Saturday, 16 September 2017

Tortilla Flat “Fur Ein ¾ Stundchen” 1974 Germany Private Prog Jazz Rock Canterbury Scene

Tortilla Flat “Fur Ein ¾ Stundchen” 1974 Germany ultra rare Private Prog Jazz Rock Canterbury Scene

TORTILLA FLAT were a six piece band out of Germany who released this sole album back in 1974. It’s very electric piano and flute driven with jazzy drumming, nimble bass lines and exciting guitar expressions. Many mention SUPERSISTER as a comparison but KRAAN’s debut might be closer in my opinion. This is all instrumental except for a few humerous words. 
“Tortilla Flat” is my favourite. It opens with someone looking for a radio station then the flute takes over along with drums and bass then the tempo picks up. When it settles down and turns darker I’m thinking ANEKDOTEN or LANDBERK surprisingly. The electric piano has replaced the flute and I love this sound. The flute is back before 2 ½ minutes and a minute later flute is all we hear. Electric piano, shuffling drums and bass take over. So good! A calm with flute and piano before 7 minutes but soon it’s flute only once again. The birds are singing at 8 ½ minutes then it picks up late to end it. “Temperamente” opens with flute, drums and sparse piano as it starts to build, guitar too. It then settles back again with flute and piano standing out before it kicks into gear at 2 minutes to an uptempo groove. Lots of energetic guitar and drums as the tempo continues to change. “Fati Morgani” starts with intricate sounds that build as the flute plays over top. Percussion joins in after 2 ½ minutes as we get a calm but soon it’s percussion only to the end. 

Electric piano and flute standout early on “Rumpelstiltzchen” as the drums join in. The tempo changes often and check out the bass which gives this a jazzy feel. An impressive track that ends with some silly vocals. “Leere, Chaos, Schopfung” is a top three track and it opens with some dark atmosphere that lasts for about a minute. Then keyboards take over in this melancholic section. So laid back but really enjoyable. The tempo picks up after 5 minutes as the flute plays over top. Catchy stuff then the piano replaces the flute as the bass throbs. Check out the guitar 7 minutes in as he lights it up. The flute is back leading at 8 ½ minutes. “Obit, Anus, Obitanus” is a light and catchy Jazz tune although we get some deep bass lines early on. The keys and flute take turns playing over top. “Mohre” opens with flute, bass and acoustic guitar which all sounds very pleasant. The flute eventually leads the way until around the 5 minute mark when the guitar starts to solo over top. Nice. The flute returns as the guitar stops. Whistling ends it. A top three tune. 

This album might be at the very top when it comes to albums needing a re-issue. A must! Close to 4.5 stars…… by Mellotron Storm …

Line-up / Musicians 
-Hermann Josef Bosten/ flute, guitar 
-Manfred Herten/ guitar 
-Franz Brandt/ Keyboards 
-Heribert Schippers/ bass 
-Hans Friedrich Bosten/ drums, glockenspiel 
-Albert Schippers/ percussion

A1 Tortilla Flat
A2 Temperamente
A3 Fatimorgani
A4 Rumpeletlischen
B1 Leere, Chaos, Schöpfung
B2 Obit Anus, Abit Onus
B3 Möhre

Lee Ranaldo (Sonic Youth guitar) "Electric Trim" 2017 released 15 September 2017 US Indie Rock

Lee Ranaldo (Sonic Youth guitar)  "Electric Trim" 2017  released 15 September 2017 US Indie Rock 

or spotify.

The nine-track album marks a return to the Mute family for Ranaldo, who says: “I’m so excited about this record, it represents new developments and directions for me and I can’t wait to hit the road and play this music live. I’m also so pleased to partner with Mute for this release – it’s like a homecoming of sorts as Sonic Youth’s early records were released on Blast First / Mute. To me Mute has always been a true artist’s label, concentrating first and foremost on the music. I can’t wait for everyone to hear this music.” 
Electric Trim was recorded in New York City and Barcelona in collaboration with producer Raül ‘Refree’ Fernandez and extends the work of Ranaldo’s solo canon, the most recent being his 2013 album, Last Night On Earth. 

Through his collaboration with Fernandez, Ranaldo moves into some rich new sonic territories and production techniques, experimenting with electronic beats and samples alongside live players.
Ranaldo is a co-founder of Sonic Youth, a visual artist, producer and writer. In addition to Fernandez, he worked with several special guests on Electric Trim, including Sharon Van Etten who sings on six of the tracks and duets on ‘Last Looks’ and Kid Millions (aka Man Forever) as well as longtime friend and collaborator Nels Cline (Wilco). In addition, the album features Ranaldo’s band The Dust (fellow Sonic Youth member Steve Shelley, guitarist Alan Licht, and bassist Tim Luntzel). 
Ranaldo collaborated with award winning New York author Jonathan Lethem (Motherless Brooklyn / The Fortress of Solitude) for lyrics on six of the songs and the American artist, Richard Prince, who previously painted the sleeve for Sonic Youth’s 2004 album Sonic Nurse, created the artwork for the album…

