"This disc is nothing less than the completion Music not only a group but also of an era. " SPOOKY TOOTH
"The Mirror" 1974
He, it is often found in stores sales, in an ugly cover and more or less on "best-of Spooky Tooth." I think I discovered this disc with a nasty compilation "Editions Atlas, but to shit pressings of this disc are legion.
The right format, one that makes his soul to this disc, is more rare. Especially it must be inflated to begin to speak of Spooky Tooth, passing alongside the first album. It is true that "Spooky Two" from 1969 was the first music CD "smart" that fascinates me I was very young. 
But the force of electricity attracts me to this wild fire ship, coda of a prodigious group in the confusion of an impending separation, recorded one of his best records.
For "The Mirror" is a nugget. Often used as a band at a discount, it is one of the masterpieces of the English original quintet, founded in 1967 on the ashes of a group called rythm'n'blues VIPs, who lives in his move ranks some Keith Emerson, who became famous later in the form of initials: ELP.
In 1974, the situation is Spooky Tooth not obvious, but could be worse. Indeed, the group split in 1970 after the magnificent "The Last Puff." Mike Harrison, the singer with a deep voice, and Mike Kellie, drummer hits the magic (his game fascinates me every time I listen I think I listen to "Witness" in abundance just to beat this fabulous), reform Spooky Tooth hoping to surf on a past success rather promising in the USA and UK not yet disappeared.
group enlisted the former guitarist ... Johnny Hallyday, a Mick Jones, to reform the band, along with keyboard background: Gary Wright. Pillar of its Spooky Tooth, it is part of the trio of Organists recognizable among all, alongside Jon Lord and Keith Emerson .... And then Brian Auger, but that's to please me.
short, Spooky Tooth on the road again in 1972, and finds his fortune in the USA thanks to two fine discs: "You Broke My Heart .... So I Busted Your Jaw "in 1972, and" Witness "in 1973. But the waltz musicians from Spooky Tooth is a constant, therefore, there is movement in 1974.
Mike Harrison, in particular, made known his desire to leave the group. But contrary to what the different historical group willing to teach you, the genesis of this record was complex. Mick Jones is on guitar, Gary Wright on keyboards, Mike Kellie on drums (mmmhhh! This rate compact, thick, that feeling ...) replaced for the tour by Graham Bryson. Val Burke brings a monstrous bass, heavy, fat sound, the first since Greg Ridley in 1969, left in Humble Pie.
And so there is Mike Patto on vocals. Patto is a magnificent singer, straight out of a wonderful group of jazz-rock heavy-name .... Patto, and counted in its ranks the wonderful Ollie Halsall on guitar. And this beautiful
union will not give a dull and turgid disk. No, Spooky Tooth gets rid of its progressive effects, and decides focusing on a heavy-rock near Deep Purple.
And Deep Purple, mixed with English progressive blues, jazz, progressive rock type Patto, funk and heavy, it gives "The Mirror".
This disc is nothing less than the completion of music, not just one group, but also of an era.
"Satisfiable Fantasy" begins with a big heavy riffs, powerful rhythm section continued with a incredible, compact, precise. The Hammond organ grater space, supporting the Les Paul Jones. The low, sustained, sound swells. Gary Wright sings, and quite well. Her melodic voice announcement, but more viciously, singers of the caliber of Steve Perry of Journey, period hard-FM in the late 70s.
Bridge hovering mid-heavy took away the pressure, and recalls how Spooky Tooth is since 1968 in the crossroads between heavy and progressive rock-music .. A pioneer in the sum of genres.
A title, "Two Time Love" is an amazing heavy-funk. At the time, many groups immersed in the bath of the soul music, especially after the shock, "Superstition" from the album "Innervisions" by Stevie Wonder. Except that
Spooky Tooth is not the type to follow the wind. The bass is heavy, powerful, roaring, stuck on a perfect beat, but totally original, as is that of Mike Kellie, and that man has always had this groove since the late 60s. The Hammond Wright debate roars on, heavy, menacing. The guitar is back, as if to prove that one knows groove in Albion, but unlike the Motown sound, we do not hesitate to elbow. The voice of Mike Patto is brilliant, roaring, sometimes wry, nasal. This man had an incredible talent, able to sing anything with a brilliantly unconventional. Add to that her voice blends perfectly with that of Wright, what makes a good point about the chorus. Strangely, this song goes regular editions, which is, pardon the expression, a monumental stupidity.
"Kyle" is more romantic. This is the title that makes the show less personality. Although this ballad is of good quality, it adds nothing more to the discography of Spooky Tooth. This is probably one of a small pleasure of Gary Wright, and an attempt to hang the U.S. radio. However, the vocal harmonies on the chorus is a small delight.
