17-12-2020 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1972-1977 >>Chick Corea, King Crimson, Mahavishnu Orchestra, Gentle Giant, Mikael Ramel, Grateful Dead, Neil Young, Tom Waits, Pat Metheny, Talking Heads, The Clash<<
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Talented pianist who has a wide palate of influences but was highly important in early fusion and jazz-rock. A masterful jazz pianist, Chick Corea is a celebrated performer whose influential albums have found him exploring harmonically adventurous post-bop, electric fusion, Latin traditions, and classical.
Arguably the definitive exponents of British progressive rock, spurred on by Robert Fripp's innovative guitar work. If there is one group that embodies progressive rock, it is King Crimson. Led by guitar/Mellotron virtuoso Robert Fripp, during its first five years of existence the band stretched both the language and structure of rock into realms of jazz and classical music, all the while avoiding pop and psychedelic sensibilities. The absence of mainstream compromises and the lack of an overt sense of humor ultimately doomed the group to nothing more than a large cult following, but made their albums among the most enduring and respectable of the prog rock era.
Led by guitarist John McLaughlin, a band whose sophisticated improvisations and high-powered music helped pioneer the jazz-rock fusion of the '70s. One of the premiere fusion groups, the Mahavishnu Orchestra were considered by most observers during their prime to be a rock band, but their sophisticated improvisations actually put their high-powered music between rock and jazz. Founder and leader John McLaughlin had recently played with Miles Davis and Tony Williams' Lifetime. 
Acclaimed British progressive rock band noted for their meld of hard rock with classical music and medieval approach to singing. Formed at the dawn of the progressive rock era in 1969, Gentle Giant seemed poised for a time in the mid-'70s to break out of its cult-band status... Somewhat closer in spirit to Yes and King Crimson than to Emerson, Lake & Palmer or the Nice, their unique sound melded hard rock and classical music, with an almost medieval approach to singing.
Mikael Ramel comes from a famous musical family, his father Povel Ramel being one of Sweden's most beloved artist of all time. In the early to mid sixties Mikael was a member of Steampacket, who recorded several singles during the decade.
Legendary Haight-Ashbury sextet who took a long, strange trip from acid-testing jugband to worldwide countercultural institution.
Eternally restless figure who pursued an idiosyncratic solo career touching on everything from noise-rock and synth pop to blues and rockabilly.
A neo-beatnik songwriter who grew weirder and wilder in the '80s, earning a cult following that only grew larger as the years passed.
Guitar virtuoso whose accessible, original style and extraordinary sense of technique bridged the gap between jazz and rock.
One of the most acclaimed bands of the post-punk era, a vision of innovative art-pop featuring David Byrne's manic yelp over tight R&B grooves.
The best and most accomplished punk band, critically important provocateurs influenced by reggae, rockabilly, and blues.
favtraxmix label The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.
1972-1977
Return to Forever (Chick Corea)
What Game Shall We Play Today? (Chick Corea / Neville Potter)
from Return to Forever 1972
The legendary first lineup of Chick Corea's fusion band Return to Forever debuted on this classic album (titled after the group but credited to Corea), featuring Joe Farrell on soprano sax and flute, the Brazilian team of vocalist Flora Purim and drummer/percussionist Airto Moreira, and electric bass whiz Stanley Clarke. It wasn't actually released in the U.S. until 1975, which was why the group's second album, Light as a Feather, initially made the Return to Forever name. Nonetheless, Return to Forever is every bit as classic, using a similar blend of spacy electric-piano fusion and Brazilian and Latin rhythms. It's all very warm, light, and airy, like a soft breeze on a tropical beach...