Lee Ranaldo (that guy with the gray hair since-forever that was always walking around holding guitars and stomping on little boxes in that awesome band Sonic Youth) is still determinedly doing his thang — Sonic Youth or NO Sonic Youth! And to prove it, he’s lined up a new collection of songs and bundled them into an album called Electric Trim which will be released via Mute on September 15. 
“I’m so excited about this record, it represents new developments and directions for me and I can’t wait to hit the road and play this music live,” says Ranaldo about his follow-up to 2013’s Last Night On Earth. “I’m also so pleased to partner with Mute for this release – it’s like a homecoming of sorts as Sonic Youth’s early records were released on Blast First/Mute. To me Mute has always been a true artist’s label, concentrating first and foremost on the music.”…

Regardless of how you define Sonic Youth’s current status – hiatus, endless vacation, break up, whatever – what is unavoidable is that the band stopped working together at the point that they reached a late career spike with both Rather Ripped and The Eternal. So while their demise is indeed lamentable, it has actually opened the gates to more music than we would’ve got if they’d stayed together. And, with drummer Steve Shelley dividing his time between Thurston Moore and Lee Ranaldo like the offspring of divorced parents, there’s a certain familiarity to be had. 

Or is there? While Moore has continued to plough his individual furrow with a series of improving solo albums, his template hasn’t strayed too far from the music that made his name. It’s his former guitar partner Lee Ranaldo who’s been moving out of the shadow of his alma mater, and he is beginning to shine. 

Like his erstwhile bandmate, Ranaldo is improving in more ways than one. For starters, teaming up with novelist Jonathan Lethem for six co-writes has proved to be a smart move and one that deals with the lyrical blindside that marred his two previous albums Between The Times And The Tides and Last Night On Earth. Here, in the main, he moves away from the simple rhyming that’s been his stock-in-trade to lyrics that flow more like wine from a bottle into a glass. With a side order of jazz fag. 

And while there’s still some way to go on the lyrical front, Ranaldo is to be applauded for his musical excursions. Eschewing the shrieks, skronks and sonic assaults of Sonic Youth, Ranaldo applies his love and curiosity of alternate tunings to more acoustic settings and creates bucolic and lysergic-tinged material. Undeniably startling, it nonetheless suits Ranaldo well and, aided and abetted by a cast of characters that includes Wilco’s Nels Cline, Sharon Van Etten and producer Raül ‘Refree’ Fernandez, it is wholly convincing.The harmonic string buzzes and open chords of ‘Moroccan Mountains’ are deliciously evocative of parched vistas and shimmering horizons, as elsewhere ‘Circular (Right As Rain)’ is a kaleidoscopic yet subtle trip. What’s also apparent is how much Ranaldo has improved as a singer; his voice is strong and confident and he’s on far more intimate terms with infectious melodies. Best of all is ‘Last Looks’, his tender duet with Sharon Van Etten that switches up several gears to move into further psychedelic territories…..Julian Marszalek……

Lee Ranaldo’s twelfth solo album Electric Trim, features the members of the band The Dust that the guitarist/vocalist has recorded with since his 2013 studio album Last Night On Earth, but in many ways it looks back to his first straightforward rock record, 2012’s Between The Times And The Tides. Like that album, Electric Trim has a low key, R.E.M.-ish atmosphere, rather than the Grateful Dead-influenced jam band ethos of Las Night…, but that’s not to say that Electric Trim is the less adventurous album of the two. 
The opposite is true in fact, but it’s a breezily unorthodox record that wears its experimental aspects lightly, weaving them almost seamlessly into the texture of songs which are as tightly constructed and accessible as any he has written to date. A meticulously detailed album, it repays close listening (and is especially rewarding through headphones), but those experimental aspects; interesting percussive and electronic elements, extremely evocative lyrics, written in collaboration with novelist Jonathan Letham and (of course) some unusual guitar sounds – rarely disturb the album’s mostly quite mellow and melancholy melodic surface. In fact, this richness of texture makes the album such a smoothly harmonious and cohesive whole (far more satisfyingly so than Last Night On Earth), that it tends to mask the fact that its songs are actually a fairly varied bunch. 
Opener Moroccan Mountains sets the tone; at its heart is a performance by Ranaldo on folk-ish acoustic guitar, but it’s surrounded, suspended almost, in a vibrant shell of ambient noise, dynamic percussion and subtle electronics. The lyrics (and this is true for most of the songs) are extremely effective but slightly opaque; and all the more satisfying for it; they certainly seem to inspire Ranaldo to give some of the best vocal performances of his career. Whether the song is related to his pilgrimage to the Rif mountains to see the Master Musicians of Jajouka back in the mid-90s I don’t know, but there are certainly musical elements that allude to the traditional trance-inducing music of the region. It’s a beautifully judged, beautifully performed song, with spoken word parts recalling R.E.M.’s similarly enigmatic ‘E-bow the Letter’, and, as with most of Ranaldo’s solo work to date, the ghost of Sonic Youth doesn’t manifest itself…..
by Will Pinfold …

