Where To Find Shoestring Licorice

SIR LORD BALTIMORE

"This album is a poison, it is drunkenness that they offered a evening of bad luck, when everyday life is that human misery. " SIR LORD BALTIMORE" Kingdom Come 1970


Sometimes, knowledge of history is not enough. Sometimes, knowing millions of groups, their interconnections and the evolution of genres over time is not enough. There are puzzles that do not break, just because the face of a presence so unique, you can not find the ramifications, explain the sound.
Sir Lord Baltimore is one of those puzzles. What has he been happening in this neighborhood in New York and head of the boys to lay like explosion? What

history retained is that Sir Lord Baltimore was founded in 1968 by drummer-vocalist John Garner bassist Gary Justin, and guitarist Louis Dambra. The trio began with modest times of Cream and Jimi Hendrix. And also that guy from Kiss fans are always great.
And then .... And then comes this disc. We must believe that the blast was exceptional even in concert since the manager Dee Anthony, including cases dealing with Humble Pie, Traffic and Joe Cocker, signed them after a concert. And this debut album was produced by no less than Eddie Kramer, the engineer is appointed by Jimi Hendrix, and of course recorded in the famous Electric Ladyland Studios.
But then, Sir Lord Baltimore is a group that resembles nothing of what was happening at the time. Nor to Jimi Hendrix, as pioneers of the Hard Rock and Heavy Metal-what were Led Zeppelin, Deep Purple or Black Sabbath. Yet these three, we understand the roots, the path, the British-Blues Boom, the Yardbirds, Vanilla Fudge, Jimi Hendrix and all the rest. Well the third rise is already becoming a bit difficult to follow, but when we know the path of the boys, the galleys in the Highlands or Hamburg, you can enter all the darkness of the subject.
But there .... Sir Lord Baltimore, it's an adrenaline rush without concession. The purpose is to brutality, of urban violence absolutely no equivalent.
It is a hard black night ebony monolith drunk with power and rage, apocalyptic digest what the Heavy-Rock can offer better, more enjoyable for the working poor without ambition we are.
Dice "Kingdom Come" and 6'34 ", you enter another dimension. The bass drum rhythm slap thick, heady, heavy, guitar saturates, fat, dripping molten metal. Bass, drunken fuzz and distortion, rumbling behind the riff. Garner's voice is that of a mad preacher, trying to hide behind his penalty ceremonial religious sins. He reigns Death, Sex, power V8 General Motors.
Verses of the magician pours a patient lysergic poetry made of the raging elements and death. The woman is a bitch lewd here, but the lyrics here are so vicious they are more likely to seduce, to ignite the Mounine. "Kingdom Come" is a concentrate of Sex, Drugs And Rock'N'Roll.
is questionable drugs, but let's be reasonable. But they have a role. They have allowed small players to spawn in a few hours and with means ridiculous, hard day considered gems of hard-psychedelic-heavy.
But then, Sir Lord Baltimore is not a classic for fans obtuse. Let the listener that listens lambda. This is imperative. Because the younger generation is confined to what the media wants to offer him. But this disc is dangerous. And offer fans the misguided, Iggy Pop, which considers that there is more crazy in the 70's Rock is a complete mistake.
This album is a poison, it is drunkenness that is offered one night of bad luck, when everyday life is that human misery. I think
Having listened dozens of times "Pumped Up", the closing track on disc. It is a compendium of madness, an uppercut music. The guitar of Louis Dambra tendril wrapped in pregnant, is spraying a dust of stars.
Violence against the female gender is total. It is found in "Hellhound", or "I Got A Woman." "Mister Heartache" is a fabulous piece of hard-metal relentless mid-tempo, its chrome gleaming in the night.
This disc is how manly. It is brutal, uncompromising. And listening will take you far, far away.
The group will produce a second album, very good, but more subtle. Dambra Joey's brother, Louis, took the second guitar. Training still survive until 1976, but failed to record his third album.
He published in 2006, but Garner was launched in the Christian Rock and Sir Lord Baltimore ajourd'hui has no interest. Rest this disc, single burst of napalm that burns the neurons of the listener like a careless shot of acid.
all rights reserved

Labeled Parts Of A Viking Ship Digram

HUMBLE PIE 1972

"Yes, Jimmy Page knew that Humble Pie was a dangerous group."