"Woman and Gold 'hums in a funky bass, but so wild and chaotic that we do not suspect any influence studio soul. Mick Jones scrapes the tree. It is crazy how this boy was a hugely fat and powerful, like a Leslie West, he meets with elsewhere in the Leslie West Band in 1976 (super hard my friends!). And that and even more surprising than Johnny Foreigner or is this aggressiveness will seek in vain. Probably a hiatus of miraculous freedom. Still, this good powerful song, with progressive springs simply announces the nuggets coming.
"Higher Circles" is a marvel that begins softly before plunging into the depths of the Les Paul Jones. But what I love is these bridges Hammond in almost cosmic distressing, which bounce the song into another dimension.
"Hell Or High Water" is a funk-rock fashion, which connects the ambient funk and rock music of Peter Frampton, including the talk-box flying over the Introit. Only now, it's Mike Patto who sings, and the melodic side is silly largely avoided, and into a powerful chorus, soaked Hammond Black and Les Paul Custom fat. The chorus is simply unstoppable, despite the delightfully old-fashioned psychedelia of the refrain: "I Chase Rainbows In The Dark". The choirs are perfect, and finally, the talk box is a bit redundant.
"I'm Alive" is the song Hard Rock has the lock on the car radio when one bar on holiday, or when fleeing a painful breakup. Everything is impeccable: the guitar riff, the chorus of electric piano, rhythm. Rest the voice, that of Wright, who had been entrusted to Mike Patto, more expressive, more aggressive. Nevertheless, "I'm Alive" listened dozens of times without tiring, especially with his lyrical coda.
When the first chords acoustic "The Mirror" ring out, you enter another dimension. There are few agreements Synthesizer which could be confusing, but you are good with a great title. It's kind of morbid ballad, melancholy, cold, strange. Wright and Patto alternate singing on agreements surreal keyboards and acoustic guitar. The choirs challenge, almost reassuring, but when he looks in the mirror, he seeks the light, seeming to see her, in vain.
"The Hoofer" solves nothing, leaving doubt behind this cynical chorus. He concludes the disc as a parenthesis. It seems that Spooky Tooth has not said everything.
time remains SUPEN. The band reformed, but Mike Harrison returned to singing, the blues has taken place the lyrical soul-jazz-progressive.
no evil, because a concert by Spooky Tooth's better than a concert by Johnny, and that, I do promise. When I look in the mirror.
all rights reserved
"The Mirror" 1974
He, it is often found in stores sales, in an ugly cover and more or less on "best-of Spooky Tooth." I think I discovered this disc with a nasty compilation "Editions Atlas, but to shit pressings of this disc are legion.
The right format, one that makes his soul to this disc, is more rare. Especially it must be inflated to begin to speak of Spooky Tooth, passing alongside the first album. It is true that "Spooky Two" from 1969 was the first music CD "smart" that fascinates me I was very young. But the force of electricity attracts me to this wild fire ship, coda of a prodigious group in the confusion of an impending separation, recorded one of his best records.
For "The Mirror" is a nugget. Often used as a band at a discount, it is one of the masterpieces of the English original quintet, founded in 1967 on the ashes of a group called rythm'n'blues VIPs, who lives in his move ranks some Keith Emerson, who became famous later in the form of initials: ELP.
In 1974, the situation is Spooky Tooth not obvious, but could be worse. Indeed, the group split in 1970 after the magnificent "The Last Puff." Mike Harrison, the singer with a deep voice, and Mike Kellie, drummer hits the magic (his game fascinates me every time I listen I think I listen to "Witness" in abundance just to beat this fabulous), reform Spooky Tooth hoping to surf on a past success rather promising in the USA and UK not yet disappeared.
group enlisted the former guitarist ... Johnny Hallyday, a Mick Jones, to reform the band, along with keyboard background: Gary Wright. Pillar of its Spooky Tooth, it is part of the trio of Organists recognizable among all, alongside Jon Lord and Keith Emerson .... And then Brian Auger, but that's to please me. short, Spooky Tooth on the road again in 1972, and finds his fortune in the USA thanks to two fine discs: "You Broke My Heart .... So I Busted Your Jaw "in 1972, and" Witness "in 1973. But the waltz musicians from Spooky Tooth is a constant, therefore, there is movement in 1974. Mike Harrison, in particular, made known his desire to leave the group. But contrary to what the different historical group willing to teach you, the genesis of this record was complex. Mick Jones is on guitar, Gary Wright on keyboards, Mike Kellie on drums (mmmhhh! This rate compact, thick, that feeling ...) replaced for the tour by Graham Bryson. Val Burke brings a monstrous bass, heavy, fat sound, the first since Greg Ridley in 1969, left in Humble Pie. And so there is Mike Patto on vocals. Patto is a magnificent singer, straight out of a wonderful group of jazz-rock heavy-name .... Patto, and counted in its ranks the wonderful Ollie Halsall on guitar. And this beautiful union will not give a dull and turgid disk. No, Spooky Tooth gets rid of its progressive effects, and decides focusing on a heavy-rock near Deep Purple.