Lee Ranaldo – vocals, acoustic & electric guitars, keyboards, electronics, drums, marimba 
Raül Refree – acoustic & electric guitars, keyboards, electronics and programming, bass, drums, backing vocals 
Sharon Van Etten – vocals 
Alan Licht – electric guitar 
Tim Luntzel – bajo 
Nels Cline – electric guitar 
Steve Shelley – drums 
Kid Millions – drums 
Xavi de la Salud – trumpets and flugelhorns 
Cody Ranaldo – electronics 
Mar Girona – backing vocals


Moroccan Mountains 
Uncle Skeleton 
Let’s Start Again 
Last Looks (with Sharon Van Etten) 
Circular (Right As Rain) 
Electric Trim 
Thrown Over The Wall 
New Thing 

Arno & Andreas “Weder Arno noch Andreas” 1978 Germany Xian Folk Pop Rock


Arno & Andreas “Weder Arno noch Andreas” 1978 Germany Xian Folk Pop Rock

Arno Backhaus was born on 27.11.1950 in Frankenberg near Kassel. 
He is a Christian singer-songwriter, childrens musician, action artist and speaker. He tried to educate his religious childhood very early on a rebellious attitude to escape. Already in the so-called Sunday school of the Evangelisch-Freikirchlichen community in which his parents sent him, he was permanently conspicuous. “My relationship with my parents was never one trustworthy or friendly, but rather an administrative, "he says today.Arno was relegated to four schools during his school term, and had three times a school year to repeat. As a youth, he was involved in a variety of conflicts with teachers, neighbors and the police. As a 15-year-old, he stole several thousand marks, for example, and handed them over to the fund office,  in order to be able to receive them formally legally at the end of the year. After the great school liberation he bumbling around for three months, also slept in gardening, until his father told him to go to a Christian leisure in a youth hostel Veckerhagen, near Kassel. Backhaus: "From loud boredom I said, especially since I had anyway any attachment to anybody or anything. ” He had become acquainted with a parental home that was marked by supposedly Christian rules, but on this leisure people who lived a Christianity, that for him was light years away from that, what one thought at home. He was totally confused. So far the Christian faith had repulsed him,  but here everything seemed different. He talked with the leisure director about faith, God and the Bible and his prejudices collapsed like a house of cards. Arno: “I prayed for the first time in mine Live honestly and invited this Jesus to come into my power center, my heart, my thinking and mine Nature. In this moment I experienced Jesus existentially, almost physically. I suddenly  that’s all right with God. I could suddenly believe! I cried endlessly. I was up once clear what had accumulated in me in the past in terms of negatives and guilt. ” He howled with shame and sorrow, but also with joy, happiness and enthusiasm. Jesus had his own  Debt accepted! He told his parents nothing about his decision, they heard later of others. The whole thing was too intimate to him. He did not want to hear that he finally made sense  
has become. He had become a Christian, not dear. The youth group, which also carried out leisure activities he visited regularly. They called themselves “Youth 67”. Influenced by Father Leppich and Pere Cocagnac, Arno Backhaus began singing songs. He is invited here and there and brings to the publisher “Hermann Schulte” Wetzlar 1972 his first single “Sing and Pray”. By the way, according to his own statement, because he had sung Christian peace members during a demonstration against the NPD in the 1970s.  
The proceedings against him were terminated. At that time, Arno was not just on the road. He toured among others with the music group “Initiative junger Christen”. through the US. This was the beginning of the seventies Years the duo “Arno and Andreas”. He already knew Andreas Malessa from a Christian youth group in Korbach.  After graduating as a wholesale buyer, Backhaus studied Social work at the Gesamthochschule in Kassel. In 1972 he married Hanna. They have three children.Musically “Arno and Andreas” were so known that they gave about 120 concerts a year. In the first two years only Arno with Andreas (singing, guitar and harmonica) and afterwards  often with a band (with Dieter Falk from Siegen on the keyboard). They stayed for about 20 years 
and sold more than 50000 records during this time and gave some 3,000 concerts. Her first LP was published in 1973 by Hermann Schulte Verlag in Wetzlar. It was called “Arno and Andreas”. The next LP “Neither Arno nor Andreas” was then a hit. On this LP is also the song “The Gammler”, the German version of the Larry Norman title “The Outlaw”. Little episode: Backhaus played with “Neither Arno nor Andreas” in England Pete Townshend from The Who in the “Space invaders” breaks. The Who at the same time in the neighboring studio, had a large refrigerator with alcoholic drinks, while the Arno and Andreas crew preferred buttermilk, so Arno’s memory.  With friends, they also published the magazine “COGO” at that time, dealing with music and art from the ever-growing Christian cult scene.  1991 the final concert in Calden near Kassel. Then they stood again 2011 at the Musikmesse Promikon on the stage.  
Since 1991, Arno has been a songwriter, a childrens musician, an action artist and a speaker  Stages and streets. For lectures sometimes also with his wife Hanna. He is also a  Writer. Since 1984 the book “Pictures like songs, songs as pictures” appeared, he has a nearly  a large number of books and calendars. In 2009 his book appeared: Oh my godness! ADS - From chaos to the life artist. He also gives lectures on this subject. Maybe a new CD will come out again. Who knows?………