HUMBLE PIE "Smokin '" 1972

In the garden of discs that will haunt my whole life, it is undoubtedly the top priority. There were in my life, but it remains for me despite the unchanging companion plays and years.
I also noticed that I still had not chronicled in these pages the great heights of sonic my love rock'n'rollien. For fear of missing the chronicle, for fear that my words are not up to my feelings, my emotions. I also choose them sparingly, like "Power Supply" from Budgie, or "Imagination Lady" Chicken Shack. But it misses others, even more beautiful.
"Smokin '" So, is my all-time record. It is my life, my soul, blood flowing in my veins, all my contradictions, my inner rage.
blood and sweat, this disc drips. I had already addressed the oh so sublime self-titled debut of Humble Pie in 1970, already frankly superb, and also in the top ten discs of my pantheon.
In 1971, Humble Pie was formed by Steve Marriott on vocals and guitar, Peter Frampton in the same roles, a little more and a little less soloist singer, Greg Ridley on bass and Jerry Shirley on drums. Since 1970, the foursome, signing with manager Dee Anthony and label A & M, engages in a Heavy-Blues powerful, moving away from heavy-rock country and pop of his debut, but also that the bankruptcy scored his first steps. Marriott
man small in size but huge in personality, the gift of voice and songwriter, is gradually defining the sound Humble Pie. Frampton place here and there some good songs between heavy rock sound and the influence in California, but it seems to gradually disconnect from the rest of the group.
And the future will seal his fate with "Live At The Fillmore" published in late 1971, this double album recorded live at the Fillmore East in New York sells 500,000 copies in the U.S.. Y dominates the dramatic voice of Marriott, the rhythmic leaded Ridley and Shirley, and then the solos of jazz-blues Frampton, incidentally. The latter shines, let's be honest, but he is reduced to playing companions of excellence, become the clear leader Marriott.
Not surprisingly, Frampton go away, especially since his music seemed to then move towards jazz, which not related to any of his comrades. Dee Anthony so he negotiates a contract with A & M solo, and Frampton shine commercially in 1976 with its "Comes Alive! "Which sold 8 million copies, and has nothing of jazz.
Hands Free, Steve Marriott forges his group as he sees fit. The three hiring a musician's strange past, one David "Clem" Clempson. The latter has played rather brilliantly in Colosseum, excellent jazz-rock of the equally excellent drummer John Mayall, Jon Hiseman. But then, Colosseum, then, is the kind scarecrow for kids. Group of big names of British Blues Boom-it is both anti-chamber of Progressive Rock, and the tomb of the blues-rock vaguely heavy and shouting themselves hoarse in solos too demonstrative to be honest. It was unfamiliar with the Colosseum, but it was mostly unfamiliar with Clempson. Because the boy was also the guitarist in a trio of Heavy-Blues name Bakerloo (already mentioned in these pages). This group was a significant influence on their first games of the era, namely Earth aka Black Sabbath or Led Zeppelin. The strength of this group was very blues guitar of Clem, incredibly expressive and powerful, hooting at the death. This technique of vibrato on Paul does not leave listeners indifferent or careless Experts but left the marble buyers face this group too wise enough in his rock'n'roll lifestyle.
So even Clempson as Marriott, Ridley and Shirley hiring in December 1971. The poster
laugh, but anyway, Humble Pie laugh. Just think: a former Small Faces, a priori already surpassed commercially by his former group became the Faces, a bass player from Spooky Tooth, and a drummer that are mocked in comparison to the relentless John Bonham. And then add this famous defector Colosseum, and you have the best of the old-fashioned English Rock. Imagine the scene: four lads with their pedigree against Ziggy Stardust, Lou Reed, Alice Cooper, Led Zeppelin, Deep Purple, ELP, King Crimson or Yes. Condemned in advance.
