattem.
Po překonání vleklých zdravotních potíží s očima, které jej vyřadily na čtyři roky z muzikantského života pracuje dnes Norman Barratt pro křesťanské vydavatelství DML.

Diskografie:

1970 Gravy Train (album)
1971 (A Ballad of) A Peaceful Man
1973 Second Birth
1974 Staircase to the Day

45's
1973 Strength Of A Dream/Tolpuddle Episode
1973 Starbright Starlight/Good Time Thing
1975 Climb Aboard The Gravy Train/Sanctuary


Collections
2006 Strength Of A Dream: The Gravy Train Anthology (Castle)

Hackett , Steve

Stephen Richard Hackett

(born 12 February 1950) is a British songwriter and guitarist. He gained prominence as a member of the British progressive rock group Genesis, which he joined in 1970. Hackett remained with the band for eight albums before leaving in 1977 to pursue a solo career.
In 1986, Hackett co-founded the supergroup GTR with another progressive guitarist, Steve Howe of Yes and Asia. The group released a self-titled album that year, which peaked at #11 on the Billboard 200 in the United States and spawned the Top 20 single "When the Heart Rules the Mind". When Hackett left GTR in 1987, the group disbanded.
After leaving GTR, Hackett resumed his solo career and has released albums and toured on a regular basis since. His body of work has encompassed many styles, such as progressive rock, world music, and classical. His playing has influenced guitarists such as Alex Lifeson and Brian May.

Biography
Hackett was born in Pimlico, London and attended the Sloane Grammar School, Chelsea.
He grew up having access to various musical instruments, such as the recorder and mouth organ, but did not develop an interest in the guitar until the age of twelve, when he started playing single notes. By fourteen, he was learning chords and experimenting with chord progressions, although he never received any formal instruction. Hackett's earliest musical influences were classical (Johann Sebastian Bach) and opera (Mario Lanza). He has stated that his compositions are still influenced by them. Hackett also has cited numerous British blues artists as influences, namely Danny Kirwan, Peter Green, and various guitarists in John Mayall & the Bluesbreakers.

Early career
Steve Hackett's earliest professional playing experience came with two bands — Canterbury Glass and Sarabande — both of whom performed rock with progressive elements. His first recording work came in 1970, as a member of Quiet World, a band that included younger brother John Hackett on flute. The group released one album, The Road, but Hackett departed the group soon after.
Hackett, seeking a new band, placed an ad in Melody Maker. The ad, in which Hackett stated he was seeking musicians "determined to strive beyond existing stagnant music forms," was spotted by Genesis vocalist Peter Gabriel, who contacted Hackett. The band had recently lost founding member Anthony Phillips, and was performing with a temporary guitarist, Mick Barnard. After seeing Genesis perform, Hackett auditioned for the group and joined in December 1970.

Genesis
Hackett, who had very little on-stage playing experience when he joined Genesis, had some initial difficulty performing with the group. According to Phil Collins, at Hackett's first gig with the group, Collins had decided to see how many bottles of Newcastle Brown Ale he could drink and still play the drums.But he soon settled into his role, and his unique stage image (wearing glasses and seated in a hunched position over his guitar) served as a counter to the costumed theatrics of Gabriel.
Hackett's first recording with Genesis was Nursery Cryme, released in November 1971. Hackett made an immediate impact on the group's sound, as evidenced by his work on such songs as "The Musical Box" and "The Return of the Giant Hogweed", becoming one of the first guitarists to experiment with the tapping technique normally attributed to Eddie Van Halen. (The continuo part in the song sounds like a synthesizer due to distortion and due to his legato tapping technique as well as Tony Banks's simultaneous Hohner Pianet continuo).