A1 Ein Gespräch Mit Jesus 2:23 
A2 Psalm 139 3:00 
A3 Nehmt Einander An 4:37 
A4 Der Gammler 3:29 
A5 Liebe Ist (K)ein Problem 3:16 
A6 Und Fragte Nach Dem Sinn Des Lebens 1:59 
B1 Versagerblues 3:07 
B2 Es Ist Ein Guter Weg 2:21 
B3 Schrei Nach Hilfe 3:09 
B4 Noah 2:01 
B5 Eine Kneipe Früh Am Morgen 2:27 
B6 Abendlied 5:20


1. Single “Sing and Pray” 1972 (Arno Backhaus) 
2. LP “Arno und Andreas” 1973 (Arno und Andreas) 
3. LP-MC “Weder Arno noch Andreas” 1978 CD 2000 (Arno und Andreas) 
4. LP-MC “Die Platte” 1980 CD 2000 (Arno und Andreas) 
5. LP-MC “Langarbeitsheftspielscheibe” 1983 (Arno und Andreas) 
6. LP-MC -Songbook “Nach dem hören kommt das handeln” 1985 CD 2000 (Arno und Andreas) 
7. LP-MC-Songbook “herzlich willkommen” 1986 CD 2000 (Arno und Andreas) 
8. LP-MC-Songbook “Ein-ein und Rückblick” 1988 CD 2000 (Arno und Andreas) 
9. CD “Totally up to date - Bibelsongs für Kids” 2001 (u.a.Arno Backhaus) 
10+11. CD “starke Kindersachen Vol.1 und 2” 2002 und 2003 (u.a.Arno Backhaus) 
12+13. CD “Jahreslieder Vol.4+5” 2005 und 2006 (u.a.Arno Backhaus) 
14. CD “die Kinderhits von Spring” 2007 (u.a.Arno Backhaus) 
15. CD-Rom “Arnos Spielebuch für das ganze Jahr” 2007 (Arno Backhaus) 
16. Hörbuch “das wäre ja gelacht - Best of ” 2008 (Arno Backhaus) 

Opus "Opus 1" 1975 Yugoslavia Symponic Prog

Opus  "Opus 1" 1975 Yugoslavia Symponic Prog

This is an obscure and rare Yugoslavian release and the only album of OPUS. The leader M. Okrugic is a remarkable organ player and here his Hammond sound is predominant all the way through. The style of “Opus 1” was influenced by heavy organ rock of PROCOL HARUM, VANILLA FUDGE, ATOMIC ROOSTER and EL&P, while the symphonic ambitions draw inspiration from early DEEP PURPLE. Vocal of D. Prelevic is strong, slightly R&B/“black”- coloured and performance is good, but the songs and production are somewhat sub-standard. The main problem is that all the songs seem unfinished as if the authors were lacking bravity to push their ideas more agressively. But this can be said for most of the Yugoslavian “prog” artists of the era, so let’s not be too harsh on OPUS. This is a valid record, in spite of not very inspired songcrafting. Instrumental performance is very good, and even with a poor production, this LP is recommended, especially given its unpopular and oblivious destiny….by Seyo 

The band was formed in Belgrade in 1973 by Miodrag “Mive” Okrugić (a former YU Grupa member, keyboards), Miodrag “Bata” Kostić (a former Terusi and YU Grupa member, guitar) and Dušan Ćućuz (a former Džentlmeni member, bass guitar). The band chose their name after the song “Opus No. 1”, which was written by Okrugić’s during his work with YU Grupa. The song was often performed by YU Grupa, but never recorded.However, soon after it was formed, Opus disbanded. Soon after, Ćućuz formed the symphonic rock band Tako.

In 1975, Okrugić reformed Opus. The new lineup featured Slobodan Orlić (a former Plamenih 5, Siluete, Bitnici and Moira member, bass guitar), Ljubomir Jerković (drums) and Dušan Prelević (a former Korni Grupa member, vocals).This lineup released the album Opus 1. The album, released in luxurious sleeve designed by Dragan S. Stefanović, featured symphonic rock-oriented songs. The album featured “Opus No. 1”, renamed to “Opus \ Žena tame” (“Opus \ Woman of Darkness”), the songs “Dolina bisera” (“Valley of Pearls”) and “Viđenje po Grigu” (“Seeing by Grieg”), released on the 7" single, and the song “Memento Mori”, which featured Dah member Zlatko Manojlović on vocals.[However, the album was not well received, as the critics expected more from the band on the basis of their live performances, and Opus disbanded once again. 

In 1977, Okrugić once again reformed Opus. The lineup featured Okrugić, Orlić, Želimir Vasić (drums) and Milan Matić (guitar). After the reunion, the band released the single “Ne dam da budeš srećna” (“I Won’t Let You Be Happy”) and went through numerous lineup changes.The last lineup featured Okrugić, Orlić, Vladan Dokić (drums), Zoran Dašić (guitar), Vidoja Božinović (a former Pop Mašina member, guitar), and Dragan Baletić (a former Crni Biseri member, vocals). The band finally ended their activity in 1979. 

In 2013, Opus 1 was reissued on both CD and vinyl by Austrian record label Atlantide.