However, Led Zeppelin's first U.S. side refused. Jimmy Page knew that it was a time hoped Marriott as a singer of his group. But the personality of this last, powerful, unstable, angry, would hardly have stuck with that page. He preferred a form of imitative rather talented but mostly docile.
Yes, Jimmy Page knew that Humble Pie was a dangerous group. Only Grand Funk Railroad took them, and Pius was ranked among the noisy groups without finesse alongside Railroad but also of Mountain and Cactus, these groups of Heavy-American Blues and critics of the time plugged difinissait as clumsy and classless, dirty jeans with their times and their threadbare Blues standards. The Blues? Music of another age, prehistory of Rock what. We grime androgynous, we look at ourselves, we are looking for. We play what the queer, for these bumpkins fans Missippi queen. Fucking rednecks.
Bullshit. Humble Pie was well beyond, in a world that none of the common man did not touch the little finger. Much less a Lynyrd Skynyrd, who were yet their first game in 1974.
"Smokin '" is a diamond. Because he knew how to combine with a rare combination of Soul, Blues, rythm'n'blues, the Heavy-Rock, and Heavy-Metal with a strength and cohesion impeccable. What
white group was able to play with such a mastery of the Soul? No harm is touched, especially after the "Innervisions" by Stevie Wonder in 1973, but none had this beat, this swing. Beck, Bogert, Appice rubbed it, without reaching a quarter of the brilliance of this song. Note that it is enough air to start this drive with such a title, either "Hot'N'Nasty" as authentically rhythm'n'blues. Finally, Heavy rythm'n'blues, because if the rhythm is smooth and square, it is heavy and thick. The Hammond organ Marriott scrambled the song before Clempson not uncheck small chorus racy and bleeding. Steve Marriott sings with an incredible talent, and first surprise, he was accompanied by two black singers, two former Raylettes or Madeline Bell and Doris Troy. These choirs will give Marriott the idea of hiring full-time black singers, future Blackberries. The third singer is a man here, and not only that, since this is Stephen Stills.
After this fine introduction to the subject which, no less, makes Marriott the undisputed leader of the group, after "The Fixer". This is a solid title, thick, mid-tempo, relentless. Clempson perfectly complements the riff cradingue Marriott, doubling the light of agreements and chorus to wah-wah sticky. Ridley and Shirley are all powerful at the height of the best rhythm of the time, Bogert-Appice, Entwistle and Moon-Jones-Bonham. But they have this harshness, this total lack of skill in the words that just makes them endearing. If
Humble Pie fell into the heavy riff for quite a few albums, both with "I Do not Need No Doctor", or "Stone Cold Fever" they had never had that sound. The tone was often more blues, more raspy and less sure of his strength. With the production of Marriott, the guitars roar, they yell more. Clem Clempson there is a lot. His ability to blend into the group, to inject his talent without squabble of egos (as was still the case with Frampton), and even give guitar lessons at Marriott, to encourage them to do more solos, shows how much capital he was empowerment incredible, audible on this record.
Titles massive, powerful, there are two totally incomparable. First is that reinterpretation of "C'Mon Everybody" by Eddie Cochran. Do not look here for any trace of the original rockabilly rhythm, you're wasting your time. A big fat riff over-compressed in the left speaker crackles, soon followed by the counterpoint of Clempson. Ridley and Shirley landed in ambush. The latter hits his skins with precision and indescribable bearings wobbly toms, making the steep track. Ridley added, making snoring in his bass counterpoint on the toms. And then both roll the chorus, and the two guitars are more than roar. Marriott is here master of the riff, the bass while ensuring Clempson handles treble with chorus bursting with saturation and wah-wah. Note that Stevie sings beautifully again, transforming the old classic rock with nothing but his vocal line.
