UGAR_LEMEZFORGATÓ 002 Metro: Egy este a Metro klubban 1970

A Metro a Népstadionban

Azokat a magyar lemezeket pakolom az ugar_lemezforgatóra, amik nicsenek a DEEZER zenetárában, ezért nem kerülhetnek be a válogatásokba, de a PATERNOSTER_MUSIC repertoárjából nem maradhatnak ki. PUNK_TUM

Kétségtelen, nem mérhető a Syrius ödögi álarcosbáljához, és kissé ingadozik a dalok színvonala, de szeretem.

METRO - EGY ESTE A METRO KLUBBAN 1970

...készült ez a felvétel szombar este, azok számára, akik kintrekedtek.
A oldal
Ha Júliát kérdeznék meg… (Sztevanovity Zorán/Sztevanovity Dusán) – 4:45
Hol az a hely? – 4:25
És közben szólt a Colt – 2:48
1x, 2x, 3x… – 2:24
Árva bárka – 3:48
Kócos ördögök (Sztevanovity Zorán/Sztevanovity Dusán) – 2:25

B oldal
Lóg a falon egy fekete kard – 4:23
Ha fánk vagy, örülj, hogy élsz – 4:02
Az én életrajzom – 4:48
Könnyűvérű lányok (Sztevanovity Zorán/Sztevanovity Dusán) – 3:55
A szívem hív, hív… (Fogarasi János/Brunner Győző) – 4:04


Fogarasi János – billentyűs hangszerek, vokál, Sztevanovity Dusán – ritmusgitár, Frenreisz Károly – ének, basszusgitár, Brunner Győző – dob, ütőhangszerek, Sztevanovity Zorán – ének, gitár

Inkább csak nosztalgia
Bónuszdalok a 2000-es CD kiadáson - 1967–1968-as kislemezdalok. Schöck Ottó és Sztevanovity Dusán szerzeményei, kivéve ahol a szerzők jelölve vannak.



Álmodozom a világról (Schöck Ottó/S. Nagy István/Sztevanovity Zorán) – 2:58
Végre itt van az óra (Sztevanovity Zorán/S. Nagy István) – 2:12
Bábel (Schöck Ottó/S. Nagy István) – 2:41
Egy kisfiú és egy kisleány (Sztevanovity Zorán/Sztevanovity Dusán) – 2:39
Azért is az égben járok – 3:22
Törött pohár – 3:22
Nem vagyok elveszett ember – 3:05
Dohányfüstös terem – 2:54
Pár csepp méz – 2:53

Sztevanovity Zorán – ének, gitár, Sztevanovity Dusán – ritmusgitár, vokál, Schöck Ottó – billentyűs hangszerek, Rédey Gábor – basszusgitár, vokál, Veszelinov András  – dob, ütőhangszerek, Frenreisz Károly – ének, basszusgitár, szaxofon, Brunner Győző – dob, ütőhangszerek

