![]() This new edition of the classic album emerges as the LP hits its 50 th anniversary. The rest of the album was packed with covers such as I Heard It Through the Grapevine plus old Sun tracks like Ooby Dooby. The rocking Up Around the Bend was a high-energy feast while the track Who’ll Stop the Rain plugged into the darker side of Fogerty, a side he was not avert to exposing to his listeners. I’ve mentioned one of those tracks above. That is, the best tracks on the album all appear as A- and B-sides, orbiting the three singles. The first single from this album, Travelin’ Band, was testament to that.Īt the same time, you could also sense that they were running out of steam, as good as this album was and remains. You could – possibly arguably – say that this album was the group’s last hurrah but it also showed that the group’s musical ambition was expanding and maturing. They’re well worth the effort.įronted by John Fogerty, these twangy rockers offered slices of blues and country in the mix to provide an essence of Americana and hit a vein of brilliant form during the final years of the 60s. Presented with a nicely mastered tonal balance, this is a lovely over-view of the band’s output and should encourage you to seek out more from the group. There’s a gentle aspect to the group’s sound, a slightly pastoral feeling about their work that reminds me of the Canterbury sound combined with early Genesis. The songs here were all recorded between 19 and every single track is a gem. And then the tapes of that show were destroyed in a fire. Its title was supposed to be given to a live album that never happened. In fact, for Fruup, they get more attention now than they did then. They should have been as big as the likes of Yes and Genesis. The band really went for it in terms of work rate and fitted nicely into that early UK prog sound. He was also the manager, sound engineer and bottle washer. McCusker would co-write many of the songs with the non-performing Paul Charles, who has written the liner notes for this CD release. ![]() Peter Farelly spouted the vocals, Martin Foye sat on the drum stool and John Mason would later replace Houston on keys and vibes. Classically-trained the lot of ‘em! So you had Stephen Houston on keyboard and oboe of all things. Launched onto its prog rock life in 1971 by Belfast guitarist, Vince McCusker, the rest of the band featured some hot stuff in musician terms. There’s enough innovation to keep you focused and variation to maintain interest to the end. It all goes through a krautrock filter, though.Īs a piece of straight-ahead, electronica-infused krautrock then? It’s very nice indeed and fans of the same will be much pleased. ![]() Maybe the music here has been influenced by different cultures. In fact the latter sounds more derived from Tangerine Dream than spaces afar.īut look, let’s be kind. ![]() As does the track after that, Young Kong. The eclectically-monikered Abu Synth, sounds like classic krautrock to me. Unless the world’s music has become to inter-twined and accepted into Western culture that we no longer hear the ‘other’ in our music. From what I hear, this album is supposed to be largely underpinned by music from various European and African cultures.Īpart from elements on the first track Original Member of a Wedding Band and its Arabic notations, I didn’t really hear much of that. Music layered and formed upon a steady series of beats. Offering a decent overall master, there’s nothing innovative here, we’ve heard it all before and better too but, nevertheless, this is a meditative album that will have the head nodding with some enthusiasm.įrom Dusseldorf, this is a solo outing from Stefan Schwander filled with electronica.
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