Although Nursery Cryme was not a commercial success, 1972's album Foxtrot was. (However, it only charted in the UK, reaching number 12) Included on Foxtrot was the brief classical acoustic solo "Horizons," which quickly became one of his signature pieces.
Foxtrot began a trend of increasing commercial popularity for Genesis. The group's 1973 effort, Selling England by the Pound, was particularly successful, reaching number 70 in the US the year after its release, and reaching number 3 in the UK (marking the bands' peak with Peter Gabriel there). Hackett showed continued and perfected use of the tapping technique as well as sweep picking popularised in the 1980s by Yngwie Malmsteen. Both these techniques can be heard on the solo to the opening track "Dancing with the Moonlit Knight". The third track on the album, "Firth of Fifth" contains one of Hackett's most celebrated, as well as one of progressive rock's most iconic, tearing guitar solos. The track has been a favourite at Genesis' live shows, even after Hackett's departure.
In 1975, Hackett became the first member of Genesis to release a solo album when he issued Voyage of the Acolyte. Assisting with the recording were Hackett's Genesis bandmates, Phil Collins and Mike Rutherford. Hackett enjoyed the freedom he had when writing and recording the album, and soon became disenchanted with the democratic approach to songwriting Genesis employed.
Hackett's frustration increased as Genesis prepared to release 1977's Wind & Wuthering. Hackett was insistent that more of his material be included on the album, but was rebuffed. "Blood on the Rooftops," which Hackett wrote with Collins, made the album but was never played live, and his composition "Please Don't Touch" was rejected completely. Another song, "Inside and Out," was relegated to the Spot the Pigeon EP. Hackett remained with Genesis through the conclusion of the Wind & Wuthering tour, but announced his departure on October 8, 1977, one week before the release of the group's second live album, Seconds Out.

Reunions
Since Hackett's departure, the early '70s lineup of Genesis has reunited on a handful of occasions. On October 2, 1982, the group gathered for a one-off performance entitled "Six of the Best". The show was held to raise money for Peter Gabriel's WOMAD festival. This was the first and last time this lineup had performed since 1975.
In 1998, the group gathered for a photo session and dinner to celebrate the release of the box set, Genesis Archive 1967-75. Hackett also participated in the re-recording of 1974's "The Carpet Crawlers" for inclusion on the 1999 Genesis greatest hits album, Turn It on Again: The Hits. The rest of the group recorded new parts as well, although they were not recorded together in the same studio.
In an April 2006 radio interview, Phil Collins discussed a band meeting that took place in November 2005. During that meeting, the group discussed the possibility of reuniting the classic mid-'70s roster for a limited run of shows, including a complete performance of the group's 1974 double album, The Lamb Lies Down on Broadway.[8] However, on October 18, 2006 it was announced that the post-Hackett lineup of Rutherford, Banks, and Collins were instead reforming.

Solo career
Hackett's first post-Genesis album was Please Don't Touch, released in 1978. As with Voyage of the Acolyte, much of the material on the album was in the style of progressive rock. It did contain, however, much more vocal work. Hackett, who had never sung lead on a Genesis song, turned over most of the vocals to a number of singers, including folk singer Richie Havens, R&B singer Randy Crawford, and Steve Walsh of Kansas. He did provide lead vocals for "Carry on Up the Vicarage," but they were processed using a "laughing gnome" vocal effect.[10] The album peaked at #38 on the UK charts and #103 on the Billboard Pop Albums chart in the United States.
A pair of progressive rock albums followed—1979's Spectral Mornings and 1980's Defector. They were both Top 40 albums in the UK, while they charted #138 and #144 in the United States, respectively. Hackett toured Europe for the first time as a solo act in 1979, and in August performed at the Reading Festival. The Defector tour brought him to the United States for the first time since his last tour with Genesis.
Hackett's first major shift in musical style came with 1981's Cured. Although the album contained some of the progressive and classical pieces for which Hackett was known, it also showcased a much more pop approach. The album was recorded without most of the musicians who had been on Hackett's solo albums since Spectral Mornings (Hackett handled all lead vocal duties). Only longtime collaborators Nick Magnus and John Hackett remained. While Cured did not chart highly in the U.S., it peaked at #15 in the UK, Hackett's highest charting yet.
In the 1980s, Hackett released his first classical guitar albums Bay of Kings and Momentum, which further enhanced his reputation. The tour for Momentum drew large crowds in Europe, considered unusual for a classical guitarist.
On the rock production side, Hackett's work in the 1980s involve the LPs Cured (1981), Highly Strung (1982) and Till We Have Faces (1984). In Highly Strung, more than a nuance of electronic sound appears, making the album unique and unrepeated in Hackett's production, and surely one of the most difficult to approach. Till We Have Faces merges Hackett style sounds with Brazilian percussion.
In 1986, Hackett formed the supergroup GTR with then-former Yes and Asia guitarist Steve Howe, and produced by Yes/Asia keyboardist Geoff Downes. The group released a gold-selling album. Hackett later left over financial and management squabbles. As well as Howe and Downes, Hackett has also worked with Yes drummer Bill Bruford in Genesis, Yes bassist Chris Squire (Chris Squire's Swiss Choir, 2007) and briefly Yes vocalist Trevor Horn (who produced the 1999 reunion version of "The Carpet Crawlers"). Hackett's long-time keyboadist, Julian Colbeck, played live with Yes spin-off Anderson Bruford Wakeman Howe.
Hackett's solo career continued, releasing a plethora of both electric and acoustic based albums throughout the 90s to the present day. One of his most memorable recordings was the neo-classical influenced A Midsummer Night's Dream, which showcases his guitar skills, accompanied by the Royal Philharmonic Orchestra.
Steve's younger brother John was involved as flute player and second guitarist in his 1970s bands, and has often appeared as musician and collaborator on his more recent work, particularly on Sketches of Satie (2000), arranged for flute and guitar.
Hackett is married to Brazilian painter and jewellery artist Kim Poor, who paints most of his album cove