A Metro ötven éve rögzítette az első magyar koncertlemezt
Fél évszázada készült el az első magyar koncertlemez, a Metro együttes Egy este a Metro Klubban... című korongja. A jubileum alkalmából Sztevanovity Zorán és Dusán, valamint Frenreisz Károly idézte fel a lemez és a zenekar történetét.
...
A Metróval az évtized végére nagyon futott a szekér, 1969-ben megjelent a csapat stúdiólemeze is.
A zenekarnak fontos lett volna, hogy mielőbb újabb lemezük jelenjen meg, mert a koncertrepertoárjuk nem volt elég bő, nagyon kellettek az új dalok, de a hanglemezgyár csak később akart újabb Metro-stúdiólemezt kiadni – mondta Sztevanovity Dusán.
Mint Zorán felidézte, legtöbb daluk zeneszerzője, Schöck Ottó (ő írta az Ülök egy rózsaszínű kádban című slágert) 1970 elején kiszállt a Metróból, mert elege lett az állandó koncertezésből, a sok utazásból, helyét a jazz-színtér egyik elismert alakja és igen érdekes figurája, Fogarasi János vette át. Neki volt Magyarországon először saját Hammond-orgonája, ami a Metro számára új távlatokat nyitott. Ő játszotta a legfontosabb szerepet az Egy este a Metro Klubban… című lemez létrejöttében.
„Fogar a Filmgyárban dolgozott hangmérnökként, hozzá tudott férni stúdióminőségű magnóhoz, egy UHER készülékhez, ami elfért a Hammond tetején és képes volt profi sztereóhangzást biztosítani. Mikrofonokat is szerzett, ami nélkülözhetetlen volt a koncertfelvételhez” – jegyezte meg Zorán.
A koncertfelvétel 1970. május 30-án és 31-én, szombaton és vasárnap zajlott. Bár szó sem lehetett utókeverésről, mai füllel is jól szól az anyag. „Amikor az A oldallal végeztünk, átmentünk az emeleti irodába, visszahallgattuk a számokat, és ha hiba volt, újravettük azokat. A közönség tudta, hogy lemezfelvétel készül, nagyon együttműködően, aktívan állt a dologhoz” – mesélte az énekes.
...
Az Egy este a Metro Klubban… című lemezen hallható tizenegy szám egyike sem szerepelt korábbi Metro-lemezen. Eljátszották mások mellett a Hol az a hely, a Kócos ördögök, Az én életrajzom és a Könnyűvérű lányok című új dalt. A zene progresszívebb, mint az 1969-es Metro-lemez inkább bohókás számai, Dusán szövegei elmélyültebbek, komolyabb témákat érintenek.
„A zenekar útkereső időszakában volt, amit Fogar dzsesszes attitűdjével próbáltunk betölteni. A lemezre Karesz hét dalt írt, Zorán hármat, Fogar egyet” – idézte fel Dusán...

30-06-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1970-1959

Joe Henderson

30-06-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1970-1959 # Joe Henderson, Bobby Hutcherson, Big John Patton, Larry Young, Grant Green, John Coltrane, Kenny Burrell / Jimmy Smith, Dexter Gordon, Paul Chambers, The Joe Newman Quintet, The Curtis Fuller Sextette, Charlie Byrd Trio & Woodwinds

J A Z Z   M U S I C

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.JAZZ_line on deezer

JAZZ_line  The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.

1970-1959

Remarkable tenor saxophonist whose passionate ballad playing and often fiery solos made him one of the most influential tenors in jazz.
Joe Henderson
Black Narcissus (Joe Henderson)
Isotope (Joe Henderson)
from Power to the People 1970
This album (which has been included in Joe Henderson's complete, eight-CD Milestone Years box set) has quite a few classic moments. At that point in time, tenor saxophonist Henderson was a sideman with Herbie Hancock's Sextet, so Hancock was happy to perform as a sideman, doubling on piano and electric piano, with the all-star group, which also includes trumpeter Mike Lawrence, bassist Ron Carter and drummer Jack DeJohnette...

Daring jazz vibraphonist who expanded the instrument's role with speedy tempos and often dazzling harmonic maneuvers using four mallets. Easily one of jazz's greatest vibraphonists, Bobby Hutcherson epitomized his instrument in relation to the era in which he came of age the way Lionel Hampton did with swing or Milt Jackson with bop. He wasn't as well-known as those two forebears, perhaps because he started out in less accessible territory when he emerged in the '60s playing cerebral, challenging modern jazz that often bordered on avant-garde.
Bobby Hutcherson
Una Muy Bonita (Ornette Coleman)
Summer Nights (Bobby Hutcherson)
from Stick-Up! 1968
Hutcherson's originals (five out of six selections) show him at the top of his game as a composer, and the ensemble's playing is tight and focused throughout, but what really lifts Stick-Up! to the top tier of Hutcherson's discography is its crackling energy. It's quite possibly the hardest-swinging album he ever cut, and part of the credit has to go to the stellar rhythm section of McCoy Tyner on piano, Herbie Lewis on bass, and Billy Higgins on drums, who lay down a driving, pulsating foundation that really pushes Hutcherson and tenorist Joe Henderson... The lone non-Hutcherson piece, Ornette Coleman's sometimes overlooked "Una Muy Bonita," is given a fantastic, rollicking treatment as catchy as it is progressive, proving that the piece is a classic regardless of whether it's interpreted freely or with a steady groove and tonal center. Hutcherson's originals are uniformly strong and memorable enough to sit very well next to it, and that -- coupled with the energetic performances -- ranks Stick-Up! with Dialogue and Components as the finest work of Hutcherson's tenure at Blue Note.