Line-up / Musicians 
- Miodrag Okrugic / Hammond organ 
- Slobodan Orlic / bass 
- Dusan Prelevic / vocals 

Additional players: 
- Ljubomir Jerkovic / drums 
- Zlatko Manojlovic / vocals 

Žena Tame 
A1 Magija \ Zveri U Nama
A2 Čudno Je U Magli
A3 Viđenje Po Grigu
A4 Opus \ Žena Tame 
Lyrics By – Okrugić*, Orlić* 
Žena Oblaka 
B1 Dolina Bisera
B2 Skupljač Zvona
B3 Frida \ Žena Oblaka
B4 Memento Mori 
Vocals – Zlatko Manojlović

Studio albums 
Opus 1 (1975)

“Veče” / “Sam” (1974) 
“Dolina bisera” / “Viđenje po Grigu” (1975) 
“Ne dam da budeš srećna” / “Ona je dama” (1977) 

Rupert Hine "Unfinished Picture" 1973 UK Prog Rock,Art Pop

Rupert Hine  "Unfinished Picture" 1973  UK Prog Rock,Art Pop

Before becoming an in-demand producer and a successful singer, Rupert HINE was briefly a member of SOFT MACHINE in their early days. After leaving the group, he pursued a solo career as a keyboardist. “Pick Up a Bone” was his first effort, released in 1971, there followed “Unfinished Picture” in 1973, “Immunity” in 1981, “Waving Not Drowning” in 1982, and “Wildest Wish to Fly” in 1983……
By 1975, Rupert Hine was already beginning to gain credibility as a producer and session musician, but he had also released two of that era’s most cryptic solo albums in Pick Up a Bone and Unfinished Picture. The latter in particular demonstrated that Hine had few peers when it came to shaping elaborate instrumental textures and atmospheres without departing from a song-based format. Most listeners’ overriding feeling on hearing them, however, was one of perplexity, and sales were correspondingly minuscule. But throughout his career, Hine has shown himself perfectly willing to rein in his more experimental tendencies for the sake of shifting a few more units…allmusic…

From the point of view of the show business boss, the culminating period for the solo career of Rupert Hain was the era of the synth-pop. Indeed, in the first five-year period of the eighties this British artist released three commercially successful albums, songs of which were actively played on the radio. However, for a progressive audience of listeners, Rupert’s works related to the previous decade are much more important. Then his name was mentioned in one bunch with Caravan, Camel, Quantum Jump etc. A lucky producer, gifted author / performer, he always skillfully picked up the keys to a variety of sound “boxes with a secret.” And in his early works, Maestro Hine proved himself to be such a cunning rock-combinator erecting stable designs from seemingly obviously incongruous details … “Unfinished Picture” is a motley mixture of variational sound layers, tightly fitted to each other. In the process of composing the material, the English unique hit in the experimentation, trying to get away from the calm rhythm and blues, presented on his debut LP “Pick Up a Bone” (1971). 
For greater effect, Rupert drew Simon Jeffs, leader of the Penguin Cafe Orchestra, a multi-instrumentalist who excellently understands classical music theory. Thanks to the latter, separate tracks of the release gained an orchestral volume and a claim to the avant-garde. Full members of the team of Hain’s accompanists also became bassist John Gee Perry (see the corresponding blog post), drummers Mickey Waller, John Panther, Mike Giles + percussionist Ray Cooper. Let’s try to consider what such wonderful persons have created so wonderful. 
In the opening “Orange Song”, Hein and the company mix the windmill acoustic folk-rock with the brass parts (Dave Cass - trumpet, John Mumford - trombone) and string arrangements from The Martyn Ford Orange Ensemble, getting an interstyle exposition demonstrating originality of thinking of its creators. “Doubtfully Gray” partly inherits the Minstrel tradition of the past, but develops them in a completely special reflective plane. “Do not Be Alarmed” - an obvious country blues, missed through the prism of our hero’s perception. Very good is the astral elegy “Where in My Life”, where Rupert copes without the help of additional composition, singing and playing the ARP synthesizer singly. “Anvils in Five” is a pretentious thing, embodied “alive” in the church of St. Mary Magdalene (Paddington) by the symphony orchestra and the mastermind himself performing (in addition to the recitative) background passages on the cathedral organ. In the same room, the next position of the plate is also fixed - a beautiful piano ballad called “Friends and Lovers”. Blues influences with a rural bias are punctured in the group number “Move Along”, but in an intricate, unexpectedly broken piece “Concorde (e) Pastich (e)” arranging art-tricks, virtually identical to those used in parallel by Pink Floyd on the cult masterpiece “ Dark Side of the Moon ”. The “Incomplete picture” crowns the heartfelt keyboard etude “On the Waterline”, enveloped in a train of unknown mystery … 
I summarize: a remarkably wonderful program worthy of the attention of a real music lover. I recommend…

Typically, Pick Up A Bone received some good critical accolades, but sold very poorly. Still, Glover had enough faith in Hine and MacIver that he saw to it they got an advance on a second album. With the advance, Hine purchased an electric piano on which he and MacIver wrote most of the songs. As a result, the sound begins to change on Unfinished Picture, moving away from the folky Anglo-blues of Pick Up A Bone and into more experimental realms. Though recorded at A.I.R. London, the sound is also a lot more intimate than its predecessor. A lot of this has to do with the smaller cast of characters, with Hine on keys and acoustic guitars, Simon Jeffes on guitars, John G. Perry (then of Caravan, and later to join Hine in Quantum Jump) on bass and a succession of drummers including Mick Waller and Mike Giles. Even the orchestral arrangements (by Jeffes rather than Paul Buckmaster) seem smaller and more intimate. The fact that one of the orchestral tracks was recorded in a church rather than a recording studio adds to that intimate feel. 

