Mighty Baby 3 album 1969 - 1971, APE (image+.cue) torrent

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Mighty Baby 3 album 1969 - 1971

Жанр: Psychedelic and Progressive Rock
Производитель диска: UK
Аудио кодек: APE
Тип рипа: image+.cue
Трэклист:

Mighty Baby - Mighty Baby 1969-(1994)
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1. Egyptian Tomb
2. Friend You Know But Never See
3. I've Been Down So Long
4. Same Way from the Sun
5. House Without Windows
6. Trials of a City
7. I'm from the Country
8. At a Point Between Fate and Destiny
9. Only Dreaming
10. Dustbin Full of Rubbish
11. Understanding Love
12. Favourite Days
13. Saying for Today
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Доп. информация:

Review 1
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Beautyfull music....but I wouldn't recommend
staring at that cover while under the influence of LSD.
At first casual glance you'd think it was some
alien panterlike creature being doused
with a bucket of blood,further inspection though,
you see a green alien creature trying to kill the
beast.Seeing this ,while under the influence
of hallucinogen .might not bring you in a very
relaxed mood methinks.
One could dig deeper and think it was one and the same creature that;while being destructive,
iwas destroying itself in the process.
(some hippy philosephising here
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Reviews
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Mighty Baby is an album that encapsulates all that was wonderful and magical about the psychedelic age. I've listened to a lot of early psychedelic and progressive music, and to be honest it can be a real mixed bag. For every King Crimson or Mothers of Invention, you get a half-dozen Curved Airs or Mouses (and even they weren't the worst!). Interestingly, the pros and cons of late-60s psychedelic varied enormously depending on whether you were in England or the US.
American bands had edge, a political message and were bona-fide rock bands with an experimental side. Think Jefferson Airplane, The Grateful Dead, The Doors, The United States of America or Quicksilver. Yes, they could do folky vocal harmonies and acoustic niceties, but their towering moments were generally displayed when they cranked up the volume to max and unleashed torrents of musical fire on ecstatic hippy audiences all set on ending the Vietnam War and bringing love to the masses. The downside was that most of these bands, even the best ones, could get bogged down in directionless jamming, or they too often displayed such a glaring lack of musical and lyrical virtuosity that they very quickly ran out of pertinent and arresting things to say or record. Not many lasted the distance, and those that did never managed to recapture the glory of the 67-70 period.

In Britain, it was something of the reverse effect. With softer drugs, and no war to get riled up about, English psych-prog tended to be a bit soft, or seriously pretentious. The best moments yielded some truly fantastic, genre-defining albums (The Piper at the Gates of Dawn by Pink Floyd, Disraeli Gears by Cream, In Search of the Lost Chord by the Moody Blues or The Pretty Things' SF Sorrow are true classics), with a musical variety and lyrical depth that most Yank bands were incapable of, steeped in the blues/folk/jazz/traditional musical histories of England, Europe and the US. But most of the output from the time has aged poorly, and gets bogged down by the kind of pretentiousness that makes you want to yank your hair out, and which sadly would become one of the defining characteristics of the next decade's prog-rock scene.

Mighty Baby avoided all such traps on their debut. Indeed, they somehow instead managed to combine the best of both psychedelic scenes while all the while excising all the above-mentioned flaws. Amazing! The result is Mighty Baby, a gloriously inventive album, and a lost gem of British rock.

Erroneously, Mighty Baby are often referred to as a British Grateful Dead. The one thing they did share with Jerry Garcia's band was a sense of vocal harmony, and like the Dead, used their combined voices as a way of compensating for their lack of a true lead singer in the Eric Burdon/Grace Slick mould. But Mighty Baby is a much harder-hitting, more lucid album than anything The Grateful Dead ever produced, with more aggressive guitar solos and rhythm.

This is not to say it’s not adventurous, or trippy. Quite the opposite, in fact. Lead singer, saxophonist and keyboardist Ian Whiteman was a jazz fan in the Soft Machine-mould, and displayed a strong interest in Eastern and North African music, adding rich horn textures and exotic flourishes to Mighty Baby's rock groove. Opening track 'Egyptian Tomb' is a glorious demonstration of his skill, a subtle blend of hard-rocking energy and outlandish flights of fancy, as bursts of sax wrap themselves around driving guitar riffs and soaring organ solos. The lyrics are deeply mystical, serving as a mirror of the album’s bizarre cover, with musings on ancient Egypt and the enigmatic figures and rituals of that culture. Closing track ‘At a point between fate and destiny’ (with a typical late-sixties title) reprises the exotic flavour of ‘Egyptian Tomb’ and brings to mind images of a deep, red sun setting over a barren desert. This music is mystical, almost haunted, clearly as adventurous and far-reaching –if not more so- as anything by Soft Machine or Pink Floyd were doing at the same time. In fact, for me it is closer to what seminal German band Agitation Free would release a couple of years later, making Mighty Baby something of a rarity in Britain at the time - a British prog/psych band with the sensitivity of Krautrockers. Yet it's also perfect hippy music, dreaming of another reality, and provides a great signpost for the prog-rock scene of Yes and ELP that was to follow.