John Patton, often known as Big John Patton, was one of Blue Note's busiest soul-jazz organists during the golden age of the Hammond B-3s. Between 1963 and 1970 Patton cooked up 11 albums' worth of material as a leader and sat in with a dizzying procession of skilled improvisers, and his best work has since been compared with that of tragically short-lived innovator Larry Young.
Big John Patton
Let 'Em Roll )Big John Patton)
Latona (Big John Patton)
The Turnaround (Hank Mobley)
from Let 'Em Roll 1967
In an unusual setting for a groove/soul jazz setting, B3 organist extraordinaire big John Patton creates a band around himself that includes Grant Green, drummer Otis Finch, and vibraphonist Bobby Hutcherson. It's truly weird to think of vibes on a groove date, but the way Patton's understated playing works, and the way Green is literally all things to all players, Hutcherson's role is not only a clearly defined one, but adds immeasurably to both depth and texture on this date. What also makes this possible is the symbiotic relationship between Patton and Green. There is a double groove conscious swing happening on every track here, from the bluesed-out slip and slide of the title track which opens the record to a killer version of Hank Mobley's "The Turnaround," which expands the blues vibe into solid soul territory because of Hutcherson's ability to play pianistically and slip into the funk groove whenever necessary. Green's deadly in his solo on the track, shimmering arpeggios through Patton's big fat chords and chunky hammering runs... Also notable are Patton's own tunes, the most beautiful of which is "Latona," a floating Latin number with a killer salsa rhythm in 6/8. As Patton vamps through the chorus, Green slips in one of his gnarliest solos ever. It begins with a groove like run in the hard bop blues and then shoves itself into overdrive, capturing the cold sweat of a Bola Sete or Wes Montgomery in his groove years. But when Green goes for the harmonic edges, all bets are off: Hutcherson lays out, and he and Patton go running to the bridge and bring the melody back just in time to take it out. This is one of the least appreciated of Patton's records, and there's no reason for it; it is great.

093 ALTER.NATION.MiX weekly favtraX 28-06-2020

ALTER.NATION #93

Jessie Ware, Gordi, Céu, Bananagun, Pottery, Khruangbin, Sports Team, The Rentals, Haim, Nadine Shah, Derrick Hodge, Art Feynman

weekly favtraX 
2 8 - 0 6 - 2 0 2 0

"O o h  L a  L a"

ALTER.NATION #93 on DEEZER

Mature pop artist whose soul-steeped voice has guided a handful of LPs to the Top Ten in her native U.K. An assortment of guest appearances and solo singles in the early 2010s situated Jessie Ware in a line of sophisticated U.K. soul and left-field luminaries ranging from Sade Adu, Lisa Stansfield, and Caron Wheeler to Tracey Thorn and Róisín Murphy. 
Jessie Ware - What's Your Pleasure? / Ooh La La
Rhapsodic dancefloor intimacy became a new specialization for Jessie Ware with "Overtime," the first in a wave of tracks the singer released from 2018 up to the June 2020 arrival of What's Your Pleasure?, her fourth album  ...recontextualize underground club music with as much might and finesse as anything by Róisín Murphy.