The tone of the music has changed as well. This album takes a definite turn towards the conceptual and cinematic, with a somber pipe-organ intro followed by a child’s voice saying, «One day…» Ostensibly a soundtrack to Anthony Stern’s* impossible-to-find feature film Wheel, it also takes on an altogether darker sound than its predecessor. The mix of whimsy and dark menace that was suggested on the previous album’s title track is fully realized here. 

Nowhere is this more apparent than on the album’s opener, «Orange Song.» On the surface, it seems to be just a rhythmic folk guitar based tune with a swing feel, featuring some chugging cellos joining in in due time and later on, an instrumental bridge with raucous, squawking horns. 

Moving swiftly on, «Doubtfully Grey» is similarly comical folk, but of a considerably less creepy nature. MacIver here equates a relationship with Darwinian evolution. And I get the distinct feeling that this particular tune was based on an actual conversation; the line «‘I don’t understand your songs,’ she said» is a dead giveaway. More MacIver wordplay, based on the song’s title, closes out the piece. The arrangement is for the most part very stripped-down, acoustic guitars and light percussion giving a slight samba feel. But a crescendo of keening strings at the end seems to pop in out of nowhere, providing a sonic link to… 

«Don’t Be Alarmed,» probably the closest the album comes to the laid-back bluesy feel of Pick up a bone. This one features drums and bass reëntering the picture, with a multiple acoustic guitar arrangement. Jeffes adds some Oldfieldian sped-up guitar and some skittering runs here and there adding an odd bent to the tune. 

For «Where In My Life,» we start on a sharp detour away from anything resembling Pick up a bone at all. Hine’s vocal performance is at its most ethereal, fitting the music and impressionistic text perfectly. The backing track was built up entirely by Hine’s ARP 2600 synthesizer, presumably the same one he used on Caravan’s For Girls Who Grow Plump In The Night album. Back in 1973, the all-synthesizer arrangement was quite extroardinary, and it totally works for the song. It’s here that we first get a (rather skeletal, admittedly) taste of what Hine would later do on his albums for A&M like Immunity. 

«Anvils In Five» is undeniably the strangest piece on the album, and considering it follows «Where In My Life,» that’s really saying something. Recorded in a suburban London church, the backing track is wholly orchestral, building in dark intensity from beginning to end, finishing on a fortissimo pipe-organ chord (played by Hine). Hine recites the lyrics in a creepy, low monotone, words inspired by the five senses. Since there’s no melody to speak of, it forces you to concentrate on the text and the arrangement. Very much a mood piece, and definitely one of the more impressive moments on this disc. It’s followed by «Friends and Lovers,» a simple, intimate piano/vocal ballad. Recorded in the same church as «Anvils In Five,» it concludes with the sound of the piano lid closing, footsteps moving from one speaker to the next and a door being shut. 

«Move Along» returns us, however fleetingly, to familiar territory, as it’s another Randy Newman-esque folk-blues number. Hine even pulls out the harmonica one last time. And MacIver is up to his old tricks, returning to the faux-Southern dialect à la «Ass All.» But Jeffes, it seems, couldn’t allow any of the pieces on this album have a «normal» arrangement, so the song eschews conventional drums altogether, substituting instead a battery of Latin percussion from famed sideman Ray Cooper. Here we get our first listen to that electric piano of Hine’s, Jeffes’ subtle sustained guitar notes adding extra colour to the sound. 

The outlandishly titled «Concord(e) Pastich(e)» is probably the most intricate piece on the album. Beginning with a verse accompanied only by piano, Hine starts on a second, only to abruptly stop on the line «We used to run from here to over there,» which hard-pans from one speaker to the next. Then Jeffes’ arpeggiated guitar and Perry’s bass enter, overlaid by a second guitar playing a long, slightly distorted solo. After much deliberation, the drums and organ enter. The liner notes to this particular tune proclaim «Headphones are an extreme advantage,» obviously referring to Hine’s heavily treated and barely audible recitation over the long, otherwise instrumental balance of the track. The piece doesn’t end as much as it just stops, very abruptly indeed. 

«On The Waterline» starts off with just Hine’s voice backed by his own piano. But anyone worried that this will turn into «Friends And Lovers: Part 2» should be consoled by the harpsichord and cymbal (the latter courtesy ex-King Crimson drummer Mike Giles) accents entering in the second verse. Actual drumming appears in the third verse, though still in a watercolour rather than rhytmic manner. At last the piece gains rhythmic momentum over the closing «All the children cry» refrain, mainly via Hine’s piano and harpsichord, with Giles still playing off the rhythm in a jazzy manner. Again, something of a mood piece, but for those who were put off by the lack of melody on «Anvils In Five,» this should prove immensely more satisfying. 