But, unlike so many of their contemporaries, Mighty Baby don’t get bogged down in their ambitions. Each song is perfectly mastered, the instrumentation concise but masterful. ‘Egyptian Tomb’ may be weird, but don’t expect an overdose of sitars or incomprehensible time signatures. Here we have dazzling guitar work-outs and pounding bass and drums to keep the song steady and groovy. ‘I’ve been down so long’ has echoes of blues, but is played like a traditional English folk tune, with gorgeous harmonies and a discreet arrangement. ‘House without windows’ shares similar themes to ‘Egyptian Tomb’, and is in fact almost creepy in its lyrical content, but is a full-blooded rocker with a fierce driving rhythm and some scorching guitar solos.

In many ways, Mighty Baby does indeed owe more to the American West Coast bands such as The Grateful Dead or Jefferson Airplane than it does to its British contemporaries. It rocks, it’s more concise and focused, and it doesn’t cross endlessly and confusingly from one genre to the other. But, just as you think you’ve got it nailed, it will surprise you with a strange lyrical musing or a burst of unexpected sax. The spacy organ of Whiteman will suddenly surge into the mix, ousting the guitars and catapulting the song you’re listening to into some strange arcane land. But unlike with the American bands, there’s no room here for 10-minute instrumental jams or boring drum solos. The songs are what matter, and they are all the more glorious because of this singular focus and drive. Mighty Baby is a rich and textured record, a true slab of adventurous psychedelic music, but one that doesn’t forget to rock, to roll and to rumble. I honestly can’t think of a better compliment!
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Mighty Baby - ''Live In The Attic'' 1970 (2001), UK


Track Listing:
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01 - India [Live 1970]
02 - Title Unknown [Live 1970]
03 - India [Live Stdio Version]
04 - Title Unknown [Live Studio Version]
05 - Winter Passes [First Studio Take]
06 - Winter Passes [Second Studio Take]

Total Time: 61:27

Members:

Martin Stone - lead guitar
Ian Whiteman - flute, sax, vocals, keyboards
Alan 'Bam' King - guitar, vocals
Roger Powell - drums
Mike Evans - bass

Credits:

Cover Design - Millennium Digital

Release Information:

2001 CD Rolled Gold Productions 2
01 - India [Live 1970]
02 - Title Unknown [Live 1970]
03 - India [Live Stdio Version]
04 - Title Unknown [Live Studio Version]
05 - Winter Passes [First Studio Take]
06 - Winter Passes [Second Studio Take]

Total Time: 61:27

Members:

Martin Stone - lead guitar
Ian Whiteman - flute, sax, vocals, keyboards
Alan 'Bam' King - guitar, vocals
Roger Powell - drums
Mike Evans - bass

Credits:

Cover Design - Millennium Digital

Release Information:

2001 CD Rolled Gold Productions 2
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Review
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Cambridge Free Festival August 1970
This superb late sixties underground band were formed from the remnants of pop/soul band The Action, who were popular around the London mod club circuit and issued five singles on Parlophone, including I'll Keep Holding On and Shadows and Reflections between 1965-67.
Both Mighty Baby albums are now very rare. The first, in particular, has a definite psychedelic West Coast influence. Both are important progressive releases and Mighty Baby had their own distinctive and imaginative sound. Their music was often a sophisticated interplay between the twin guitars of King and Stone and the woodwind accompaniment of Whiteman. Its influences were wide-ranging from jazz (Egyptian Tomb) through to country rock (I'm From The Country) and Some Way From The Sun, notable for an hypnotic guitar intro. Egyptian Tomb is unquestionably the most inspired moment on their first album - melodic guitar playing set to a jazzy arrangement.
Alan King later played in Ace whilst Martin Stone (Ex- Savoy Brown Blues band) later fronted Chilli Willi and Red Hot Peppers. Mighty Baby also played on lots of other albums, including Reg King's and others on Head. Evans, Powell and Whiteman were later in Habibiyya.