Lush, pastoral electro-acoustic pop from Australian singer/songwriter Sophie Payten. Melding lush electronics with moody acoustic songwriting, Gordi emerged from Australia with a series of original songs and covers in the mid-2010s.
Gordi - Our Two Skins / Sandwiches [Alfalfa Mix]
Three years after Gordi's full-length debut, Reservoir, landed in the Top 20 in her native Australia, songwriter Sophie Payten returns with a more personal follow-up, Our Two Skins. It was informed by a series of major life events that included coming to terms with her sexual identity, ending a relationship, and even finishing her years-long studies to become a doctor. Some of the related feelings of isolation -- especially regarding identity -- led her to track the album in a cabin with no phone reception, Wi-Fi, or modern plumbing at her parents' farm in her remote hometown. Not entirely self-recorded, however, she did collaborate with co-producers Chris Messina (Bon Iver, Big Red Machine) and Zach Hanson (Bon Iver, Hand Habits)...

São Paulo-born chanteuse with an alluring and organic fusion of bossa nova, R&B, and Brazilian pop. Céu proved to one of the more internationally appealing singers to break out of Brazil around the time of her 2005 debut, ultimately winning both Latin Grammy and Grammy nominations for Best New Artist and garnering interest across Europe, North America, and finally Asia.
Céu - APKÁ! / Forçar o Verão
APKA!'s title translates as a metalinguistic cry of unrestrained joy by Céu's youngest son. Though a more minimally produced effort than Tropix, the euphoric effect remains, given Céu's treatment of the material. She employs the same crew as last time -- guitarist Pedro Sa, co-producer keyboardist Hervé Salters, bassist Lucas Martins, and drummer/co-producer Pupilo...  "Forçar O Verão" emerges as a shock, with synths and vamping guitars (courtesy of guest Marc Ribot alongside Sa) weaves a new wave aesthetic (a la Ze Records) and also references Fear of Music-era Talking Heads with the lithe salaciousness in Céu's vocal.

Members of Parsnip and Frowning Clouds merge the vintage sounds of psychedelia, Afro-beat, and Tropicalia. Drawing heavily from vintage psychedelia including Tropicalia, '70s Afro-beat, and summery retro-pop, Bananagun emerged out of Melbourne, Australia, in the late 2010s.
Bananagun - The True Story of Bananagun / Bang Go The Bongos
Representing yet another vibrant hue of Melbourne's thriving psychedelic scene are Bananagun, a lively five-piece combo whose arrangements are woven with the sounds of vintage Tropicalia, Afrobeat, garage rock, and sunshine pop... Citing a disparate array of influences from tonsured garage maniacs the Monks and Brazilian pysch-pop pioneers Os Mutantes to '90s hip-hop, Van Bakel and his crew manage a remarkably cohesive, if somewhat busy collection that ultimately pleases. Given their inspirations, it's no surprise that Bananagun place a major emphasis on rhythm and percussion. Opener "Bang Go the Bongos" speaks for itself...

Freewheeling Montreal indie rockers who borrow from post-punk, psych-rock, country, and more. Montreal's Pottery take a freewheeling approach to indie rock that borrows from cult heroes like Devo, Orange Juice, and Josef K and mixes in bits of garage rock, psych-rock, country, and whatever else they see fit with abandon
Pottery - Welcome to Bobby's Motel / Under the Wires
...Musically, the Montreal quintet's first full-length is surprisingly cohesive, coalescing around sweaty punk-funk that owes a heavy debt to LCD Soundsystem, Gang of Four, and especially Talking Heads... Motel lacks in stylistic wandering, however, it more than makes up for in restless energy and tricky structures; songs such as "Under the Wires" are packed with sudden tempo shifts and busy breakdowns and fills... The way Pottery throw themselves completely into their music often has more in common with King Gizzard & the Lizard Wizard than most of their more detached post-punk-inspired peers...

Jet-setting Texas trio whose smooth, mainly instrumental music is heavily influenced by Thai rock and funk, among other styles. Khruangbin (Thai for airplane, or literally "engine fly") are a jet-setting trio from Texas whose smooth, groove-heavy music is heavily inspired by Thai rock and funk from the '60s and '70s, as well as a multitude of other influences ranging from surf rock to dub to Iranian pop.
Khruangbin - Mordechai / Time (You and I)
After Khruangbin released their second album, Con Todo el Mundo, in early 2018, the jet-setting Texan trio's music suddenly seemed to pop up everywhere, from play lists of many stripes to hip boutiques and eateries. Their uncategorizable but easily enjoyable blend of psych, funk, dub, and myriad other styles managed to find the right audience, and they sold out concerts left and right, while vinyl collectors fiended over limited pressings of their records... Mordechai contains vocals on nearly every song, and the group have much more to say this time around. "Time (You and I)," maybe their best song to date, reflects on a desire to build a future with someone, if only there was more time and the feeling was mutual. The sprawling disco beat and playful cadences make the song an easy party jam, but the lyrics' mixture of fantasy and invitation resonate harder than anything else they've written...

