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Biblioteca Nacional

the stairs of the Public Library of Buenos Aires by Clorindo Testa. Personal photos.
In the stairs of Clorindo Testa's public library in Buenos Aires . Personal photographs.

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SPOOKY TOOTH

"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.
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Broken Capillaries Heal

VARIATIONS

"They were beautiful, they were young, they were fashionable. "

VARIATIONS "Nador" 1970

is writing the column on Little Bob Story, I rethought the Variations. Variations ... Or how to make Led Zeppelin to Chateauroux ... Something like that eventually. They were beautiful, they were young, they were fashionable. We talked about them in magazines like the band of the moment in France, the most rebellious, most rock'n'roll. And yet ... We forgot
especially since they were the first to attempt to implement a true rock sound in France, avoiding clichés and pop music of Otis Redding version occasions Eddy Mitchell and Nicoletta. And it probably also why they turned a lot in Holland and Denmark, where their first single "Mustang Sally" in 1968 had gone well. For now, the Variations were as good as the English-speaking groups, and was a first.
The band signed with Pathé-Marconi late 1968 and released three simple sounding, whose excellent "Come Along" and "What's Happening" in 1969. The end of the road is the first album, "Nador". Dice
the brutal "What A Mess Again, we understand that we are dealing with a group inspired by Zep and the Stones, but not only. There is a raging garage something both blues and punk that makes the whole property in time, and almost quirky, like the Flamin 'Groovies example. And then there is the charisma in music. Admittedly, Lebbe Jo on vocals, Mark on guitar Tobaly, Jacques "Petit Pois" Grande on bass and Jacky Bitton on drums owe their success to concerts in thunderous balls, MJC and Golf Drouot. Everything is linked
impeccably, with very heavy as "Waiting For The Pope", heavy as hell, the rocks "Generations" and "Free Me", but also influences arabisantes on "Nador". Because the four are from North Africa. They grow is this vein on "Moroccan Roll" in 1974, which is neither more nor less than the alloy of a group of hard-rock with an Arab orchestra or that Page and Plant will twenty years later. Meanwhile, this first disc is filled with such raw energy. I would strongly advise you cd version, which includes every single of 1969, is the quintessence of what rock'n'rollienne formidable quartet, who tried to defend a certain idea of rock in France, a proud and rebellious rock, worthy of English or American.
Waste of time, the disc is an oven. The group scum France during one and a half before fleeing the U.S.. They recorded "Take It Or Leave It" in 1973 as a producer with Don Nix, and turn in the company of Aerosmith, Blue Oyster Cult, or the Doobie Brothers. They sefont a reputation there, earning praise from the U.S. Billboard. But this will not prevent the group to return, the farting Jo Lebbe shot before fleeing in 1974. Music of Changes was so Americanized, and though very good, has become more professional.
"Nador" remains a work so seminal a French rock finally live up to the competition, flawless gem of a group that ran after chimeras, which seemed to have scratched.
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