Larks' Tongues in Aspic, Pt. 1 (Bill Bruford / David Cross / Robert Fripp / Jamie Muir / John Wetton)
Book of Saturday (Robert Fripp / Richard Palmer-James / John Wetton)
Exiles (David Cross / Robert Fripp / Richard Palmer-James)
from Larks' Tongues In Aspic 1973
King Crimson reborn yet again -- the then-newly configured band makes its debut with a violin (courtesy of David Cross) sharing center stage with Robert Fripp's guitars and his Mellotron, which is pushed into the background. The music is the most experimental of Fripp's career up to this time -- though some of it actually dated (in embryonic form) back to the tail-end of the Boz Burrell-Ian Wallace-Mel Collins lineup. And John Wetton was the group's strongest singer/bassist since Greg Lake's departure three years earlier. What's more, this lineup quickly established itself as a powerful performing unit, working in a more purely experimental, less jazz-oriented vein than its immediate predecessor. "Outer Limits music" was how one reviewer referred to it, mixing Cross' demonic fiddling with shrieking electronics, Bill Bruford's astounding dexterity at the drum kit, Jamie Muir's melodic and usually understated percussion, Wetton's thundering yet melodic bass, and Fripp's guitar, which generated sounds ranging from traditional classical and soft pop-jazz licks to hair-curling electric flourishes.
Birds of Fire (John McLaughlin)
Miles Beyond (John McLaughlin)
from Birds Of Fire 1973
Emboldened by the popularity of Inner Mounting Flame among rock audiences, the first Mahavishnu Orchestra set out to further define and refine its blistering jazz-rock direction in its second -- and, no thanks to internal feuding, last -- studio album. Although it has much of the screaming rock energy and sometimes exaggerated competitive frenzy of its predecessor, Birds of Fire is audibly more varied in texture, even more tightly organized, and thankfully more musical in content. A remarkable example of precisely choreographed, high-speed solo trading -- with John McLaughlin, Jerry Goodman, and Jan Hammer all of one mind, supported by Billy Cobham's machine-gun drumming and Rick Laird's dancing bass -- can be heard on the aptly named "One Word," and the title track is a defining moment of the group's nearly atonal fury...
Playing the Game (Kerry Minnear / Derek Shulman / Ray Shulman)
Cogs in Cogs (Kerry Minnear / Derek Shulman / Ray Shulman)
No God's a Man (Kerry Minnear / Derek Shulman / Ray Shulman)
from The Power And The Glory 1974
...When asked where he thinks ‘The Power and the Glory’ sits in the catalog of 11 albums Gentle Giant released in their 10-year existence, Derek pets his beard with the back of his hand, gazes out a second and says, "I think it’s part of the culmination of what Gentle Giant had become. A band has to go through the same processes as a person. A band is born, has a childhood and then goes into adulthood. I think we became an adult on ‘The Power and the Glory’. It was Gentle Giant becoming adults and the culmination of the best of our musicianship coming together as a band; it was a golden period for the band. Not to say any period before or after was better or worse, but it was a good period in being creative musically while gaining fan acceptance."...
Tema fr. helgen
Extra Vagansa
Burning Grass
from Extra Vagansa 1974
When they broke up Mikael became a solo artist, and in 1967 he made a single called "This is Our Family/Lovin´Enemy" together with his close friend Michel B. Tretow. They were both very interested in recording engineering, and Tretow later on became an internationally renowned engineer.
In the early seventies Mikael Ramel became a member of the Scandinavian progressive jazz/rock group Fläsket Brinner. He is featured on their double album "Fläsket".
He made several records during the 70's, 80's, 90's. His latest album was released in 2005.
Help on the Way/Slipknot! (Jerry Garcia / Keith Godchaux / Robert Hunter / Bill Kreutzmann / Phil Lesh)
King Solomon's Marbles (Jerry Garcia / Mickey Hart / Robert Hunter / Bill Kreutzmann / Phil Lesh)
Blues for Allah (Jerry Garcia / Donna Jean Godchaux / Keith Godchaux / Mickey Hart / Robert Hunter / Bill Kreutzmann / Phil Lesh / Bob Weir)
from Blues For Allah 1975
The Grateful Dead went into a state of latent activity in the fall of 1974 that lasted until the spring of the following year when the band reconvened at guitarist/vocalist Bob Weir's Ace Studios to record Blues for Allah. The disc was likewise the third to be issued on their own Grateful Dead Records label. When the LP hit shelves in September of 1975, the Dead were still not back on the road -- although they had played a few gigs throughout San Francisco. Obviously, the time off had done the band worlds of good, as Blues for Allah -- more than any past or future studio album -- captures the Dead at their most natural and inspired...