Founded at Cambridge, this indie rock band fuses energetic guitar rock with dry humor and playful arrogance. Playing energetic, guitar-based indie rock with a sharp but playful edge, Sports Team are a band from the North London community of Harlesden whose taut sound is matched to witty lyrics that celebrate flip phones, Ashton Kutcher, and tacky British seaside resorts.
Sports Team - Deep Down Happy / Stations Of The Cross
London-based six-piece Sports Team managed to generate excitement from their inception. Packing shows as students at Cambridge University, they quickly drew the interest of indie labels like Nice Swan with their muscular guitar hooks and point-blank, chant-along choruses about class division, demagogues, friends who change, friends who won't, and actor Ashton Kutcher... The album's length is just about right, going by in an efficient 36 minutes but feeling satisfying at the end, and while fans are bound to pick favorites, there's not a real dud in the bunch.

Initially a retro side-project from Matt Sharp's day job as bassist for Weezer, later one of the most enjoyable alternative bands of the late '90s.
The Rentals - Q36 / Forgotten Astronaut
...Sharp and friends have been exploring since the project began in the mid-'90s. With 16 songs and a lengthy running time, Q36 is epic in scale alone. With recurring themes of space travel and detours into science fiction territory, the album becomes even more fantastically epic... Q36 overflows with theatrical hooks, otherworldly concepts and the kind of brilliantly straightforward pop songwriting Sharp has perfected. It's a long album but stays on full power for its entirety, with the endlessly catchy songs of alien worlds standing as some of the brightest and strangest material the Rentals have ever delivered.

American sister act HAIM -- their name simply taken from the trio's surname -- formed in 2006 after spending their childhood as part of family cover band Rockinhaim. They grew up together in California's San Fernando Valley, where they were brought up listening to Joni Mitchell, the Beatles, Santana, and the sounds of Motown, to name a few of their diverse influences...
HAIM - Women In Music Pt. III / Up From A Dream
Dark events of the sisters’ recent past inform their revelatory third album on which garage and louche funk combine with west-coast rock... Haim’s third album retains some of their perpetual glide. But this is a set in which everyone is dancing with tears in their eyes, and one where Haim’s pat affiliation to 70s west coast truisms undergoes some interesting seepage. More so than ever before, Haim venture outside their musical Hotel California, with jazz saxophone and UK garage beats heading up a lively new intake of sounds. Intermittent blasts of lurid electric guitar – witness the chorusing riffola on All That Ever Mattered – are there to underline the trio’s allegiance to rock music... Stranger still, Up from a Dream galumphs like glam rock, but some hyper-processed machine variant, strafed by low-flying effects...

Born of Pakistani and Norwegian parentage, Whitburn, South Tyneside-based singer/songwriter Nadine Shah possesses a voice and more importantly, a mystique, that has often been described as a blend of PJ Harvey and Nick Cave.
Nadine Shah - Kitchen Sink / Ladies for Babies (Goats for Love)
The fourth long-player from the spell-casting English singer/songwriter, Kitchen Sink is aptly named, as Nadine Shah and longtime collaborator/producer Ben Hillier have crafted a wily and inventive collection of songs that pair astute social commentary with crisp, cosmopolitan arrangements drawing from a deep and intuitive arsenal of styles... Like its predecessor, the scathing "Ladies for Babies (Goats for Love)" is awash in wiggly beats, staccato horns, and flourishes of Tropicalia, with Shah's evocative lyrics and stately, confidant voice wryly and vividly parsing the relationship between sexism and fertility. Exploring the notion of what it means to be both a woman in your thirties and an outsider (Shah was born of Pakistani and Norwegian parentage), the sinewy title track's clanging guitars and strident piano mirror the narrator's insistence on combating cognitive bias with confidence -- it's a strut, not a sprint...