And Deep Purple, mixed with English progressive blues, jazz, progressive rock type Patto, funk and heavy, it gives "The Mirror". This disc is nothing less than the completion of music, not just one group, but also of an era.
"Satisfiable Fantasy" begins with a big heavy riffs, powerful rhythm section continued with a incredible, compact, precise. The Hammond organ grater space, supporting the Les Paul Jones. The low, sustained, sound swells. Gary Wright sings, and quite well. Her melodic voice announcement, but more viciously, singers of the caliber of Steve Perry of Journey, period hard-FM in the late 70s. Bridge hovering mid-heavy took away the pressure, and recalls how Spooky Tooth is since 1968 in the crossroads between heavy and progressive rock-music .. A pioneer in the sum of genres. A title, "Two Time Love" is an amazing heavy-funk. At the time, many groups immersed in the bath of the soul music, especially after the shock, "Superstition" from the album "Innervisions" by Stevie Wonder. Except that
Spooky Tooth is not the type to follow the wind. The bass is heavy, powerful, roaring, stuck on a perfect beat, but totally original, as is that of Mike Kellie, and that man has always had this groove since the late 60s. The Hammond Wright debate roars on, heavy, menacing. The guitar is back, as if to prove that one knows groove in Albion, but unlike the Motown sound, we do not hesitate to elbow. The voice of Mike Patto is brilliant, roaring, sometimes wry, nasal. This man had an incredible talent, able to sing anything with a brilliantly unconventional. Add to that her voice blends perfectly with that of Wright, what makes a good point about the chorus. Strangely, this song goes regular editions, which is, pardon the expression, a monumental stupidity. "Kyle" is more romantic. This is the title that makes the show less personality. Although this ballad is of good quality, it adds nothing more to the discography of Spooky Tooth. This is probably one of a small pleasure of Gary Wright, and an attempt to hang the U.S. radio. However, the vocal harmonies on the chorus is a small delight. "Woman and Gold 'hums in a funky bass, but so wild and chaotic that we do not suspect any influence studio soul. Mick Jones scrapes the tree. It is crazy how this boy was a hugely fat and powerful, like a Leslie West, he meets with elsewhere in the Leslie West Band in 1976 (super hard my friends!). And that and even more surprising than Johnny Foreigner or is this aggressiveness will seek in vain. Probably a hiatus of miraculous freedom. Still, this good powerful song, with progressive springs simply announces the nuggets coming.
"Higher Circles" is a marvel that begins softly before plunging into the depths of the Les Paul Jones. But what I love is these bridges Hammond in almost cosmic distressing, which bounce the song into another dimension. "Hell Or High Water" is a funk-rock fashion, which connects the ambient funk and rock music of Peter Frampton, including the talk-box flying over the Introit. Only now, it's Mike Patto who sings, and the melodic side is silly largely avoided, and into a powerful chorus, soaked Hammond Black and Les Paul Custom fat. The chorus is simply unstoppable, despite the delightfully old-fashioned psychedelia of the refrain: "I Chase Rainbows In The Dark". The choirs are perfect, and finally, the talk box is a bit redundant.
"I'm Alive" is the song Hard Rock has the lock on the car radio when one bar on holiday, or when fleeing a painful breakup. Everything is impeccable: the guitar riff, the chorus of electric piano, rhythm. Rest the voice, that of Wright, who had been entrusted to Mike Patto, more expressive, more aggressive. Nevertheless, "I'm Alive" listened dozens of times without tiring, especially with his lyrical coda. When the first chords acoustic "The Mirror" ring out, you enter another dimension. There are few agreements Synthesizer which could be confusing, but you are good with a great title. It's kind of morbid ballad, melancholy, cold, strange. Wright and Patto alternate singing on agreements surreal keyboards and acoustic guitar. The choirs challenge, almost reassuring, but when he looks in the mirror, he seeks the light, seeming to see her, in vain.
"The Hoofer" solves nothing, leaving doubt behind this cynical chorus. He concludes the disc as a parenthesis. It seems that Spooky Tooth has not said everything. time remains SUPEN. The band reformed, but Mike Harrison returned to singing, the blues has taken place the lyrical soul-jazz-progressive.
no evil, because a concert by Spooky Tooth's better than a concert by Johnny, and that, I do promise. When I look in the mirror.
all rights reserved 
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