"Sweet Piece And Time" closes the gallery by hitting the heavy listener at the end of a disk rolling toms thick but fluid. Ridley who sings it, and there's no doubt, his deep voice and shy was an asset to the group. Marriott is not far, doubling his singing voice of rabid wolves. The two guitars weave a carpet of powerchords-chorus is simply magical. The melody is a blend of Southern rock that does not exist yet and "When The Levee Breaks" by Led Zeppelin on "IV". Except, I prefer this title than the Zep. Shorter, it is also more eventful and emotional. Marriott Clempson are the purview of the twin-guitar, foreshadowing Thin Lizzy and the Southern rock precisely, much more than Wishbone Ash, despite all the qualities of this group.
Clempson Clem is still brilliant, taking in Humble Pie Shoreline emotional rare. Until you see the other three fellows join. Marriott followed as soloists, the two men meet. Steve sings to bursting, while Ridley was the voice of the loser, the guy who washes his despair in whiskey.
hear these two screaming Sweet Piece And Time, Wake Up Your Mind "is a treat that was engulfed in a broth of riffs and solos, wah-wah and sustain. The two metronomes in ambush are the rhythmic snoring. Maybe I'm A Loser, But I'm Gonna Be A Winner One Day.
Between the two there is room for emotion. First, there are two acoustic tracks absolutely superb, and you have no doubt. First "You're So Good For Me." Greg Ridley sings his voice scratched, soon joined by Doris Troy and Madeline Bell. Steve Marriott is the third high-pitched voice, but not the third chick. I love the lyrics of this song. So macho can seem, Humble Pie had the knack to vibrate with emotion and romance in the best sense of the word. First is the acoustic guitar arpeggios interwoven, joined by the steel-guitar and drums generous Shirley. Yes, Honey, you have the power, because the love you have for me finds no equal in human bumpkin I am. But yes, Babe, I love you. Class shit. They expect all this, secretly.
"Ol 'Time Feelin'" is more a tribute to good old country-blues of families. But it may be that this song is at least as good as "Honky Tonk Woman" country version of the album "Let It Bleed The Rolling Stones. Because we feel that these lads play. Marriott blast in the harmonica, everyone is a little drunk. Old Time Feelin ', what.
And then in the middle, there is "Thirty Day In The Hole," coupled with "Roadrunner", classic soul of Holland / Dozier / Holland, namely the Motown songwriters. Troy Bell and ensure the black vote. A smile, a slap. As such, a mixture of soul and heavy rock music is a masterpiece. We find the spirit of "Hot'N'Nasty", this mellow groove and punchy, but with a dose of Rock and more. The choirs of Troy Bell and conspicuous by their majestic splendor and lyrical. It smells pure blues, this little bridge with heavy-funk irresistible. Injected directly after him, "Roadrunner" is sinking into the bayou, the mangrove. Sticky, heavy, this version still shines in this personal transfiguration in Humble Pie.
The title itself above the slow blues of the disc, is "I Wonder." While still a cover (and this is even more surprising that Marriott is an excellent songwriter), but emotionally it is a jewel. So of course when we talk about in heavy slow blues-rockers, it is feared the worst. Because these versions extension "Spoonful" and "Stormy Monday" for long minutes, can be both exhilarating and perfectly chiantes. Good
First, the title is mid-tempo. It begins with a sort of final explosion. Marriott screaming his guts like an old dog, and the blood flowing in the gutter. The bass and drums rhythm installs, heavy, impenetrable. Clempson soloïse quietly singing in counterpoint. The tension mounts. Smoldering, Marriott is numb with anger, he wondered why. Clempson takes over the throat of fire, raising the note until the explosion. Long lava burning pain to better extract the Clempson solo is brilliant, his Les Paul magic perfectly.