So, who should go for these albums? Fans of Hine’s 80’s output are likely to find Pick up a bone a shocking experience, since it’s so far removed from what he did later. Unfinished Picture should prove rather less so, as some tracks («Where In My Life,» «Anvils In Five») are something like embryonic visions that later came to fruition on Immunity and its successors. Indeed, many of the more experimental moments of Unfinished Picture bore fruit not only in Hine’s own subsequent work, but also in latter-day expermental and «post-rock» acts like Radiohead. 

That said, while Unfinished Picture is probably the more technically impressive, influential release, Pick up a bone is definitely the more satisfying listen of the two. Mainly because it offers a far more memorable set of actual songs. Fans of offbeat and unusual songs are sure to dig both, though. ……by Progbear…

Rupert Neville Hine (born on September 21, 1947 in Wimbledon, South West London) is an English musician, songwriter and record producer, having produced albums for artists including Kevin Ayers, Tina Turner, Howard Jones,[Saga, The Fixx, Bob Geldof, Thompson Twins, Stevie Nicks, Chris de Burgh, Suzanne Vega, Rush, Underworld, Duncan Sheik, Formula and Eleanor McEvoy. In addition, Hine has recorded eleven albums, including ones billed under his own name, the pseudo-band name Thinkman, and as a member of the band Quantum Jump. 

As a recording artist 

In the early sixties, Hine formed half of the folk duo Rupert & David. The duo performed in pubs and clubs and occasionally shared the stage with a then-unknown Paul Simon. The duo’s one released single (on the Decca label in 1965) was a cover of Simon’s “The Sounds of Silence”. The single was not a success, but was notable for featuring a young Jimmy Page on guitar and Herbie Flowers on bass. 

Hine released two albums under his own name in the early 70s: Pick Up a Bone (1971) and Unfinished Picture (1973). 

In 1973, Hine, along with guitarist Mark Warner, bassist John G. Perry (then of Caravan) and drummer Trevor Morais (formerly of The Peddlers) formed the band Quantum Jump, releasing two albums, Quantum Jump (1976) and Barracuda (1977). After a re-release of the track “Lone Ranger” (from Quantum Jump) became an unexpected UK Top Ten hit in 1979, a third album – Mixing, a reworking of tracks selected from the first two Quantum Jump albums – was released. 

After Quantum Jump disbanded, Hine released a trilogy of albums under his own name, including Immunity (1981); Waving Not Drowning (1982); and The Wildest Wish to Fly (1983). The American release of Wildest Wish dropped two tracks, radically reworked two others and incorporated two tracks from 1981’s Immunity – including “Misplaced Love”, which featured a guest vocal by Marianne Faithfull and had been a minor hit in Australia, reaching number 14 on the charts. In 1985, Hine wrote and produced much of the soundtrack for the black comedy film Better Off Dead. 

Hine subsequently recorded three albums under the name Thinkman, which was conceived as a “virtual band” – essentially a solo Hine project with actors (including a then-unknown Julian Clary) employed to give the illusion of a larger group. Thinkman’s debut, The Formula, was released in 1985. Though the actors portraying the band did not appear on the album, it did feature contributions from Jamie West-Oram from The Fixx and Stewart Copeland from The Police. Lisa Dalbello provided guest vocals on the title track. A second album, Life is a Full-Time Occupation, was released in 1988. A third and final album, Hard Hat Zone, was released in 1990. 

In 1994, Hine released The Deep End. In 1995 he joined with guitarist Phil Palmer, Paul Carrack, Steve Ferrone and Tony Levin to form the band Spin 1ne 2wo. The group released a self-titled project, made up of rock covers of songs by artists including Jimi Hendrix, The Who, Led Zeppelin, Blind Faith, Steely Dan and Bob Dylan. 

In 2008, Hine oversaw the direction of the compilation album Songs for Tibet: The Art of Peace, and also contributed to it a remixed version of his song, “The Heart of the Matter” (from The Deep End). In 2008, during the Beijing Olympics, the album was iTunes third most downloaded around the globe. 

Hine wrote two songs for Le Cheshire Cat et moi, a 2009 CD by Nolwenn Leroy which was produced by Teitur Lassen. 

In 2011 Rupert Hine, launched Auditorius, a joint music publishing project with BMG Rights Management. In November the same year, following a glowing citation from Bob Geldof, Rupert was honoured by the APRS with a Sound Fellowship Award; presented to recognise special contributions to the ‘Art, Science and Business of Recording’. Hine joined Joe Boyd, Clive Green, Bob Ludwig, Jimmy Page and Chris Thomas to receive the award from Sir George Martin, APRS President, who together with an elite group of past recipients; sound and music innovators, including Sir Paul McCartney, Peter Gabriel, Chris Blackwell, also holds a Fellowship Award. 