rs. Her artwork for Voyage of the Acolyte won Album Cover of the Year 1976.

DISCOGRAPHY :

Albums

Group career (1970s)
with Quiet World (1970)
The Road (1970)
with Genesis (1970–77)
Nursery Cryme (1971)
Foxtrot (1972)
Genesis Live (1973)
Selling England by the Pound (1973)
The Lamb Lies Down on Broadway (1974)
A Trick of the Tail (1976)
Wind & Wuthering (1976)
Spot the Pigeon (EP, 1977)
Seconds Out (1977)
Three Sides Live (1982, appears on "It/Watcher of the Skies")
Genesis Archive 1967-75 (1998)
Turn it on Again: The Hits (1999, appears on "I Know What I Like (In Your Wardrobe)" and "The Carpet Crawlers 1999")
Genesis Archive 2: 1976-1992 (2000, appears on "Entangled (Live)," "It's Yourself," "Pigeons," and "Inside and Out")
The Platinum Collection (2004)
with GTR (1986–87)
GTR (1986)
King Biscuit Flower Hour (1997)
Greatest Hits Live (2003)
with Gordian Knot (2003)
Emergent (2003)

Solo career (1970s–present)
studio albums
Voyage of the Acolyte (1975; #26 UK, #191 US)
Please Don't Touch (1978; #38 UK, #103 US)
Spectral Mornings (1979; #22 UK, #138 US)
Defector (1980; #9 UK; #144 US)
Cured (1981; #15 UK, #169 US)
Highly Strung (1983)
Bay of Kings (1983)
Till We Have Faces (1984)
Momentum (1988)
Guitar Noir (1993)
Blues with a Feeling (1994)
Genesis Revisited (1996, Japan-only release)
Watcher of the Skies: Genesis Revisited (1997)
A Midsummer Night's Dream (1997)
Darktown (1999)
Sketches of Satie (2000)
Feedback 86 (2000)
Genesis Files (2002)
To Watch the Storms (2003)
Metamorpheus (2005)
Wild Orchids (2006)
Tribute (2008)
live albums
Time Lapse (1991)
There Are Many Sides to the Night (1995)
The Tokyo Tapes (1996)
Live Archive 70, 80, 90's (2001)
Live Archive 70s Newcastle (2001)
Somewhere in South America... (2002)
Hungarian Horizons (2002)
Live Archive NEARfest (2003)
Live Archive 03 (2004)
Live Archive 04 (2004)
Live Archive 05 (2005)
Live Archive 83 (2006)

compilations
The Unauthorised Biography (1992)
Soundtracks
Outwitting Hitler (2001, score to the Showtime documentary)