This disc is imperative to listen to headphones, as it is full of little bits of riffs that respond to an echo, as if these four had played so loud that the room still echoed in their music. "Smokin '" is an album dense, exciting. I never got tired ever after hundreds of plays, and I always felt the same pleasure every time.
And Humble Pie hits the jackpot, winning the United States by classifying this disc to 6th place on the charts. The tour that will accompany it will last more than a year, without respite, which will not be without consequences for the future. Meanwhile, Humble Pie is the best band in the world, and this disc is proof.
all rights reserved

Live Cam Netsnap Server Feed

MOTHER'S FINEST 1978

"Is it because these six occur before an audience totally unknown to them they were as good?"

MOTHER'S FINEST: Live At Rockpalast "Live 1978

Then the Rock of the 70 dies with his heroes now widely sixties, Rock of the 2010s trying to find the passion, creativity and spontaneity that it sorely needs.
If only a few years ago it was fashionable to take a bitter attack on the old Rock, dinosaurs of every decade who were the heroes of yesterday, today, institutions are revered.
course, there were few references to respect groups necessarily those that the rock critic of taste regarded as necessary and respectable, in short worship. Often it was the sidekick visionary, certainly, but having had obviously unfair, no success in their time. Include the Velvet Underground, The Stooges, Big Star, Nick Drake, and many others whose lives become beautiful loser or unjust death made her even more beautiful legend.
At the same time, groups of heavy-metal classics were mostly from seed to badgers. Rock idols of today, worship, therefore, are cheesy yesterday: AC / DC, Motorhead, Deep Purple, Black Sabbath, Aerosmith, Mott The Hoople, and so on of the best.
short, at a time when our heroes are dying, all groups had their fifteen minutes of fame, and often their reunion celebrated with great pomp.
However, some went inexorably through the drops, and while the Rock is dying yesterday, I said, Mother's Finest is one of those groups completely forgotten. This means, therefore, a priori, that their musical legacy is totally insignificant.
Now that's all the opposite. It is quite impressive, even, downright embarrassing. Because if Mother's Finest was incredibly pumped, it has never been exceeded. And that is a fact that I'm going to show you, dear fans hysterical.
Little Background: Mother's Finest is a native of Atlanta, Georgia, is one of the states racist much of the southern USA. It is also the most amazing pool of musicians black and white, and was the fertile ground of the greatest. Include jumble the Allman Brothers Band or Little Feat.
We are in 1973, and the singer Joyce Kennedy and her boyfriend singer Glenn Murdock, both black, are tired of cachetonner for small single soul in two balls or backing vocals for local celebrities.
first recording released in 1973, amid general indifference, with a pocket recalling more frightening disc Black Metal a hard soul and rock. For the two to merge funk with a shape inspired rock of Hendrix, in this its most savage. Certainly, Funkadelic has already experimented with success, but Murdock and Kennedy want a more aggressive, more rock, stripped of accoutrements of the P-Funk.
Mother's Finest is a perfect mix with the arrival of black bassist Jerry "Wizzard" Seay, Mike Keck keyboard black and two white-beaks: Gary "Mo" Moses on guitar, and drummer Barry "BB Queen" Borden.
Three discs appeared between 1976 and 1978, who get a decent success in the U.S. charts with the single "Baby Love" or "Fire". Already, the group showed swollen and sure of his strength, and soon the first album, Glenn Murdock sings "Can not Sing Niggiz Rock'N'Roll.
Yet the studio albums, although engaging and effective, does not seem to be the height of the reputation of their music. Too many fonts, Mother's Finest, despite some excellent songs, seem to be an alloy of funk and disco rock stonien neat. This syndrome is typical of sonic emasculation of American bands of the era. It may well include Blackfoot, Outlaws, or Blue Oyster Cult, whose music has faded in the studio, a thousand miles from the fury live. It was probably not too frightening radios with a sound too dirty, especially in the days of disco.
Is it because these six occur before an audience totally unknown to them they were as good? In any case, it is good to praise the courage of the lineup this what Rockpalast German TV, and after saving Spirit, Mother's Finest did discover the European public (Rockpalast was in Eurovision, either across Europe satellite). He did the same with ZZ Top in 1980 (see the article on this event in these pages).
Still, that sounds generic, and the German presenter announced "Unsere guest: Mother's Finest! . And "Go Tell Tell Way," the sextet Atlanta terrace. Powerful, rock, and above all incredibly drenched funk, it prints a relentless rhythm that sticks to the listener's head imprudent, or anything that can ever so little support. The band toured as a big block V8. It hums, and the group is incredibly square, precise. This first title is a kind of parody of heavy funk discoid this time, incredibly successful, and that is only the introduction to hard hitting and "Fly With Me." Joyce Kennedy shows off her deep voice and soul of a power beyond description.
Murdock gets over with the powerful and UFO "Rain", but always with the inimitable style black. Murdock has a high rather see that put both in the category of hardcore screamers and the madmen of Soul James Brown style.
Joyce takes over the front, while Mo Moses did not yet left. With 'Truth' ll Set You Free, "as he launched a compact, heavy and totally relentless mid-tempo, perfect synthesis of the influences of the group. Only alternative, keyboards Mick Keck alloy of synthesizers and electric piano funk sound typical mid-70's, which makes the color very Herbie Hancock to the mix.
After this quartet Dante, you already have the quintessence of Mother's Finest. Yet the result is worth his weight in peanuts with their best songs performed live: "Give It Up," "Fire," "Give You All The Love" or the flawless "Baby Love". This last piece, alternating heavy riffs and funky, is a marvel of what we call the merger or the Black Rock symbolized mainly by Living Colour. This live at Rockpalast
, released on DVD from Germany but not on CD, will leave traces in the country. So much so that the group will again be received with enthusiasm in 2004 when a second Rockpalast.
Meanwhile, the quintet released a live official in 1979 very good but a little too clean to be honest (reviewed in these pages), and a disk-heavy funk relentless named "Iron Age" in 1981 which I absolutely brilliant speak to you again. And then it will be the big dip in the FM sound, like everyone, and general forgetfulness.
Well, not for everyone, as four white-beaks California will reuse this sound, blanch a good shot to make history more accessible and less "Niggizz" and make balls of gold by pretending to the creators of funk-rock genre: the Red Hot Chili Peppers.