Philadelphia bassist who is equally adept on electric and upright instruments. He is a recording artist, film composer, and session musician.
Derrick Hodge - Color of Noize / The Cost
Color of Noize is at once the title of his third album and the name of his band, comprised of pianist/organist Jahari Stampley, keyboardist and synth player Michael Aaberg, drummers Mike Michell and Justin Tyson, and DJ Jahi Sundance on turntables. Hodge plays bass, guitar, keys, and sings. He co-produced the set with Don Was... Color of Noize is the first time Hodge has worked with an outside producer. Cut live in studio, his musicians encountered the music only when they were about to record it; improvised moments are abundant here. Hodge doesn't meld genres, he blurs them in an exotic, resonant, uplifting music of his own. Groove and flow become multivalent expressions of a single creative voice through instrumental hip-hop, contemporary jazz, indie rock, and soul; they emerge to offer emotional depth and spiritual heft.
"The Cost" opens with sampled, fragmented voices hovering above fretless bass, turntables, reverb, wafting organ, and lithe piano, grooving through the studio haze in a thunderous crescendo with lightning-fast breaks and vamps that bind them...

Animist musician and alter ego of indie singer/songwriter Luke Temple (Here We Go Magic). Around the time he switched coasts and settled down in Northern California in 2016, visual artist and indie singer/songwriter Luke Temple (Here We Go Magic) adopted the persona of animist musician Art Feynman.
Art Feynman - Half Price at 3:30 / Night Flower
The second album by Luke Temple alter ego Art Feynman, Half Price at 3:30, follows Temple's sixth long-player under his own name, 2019's Both-And. Whereas his main solo releases sometimes venture into purer acoustic folk, his output as Feynman has remained in a trippy, ethereal, electro-acoustic territory that often moves seamlessly between structured song and something more improvisatory. There is definitely some stylistic overlap between the two catalogs, however, at least to the outside ear...

Jessie Ware, Gordi, Céu, Bananagun, Pottery, Khruangbin, Sports Team, The Rentals, Haim, Nadine Shah, Derrick Hodge, Art Feynman

05-06-2020 BLUES:MiX # 33 blues(y) songs from the BLUES circle 1973-1964

FREE

05-06-2020 BLUES:MiX # 33 blues(y) songs from the BLUES circle 1973-1964 # Free, Long John Baldry, Ten Years After, Fleetwood Mac, Otis Spann with Fleetwood Mac, B.B. King, Canned Heat, J.B. Lenoir, Howlin' Wolf, The Rolling Stones

B L U E S    M U S I C

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BLUES_circle The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza. 

1973-1964

Free helped lay the foundations for the rise of hard rock, stripping the earthy sound of British blues down to its raw, minimalist core to pioneer a brand of proto-metal later popularized by 1970s superstars like Foreigner, Foghat and Bad Company. 

Free 

Heartbreaker (Paul Rodgers) 6:13

Seven Angels (Paul Rodgers) 5:04

from Heartbreaker 1973

The final Free album, Heartbreaker was patched together from a variety of sessions -- and it often sounds like it. Aside from drummer Simon Kirke and singer-guitarist Paul Rodgers, the band was in fragments. Lead guitarist Paul Kosoff -- who was suffering from the drug demons that would eventually kill him -- appears on only half of the album, and it certainly takes away some of the communal vibe that Free was all about. There are some great moments... The rest of the record is by no means filler, but only proves what a great band Free was, even if their ranks had dwindled.

R&B-and-blues drenched British pop singer of the 1960s of imposing stature... As a historical figure, he has undeniable importance. When he began singing as a teenager in the 1950s, he was one of the first British vocalists to perform folk and blues music. 