Separate Ways
Homegrown
from Homegrown 1975
Back in the spring of 1975, Neil Young planned to release Homegrown, an album he completed at the start of the year, but he also had Tonight's the Night -- a rambling, heavy record cut back in 1973 -- ready to go. After playing the two albums back to back for a small circle of friends, Young opted for Tonight's the Night and shelved Homegrown for the better part of 45 years... some of the album cut a little too close to the bone, revealing a little too much of the dissolution of his romance with Carrie Snodgress, so he pushed it away.
Like all heartaches, this pain diminished over the years, and by 2020, Young was ready to unveil Homegrown as part of his ongoing Archives series. Heard as its own distinct work, Homegrown is indeed emotionally candid, but it's also warm, funny, stoned, and spooky...
Step Right Up (Tom Waits)
The Piano Has Been Drinking (Not Me) (Tom Waits)
Invitation to the Blues (Tom Waits)
from Small Change 1976
The fourth release in Tom Waits' series of skid row travelogues, Small Change proves to be the archetypal album of his '70s work. A jazz trio comprising tenor sax player Lew Tabackin, bassist Jim Hughart, and drummer Shelly Manne, plus an occasional string section, back Waits and his piano on songs steeped in whiskey and atmosphere in which he alternately sings in his broken-beaned drunk's voice (now deeper and overtly influenced by Louis Armstrong) and recites jazzy poetry. It's as if Waits were determined to combine the Humphrey Bogart and Dooley Wilson characters from Casablanca with a dash of On the Road's Dean Moriarty to illuminate a dark world of bars and all-night diners... If you like it, you also will like the ones before and after; otherwise, you're not Tom Waits' kind of listener.
Bright Size Life (Pat Metheny)
Missouri Uncompromised (Pat Metheny)
Omaha Celebration (Pat Metheny)
from Bright Size Life 1976
Pat Metheny's debut studio album is a good one, a trio date that finds him already laying down the distinctively cottony, slightly withdrawn tone and asymmetrical phrasing that would serve him well through most of the swerves in direction ahead. His original material, all of it lovely, bears the bracing air of his Midwestern upbringing... Besides being Metheny's debut, this LP also features one of the earliest recordings of Jaco Pastorius, a fully formed, well-matched contrapuntal force on electric bass, though content to leave the spotlight mostly to Metheny. Bob Moses, who like Metheny played in the Gary Burton Quintet at the time, is the drummer, and he can mix it up, too.
Uh-Oh, Love Comes to Town (David Byrne)
New Feeling (David Byrne)
Tentative Decisions (David Byrne)
Psycho Killer (David Byrne / Chris Frantz / Tina Weymouth)
from Talking Heads: 77 1977
Though they were the most highly touted new wave band to emerge from the CBGB's scene in New York, it was not clear at first whether Talking Heads' Lower East Side art rock approach could make the subway ride to the midtown pop mainstream successfully. The leadoff track of the debut album, Talking Heads: 77, "Uh-Oh, Love Comes to Town," was a pop song that emphasized the group's unlikely roots in late-'60s bubblegum, Motown, and Caribbean music. But the "Uh-Oh" gave away the group's game early, with its nervous, disconnected lyrics and David Byrne's strained voice. All pretenses of normality were abandoned by the second track, as Talking Heads finally started to sound on record the way they did downtown: the staggered rhythms and sudden tempo changes, the odd guitar tunings and rhythmic, single-note patterns, the non-rhyming, non-linear lyrics that came across like odd remarks overheard from a psychiatrist's couch, and that voice, singing above its normal range, its falsetto leaps and strangled cries resembling a madman trying desperately to sound normal...
Janie Jones (Mick Jones / Joe Strummer)
I'm So Bored with the U.S.A. (Mick Jones / Joe Strummer)
Hate & War (Mick Jones / Joe Strummer)
from The Clash 1977
Never Mind the Bollocks may have appeared revolutionary, but the Clash's eponymous debut album was pure, unadulterated rage and fury, fueled by passion for both rock & roll and revolution. Though the cliché about punk rock was that the bands couldn't play, the key to the Clash is that although they gave that illusion, they really could play -- hard. The charging, relentless rhythms, primitive three-chord rockers, and the poor sound quality give the album a nervy, vital energy. Joe Strummer's slurred wails perfectly compliment the edgy rock, while Mick Jones' clearer singing and charged guitar breaks make his numbers righteously anthemic... Rock & roll is rarely as edgy, invigorating, and sonically revolutionary as The Clash.
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