All Rights Reserved

What Does Each Color Of The Jelly Bracelets Mean

IRON BUTTERFLY 1976

"This disc has all of the album tragic."

IRON BUTTERFLY: "Sun And Steel" 1976

So here I am back. You tell me, this is at a minimum eight months that I make the shot, and that production of this blog fades over time, to achieve the layoffs the past two months. Say that work and my private life away from me my keyboard, which I have needed to get away for a time before you return, my dear friends, so loyal. What can you do with my personal hiccups? The Show Must Go On, as they say all the losers who have nothing else to say.
I must confess that in recent months have been for me as a sort of homecoming. I went back to my childhood, television series, comic books, cars that made me dream. I even went back to the scene of my childhood for the first time in 15 years. Thousand pictures came back to me, it was a real shock. And as absurd as it sounds, this disc is that I listened to it again recently.

Ironically finally, because in repeated comeback, Iron Butterfly is a serious contender. Returning for a peusur the history of this American quartet. It is considered one of the pioneers of Heavy Sound, thanks to his song "In A Gadda Da Vida" published in 1968 on the album of the same name. This disc will also be the first disc of Rock Platinum history, namely a million copies sold in the USA alone. At the time, training has stabilized with Doug Ingle on keyboards and vocals, Lee Dorman on bass, Ron Bushy on drums, and Erik Braunn on guitar.
The special sound of Iron Butterfly is this mix of heavy and psychedelic guitar, an electric organ accents funeral, and the big theatrical voice of Ingle making the band's music totally obsessive. The disc is very good, but it will not be alone. However, Iron Butterfly is completely overwhelmed by new formations that make it totally explosive arcane in less than six months. Led Zeppelin in particular, pulverize the heavy-rock pysché nascent forgotten. Iron Butterfly wagon joins the group now has-been since 1969 alongside the Blue Cheer and Vanilla Fudge. Thus was
time and business, and the rest of the band's discography died gently in the bottom discounters. And "Ball" in 1969, the "Live" in 1970 or the superb "Metamorphosis" in 1971 with the arrival of Larry "Rhino" Reinhardt and Mike Pinera instead of Braunn will achieve nothing. The group disappears in late 1971 amid general indifference.