Long John Baldry 

You Can't Judge a Book 4:21

Hambone 4:02

Jubilee Cloud 4:16

from Everything Stops For Tea 1972

Like its companion It Ain't Easy, the second half of Long John Baldry's early-'70s comeback Everything Stops for Tea initially attracted the most attention via its producers, former Baldry sidemen Elton John and Rod Stewart... With Baldry's musical tastes now drawing folkier textures into his blues (and eschewing the big ballad pop altogether), it's a varied and oft-times eclectic collection. But the strength of Baldry's performance smooths over any rough edges that might have tripped other singers and, though It Ain't Easy remains the superior of these two albums, this one really isn't that far behind it.

Hard-rocking British blues band led by virtuosic guitarist Alvin Lee... A storming blues and boogie band from the U.K., Ten Years After rocketed from modest success to worldwide fame in the wake of their performance at the Woodstock Rock Festival in 1969, where their nine-minute rendition of "I'm Going Home" showed off the lightning-fast guitar work and howling vocals of Alvin Lee, the unrelenting stomp of bassist Leo Lyons and drummer Ric Lee, and the soulful support of keyboard man Chick Churchill.

Ten Years After 

One of These Days (Alvin Lee) 5:58

Baby Won't You Let Me Rock 'N' Roll You (Alvin Lee) 2:14

Let the Sky Fall (Alvin Lee) 4:20

Uncle Jam (Chick Churchill / Alvin Lee / Ric Lee / Leo Lyons) 2:00

from A Space in Time 1971

A Space in Time was Ten Years After's best-selling album...  TYA's first album for Columbia, A Space in Time has more of a pop-oriented feel than any of their previous releases had. The individual cuts are shorter, and Alvin Lee displays a broader instrumental palette than before. In fact, six of the disc's ten songs are built around acoustic guitar riffs. However, there are still a couple of barn-burning jams. The leadoff track, "One of These Days," is a particularly scorching workout, featuring extended harmonica and guitar solos... Many of the cuts make effective use of dynamic shifts, and the guitar solos are generally more understated than on previous outings. The production on A Space in Time is crisp and clean, a sound quite different from the denseness of its predecessors...

PnM:MiX a dozen bestofs from Pitchfork's "best new track" of 2020 so far

12 bestofs from Pitchfork's "best new track" in 2020 so far

Fiona Apple - Cosmonauts
In an interview with Vulture’s Rachel Handler, Fiona Apple explained that “Cosmonauts”—a standout from her long-awaited fifth album Fetch the Bolt Cutters—was originally intended for Judd Apatow’s 2012 film This Is 40. Apatow asked her to write a song about two lovebirds who would be together forever. “That’s not really a song I’m equipped to write because I don’t know if I want to be together with anybody forever,” she said. “I guess that’s why I interpreted it as like, ‘It’s going to be you and me in this little vessel by ourselves in space, except it’s going to weigh a lot more, and you’re going to really get on my nerves."

Earl Sweatshirt - WHOLE WORLD feat. Maxo
In his most recent releases as Earl Sweatshirt, Thebe Kgositsile pondered death. “WHOLE WORLD,” one of two new songs featured on forthcoming vinyl pressings of his last project, Feet of Clay, finds Kgositsile reckoning with entropy’s slow approach. By contemplating personal loss as well as the world’s degeneration, he becomes both a gravedigger and an enemy of the state. “My effervescence lost, but not entirely, I shrug the venom off/And kept a tiny piece for times we in a war,” he raps...

Porridge Radio - Sweet
A gift exchange between a mother and daughter is at the center of “Sweet,” the fourth single from Porridge Radio’s upcoming second album Every Bad. The gift is small—a light-up novelty pen—and the transaction is awkward... Their songs are confessional, but without the meandering of a diary entry, made up of focused phrases rather than cluttered explanations....

Waxahatchee - Lilacs
Katie Crutchfield’s songs were once built for small spaces. She wrote her 2012 debut as Waxahatchee while snowed in at her parents’ home, and its sparse, self-recorded songs seemed designed to fill those intimate contours. And while her music has expanded far beyond, her upcoming fifth album, Saint Cloud, guides her toward even more open territory. “Lilacs,” the second single, is a folk song at heart...