Mighty Baby biography by Bruce Eder
The British psychedelic band Mighty Baby grew out of the Action, the Liverpool-based R&B outfit signed to Parlophone by George Martin in 1965. Long considered one of Martin's best discoveries this side of the Beatles, the Action consisted of Reggie King (vocals), Alan King (guitar), Pete Watson (guitar), Mike Evans (bass), and Roger Powell (drums). After Watson left in 1967, he was succeeded by keyboardist Ian Whiteman and blues guitarist Martin Stone, a veteran of the Savoy Brown Blues Band. This new lineup evolved beyond the R&B/soul sound that the original Action had played and into a top-flight experimental group, incorporating the kinds of long jams and folk/blues influences that the West Coast bands were starting to export around the world.
They hooked up with ex-Yardbirds manager Giorgio Gomelsky in 1967 and recorded an album's worth of material that went unreleased. Reggie King was gone by early 1968 to record a solo album, and the remaining members went through a number of name changes, at one point calling themselves Azoth. In 1968, they hooked up with the managers who represented Pink Floyd and T. Rex and cut a new series of demo recordings featuring Whiteman (who wrote most of the songs) and Alan King on lead vocals. These demos were even more ambitious than the 1967 sides, extending the structure of the group's songs with long, beautiful guitar progressions and soaring choruses. Unlike a lot of R&B outfits that tried the psychedelic route and failed, they were suited to the new music by inclination and temperament.

The president of the band's new record label, Head Records, for reasons best known to himself, chose "Mighty Baby" as the group's new name. The self-titled album that followed was a masterpiece of late psychedelic rock, with long, fluid guitar lines and radiant harmonies; still, Mighty Baby didn't sell very well, although the group continued to play live shows to enthusiastic audiences. Their record label folded in 1970, and the group eventually signed to the Blue Horizon label, where they released a respectable if not wholly successful second album, A Jug of Love. It was clear by then, however, that their moment had passed, both personally and professionally. Mighty Baby broke up in 1971, although several of the members periodically played together on various projects — Evans and Whiteman even played back-up to Richard and Linda Thompson in the late 1970's. ****This hour-long CD is one of the best bodies of British psychedelia ever released. It contains the complete Mighty Baby album from Head Records, expanded to 13 tracks with the addition of five tracks cut by the Action during its 1967 transition period. The opening number, "Egyptian Tomb," sets the tone for the entire album — in terms of content, structure, and beat, it sounds like the early Allman Brothers, or maybe the Grateful Dead in one of their harder-rocking moments, jamming with Crosby, Stills, Nash & Young on an impromptu version of CSN's "Pre-Road Downs." The beauty of the original Mighty Baby album tracks is that they're psychedelia with a solid beat, none of that noodle-rock that drugged-up Brits usually engaged in. "A Friend You Know But Never See" mighthave passed muster on the Byrds' Notorious Byrd Brothers album. Other songs noodle around too much, but overall this is some of the most energetic psychedelia to come out of England, and anyone who enjoys psychedelic guitar will love Martin Stone's and Alan King's work on this album. The bonus tracks, all "lost" demos, are even better: highly rhythmic, driving rock (check out "Understanding Love") with lots of spacy guitar and tougher-than-normal flower-power introspective lyrics, with some gorgeous harmonies dressing it all up — a near perfect meld of garage rock and psychedelic sensibilities.
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Mighty Baby - Mighty Baby Live! 1971 (2004)

TrackList

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EAC extraction logfile from 18. February 2007, 22:06 for CD
Mighty Baby / Mighty Baby + 5 bonus

Used drive : PHILIPS PCDV6116 Adapter: 1 ID: 1
Read mode : Secure with NO C2, accurate stream, disable cache
Read offset correction : 691
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Fast Lossless Compression

Other options :
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Installed external ASPI interface

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Filename C:\HQshare\Mighty Baby - Mighty Baby + 5 bonus\Mighty Baby - Mighty Baby + 5 bonus.ape

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CRC 9C880AE6
Copy OK

No errors occured

End of status report
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EAC extraction logfile from 12. December 2008, 6:41 for CD
Mighty Baby / ''Live In The Attic (1970)''

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Installed external ASPI interface

Track 1
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Track 4
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Track 5
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Track 6
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Track 7
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EAC extraction logfile from 3. March 2007, 2:20 for CD
Mighty Baby / Mighty Baby Live!

Used drive : SONY DVD RW DRU-810A Adapter: 1 ID: 0
Read mode : Secure with NO C2, accurate stream, disable cache
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Installed external ASPI interface

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