Braunn Bushy and reform the group in 1974, hoping to ride the wave of progressive-rock-hard. Phil Kramer takes bass, and Bill Demartines keyboards. The first disc of this reformation, "Scorching Beauty", published in 1975, is rather weak, which seems surprising, and will, of course, no success. The second is called "Sun And Steel" in 1976 and it is very good.
This disc has all of the album tragic. A group bloodless, a full-floating period, between megalomaniacal delusions of mega-machines cocaïnées Rock Style Deep Purple, ELP, Genesis, Rolling Stones, and the other, the beginnings of Punk Urban with Johnny Thunder, Stiv Bators, The Damned, the Sex Pistols and the Ramones, of course.
For lovers of good taste, the pro-Philippe Manoeuvre, you can go throw up, this disc will leave you indifferent, because it speaks to the soul.
This disc, I said, is tragic. Iron Butterfly no longer meets the rooms, but toured the theaters, just filled with the aura of pale name. Their albums do not sell, and for sure, this reunion seems motivated only by money.
In 1976, the Rolling Stones released "Black And Blue" with "Fool To Cry" and Ford released the new Mustang looks like a Ford Escort. In addition, it has a V6. It's really crap. Fortunately, Led Zeppelin released "Presence", but again, if you do not put on a whiskey bottoms up after such a disk is that you do not life.
So, "Sun And Steel" is a very good record, and that nobody knows because nobody has ever heard. I'm not good voluntarily, as my musical lyricism suggests to me sometimes, because it is false.
Indeed, this album suffers as well say, three songs that spoil frankly not terrible overall, but make the rest totally delectable.

For it must still be pretty damn swell to start an album with "Sun And Steel", a title leaden riff. The keyboards and drums flexible lightens the mood a little. Braunn's voice, throaty and full, making the title both heavy and full of hope, like some wild flowers in a vacant lot where the first bulldozers struggle of a commercial zone. This title sets a melancholy mood that will be the tone of this album. Totally irrelevant in 1976, it is good to listen to the music for what it is and not for what it was at this time, that is to say completely shifted. The solo Braunn is successful, and announces nice nuggets. "Lightnin '" announcement of synth and talk box, Peter Frampton and Eagles syndrome requires. The title, incidentally not bad, cool yet. And what about the vapid and ridiculous " Beyond The Milky Way "or the boogie-country Nerdy" Free "which completes any listener.
But the brave again find their fortune with "Scion" this megalith of Heavy-Rock buries the above with great panache. We find the shores and the talent of "In A Gadda Da Vida." What is striking is that production stripped, live in the studio, as if you spoke the Butterfly. I found this fabulous title. The organ does qu'enluminer the melody while the guitar Braunn roared. The solo Demartines is a success, both air and possessed. Braunn tears his guts, and conspicuous by its lyrical music. He who was only playing with feedback is an accomplished musician who has a solo sense. Most importantly, he sings beautifully. The raspy voice of "Sun And Steel", the voice and sharp snapping of "Scion" and "Get It Out," is he.
This title is a sort of flash of hope, heavy and funky, recalling the only album by Beck, Bogert and Appice in 1973. The synths are unobtrusive and outmoded, but in no n'amochent song.
"I'm Right, I'm Wrong" starts on the mellotron, and could not enunciate the worst. But actually, this song is a great transition in the heavy-funk of 1973 and some English New Wave ahead. Tumbler influences, Beck, Bogert, Appice King Crimson, does this strange song deconstructed tamed after several plays.
"Watch The World Going By" is a title average sound, influenced by Paul McCartney. That's good, but not terrible.
remains the final nugget: "Scorching Beauty": This hard fact of mellotron riffs slip and spin is a splendor of mature melancholy. It is like a taste of dust in this song, like these sunny days of September in the seaside
And then confirm this impression. Separated into indifference Overall, Iron Butterfly will reform in general anonymity in the late 90s, without much success. Phil Kramer bassist of this first attempt, will be in the form of bones found in his minivan in 1999 after being reported missing in 1995.

This disc gives the strange impression of being on the edge, dizzy with the vertigo of existence that fails, this page of life that closes and takes you into the unknown.

All Rights Reserved