Phoebe Bridgers - Garden Song
“Garden Song” is an understated rumination on lost time and complicated nostalgia that features a video that opens with her ripping a bong in a bedroom. “When I grow up, I’m gonna look up from my phone and see my life,” she sings, noting that she is none the wiser in this vision of the future...

Jessie Ware - Spotlight
Jessie Ware has always retained the spirit of an underdog. A powerful vocalist who could outsing most of her “alternative-soul” peers but declined to chase trends for the sake of a hit, Ware hit a career snag after her third album Glasshouse did disappointing numbers... Luckily, Ware didn’t heed her mother’s advice. “Spotlight”—the latest single from her forthcoming album What’s Your Pleasure?—begins with a sweeping orchestra that hints at adult-contemporary balladry before slipping into an understated boogie pocket. It drips with the hallmarks of a long-lost city pop classic; Ware’s sultry vocals, nearly a whisper, float atop beds of string flourishes and synthesizer swells courtesy of Simian Mobile Disco’s James Ford...

Blake Mills - Vanishing Twin
...“Vanishing Twin,” the first cut from Mills’ forthcoming LP Mutable Set, lands between the aquatic layers of Look and his earlier two solo albums of singer-songwriter material. Though Mills co-wrote the song with Cass McCombs, its individual pieces—hushed murmurs, a fluid little melody, airy swipes of strings and sax—bear Mills’ subtle touch and even keel...

Kate NV - Sayonara
...For the follow-up to для FOR, her forthcoming LP Room for the Moon, she has reassessed the capabilities of her own voice, a careening and playful tool that previously fueled the Japanese city pop-inspired arrangements on her debut with heady dopamine rushes... While the chattering, spliced voices that bubbled up on для FOR between stretches of Buchla arrangements were more adornments than focal points, on “Sayonara,” the first single from her latest album, Shilonosova’s voice radiates brightly and takes surprising, sharp leaps that resemble a swooning Kate Bush. “Sayonara” is still cut through with Shilonosova’s precise touch, meticulously unfolding over angular guitar, tapping drums, and an imposing bassline...

Nick Hakim - QADIR
Death is inevitable. This is the argument that was put forth by some as reason enough to halt the social distancing measures put in place to quell the spread of coronavirus. Wouldn’t it be better to get it over with now, they ask—to cull the weak so that those left alive might thrive?... Nick Hakim’s new single “QADIR” is named for his late friend, Qadir Imhotep West, who passed away in 2018 at age 25 and whose childhood portrait graces the cover. Over the span of seven and a half minutes, Hakim constructs a monument of sonics for his departed friend, building it with reverberant drums and peals of keyboard and flute...

Standing on the Corner - Angel
Standing on the Corner are fastidious collagists at heart; the Brooklyn experimental ensemble stitches together far-flung samples, jazz instrumentation, and hip-hop beats into warped freeform suites. “Angel,” a punch-drunk interplanetary transmission anchored by a swooning, dazed vocal performance from the group’s architect Gio Escobar, is their first new single since 2017’s Red Burns...

Kareem Ali - Night Echoes
Phoenix, Arizona isn’t known for being a hotbed of electronic music, but that hasn’t held back Kareem Ali. Ali’s productions bring together the futurist yearning of classic Detroit techno and the sentimental moods of true deep house, with forays into ambient, broken beat, and drum’n’bass... Like the best house productions, it’s dead simple. The core of the track is a one-bar loop of what might be R&B; the words are indistinct, chopped up in a way that seems to create a new, phantom word out of the two ends of a truncated sample.

India Jordan - For You
...The title track from For You, their upcoming EP, is a perpetual motion machine powered by choppy disco cuts. Loose vocal threads—a refrain here, a passing phrase there—intertwine in a lattice of gleaming, high-tempo filter house. It evokes the raw ecstasy of the Roulé days of yore, making it all too easy to shut your brain off and let that looped sample deliver hit after hit of much-needed dopamine...