In March 2015 Esoteric Recordings (part of Cherry Red Records) issued “Unshy on the Skyline”, a compilation from a trio of albums Hine made between 1981 and 1983. Immunity, Waving Not Drowning and The Wildest Wish to Fly , complemented by the lyrics of poet and artist Jeannette-Thérèse Obstoj, and featuring guest contributions from musicians Robert Palmer, Phil Collins and guitarist Phil Palmer. The album has been re-mastered by Hine’s long time friend and sound engineer Stephen W Tayler, who had recorded, mixed and co-produced the original albums. 

To recognise the Dalai Lama’s 80th birthday in July 2015, the Art of Peace Foundation commissioned Hine to produce Songs for Tibet II, to celebrate and honour the Dalai Lama’s vision. A follow-up to the Grammy-nominated Songs for Tibet that Hine produced in 2008, artist contributions came from Sting, Peter Gabriel, Lorde, Kate Bush, Elbow, Duncan Sheik, Howard Jones, The Family Crest, Ed Prosek, Of Monsters & Men, Bob Geldof, Crystal Method, Rival Sons, Eleanor McEvoy and Hine himself…….wiki…

Rupert & David - Sound of Silence 1965 (first publicity photo of Rupert!)

*Rupert Hine - Guitar, Keyboards, Vocals 
*Simon Jeffes - Guitar, Bass 
*John Perry - Bass 
*Steve Nye - Piano 
*Mick Waller - Drums 
*Mike Giles - Drums 
*John Punter - Drums 
*Ray Cooper - Percussion 
*Dave Cass - Trumpet 
*John Mumford - Trombone 
*The Martyn Ford Ensemble - Strings

1. Orange Song (Rupert Hine, Simon Jeffes) - 4:05 
2. Doubtfully Grey - 4:15 
3. Don’t Be Alarmed - 4:54 
4. Where In My Life - 2:21 
5. Anvils In Five - 5:47 
6. Friends And Lovers’ - 3:44 
7. Move Along - 4:56 
8. Concord(E) Pastich(E) (Rupert Hine, Simon Jeffes) - 5:56 
9. On The Waterline - 6:36

Quantum Jump 1974 - Rupert Hine, Trevor Morais, Mark Warner & John G Perry


The Sounds of Silence, 7" single (Decca F.12306) as Rupert and David (1965) 
Pick Up a Bone (1971) 
Unfinished Picture (1973) 
Quantum Jump (as part of Quantum Jump) (1975) 
Barracuda (Quantum Jump) (1977) 
Mixing (Quantum Jump) (1979) 
Immunity (1981) 
Waving Not Drowning (1982) 
The Wildest Wish to Fly (1983) 
Better Off Dead (Soundtrack) 
The Formula (as Thinkman) (1985) 
Life is a Full-Time Occupation (as Thinkman) (1988) 
Hard Hat Zone (as Thinkman) (1990) 
The Deep End (1994) 
Spin 1ne 2wo (1995) 
Unshy on the Skyline - The Best of Rupert Hine (Compilation) (2015) 
As a producer 

Hine’s many producer credits include: 

Jon Pertwee – “Who Is the Doctor” (single) (1972) 
Rupert Hine and Simon Jeffes – Score (TV music) (1973) 
Yvonne Elliman – Food of Love (album) (1973) 
Various Artists – Colditz Breakpoint (album) (1973) 
Jonesy – Growing (album) (1974) 
Kevin Ayers – The Confessions of Dr. Dream and Other Stories (album) (1974) 
Quantum Jump – Quantum Jump (album) (1974) 
John G. Perry – Sunset Wading (album) (1975) 
Nova – Blink (album) (1976) 
Rupert Hine – “Snakes Don’t Dance Fast” (single) (1976) 
Dave Greenslade – Cactus Choir (album) (1976) 
John G. Perry – Seabird (album) (1976) 
Café Jacques – Round the Back (album) (1977) 
Quantum Jump – Barracuda (album) (1977) 
Anthony Phillips – Wise After the Event (album) (1977) 
Anthony Phillips – Sides (album) (1978) 
Rupert Hine and Simon Jeffes – The Kenny Everett Video Show (TV music) (1978) 
Café Jacques – International (album) (1978) 
After the Fire – Laser Love (album) (1978) 
Rupert Hine – The Shout (soundtrack) (1979) 
Murray Head – Between Us (album) (1979) 
Quantum Jump – Mixing (album) (1979) 
Camel – I Can See Your House from Here (album) (1979) 
Wildlife – Burning (album) (1979) 
The Members – The Choice is Yours (album) (1980) 
Various Artists – First Offenders (album) (1980) 
Rupert Hine – Immunity (album) (1981) 
Saga – Worlds Apart (album) (1981) 
Jona Lewie – Heart Skips Beat (album) (1981) 
The Fixx – Shuttered Room (album) (1981) 
Rupert Hine – Waving Not Drowning (album) (1982) 
The Waterboys – “A Girl Called Johnny” (single) (1983) 
The Fixx – Reach the Beach (album) (1983) 
Saga – Heads or Tales (album) (1983) 
The Little Heroes – Watch the World (album) (1983) 
Chris De Burgh – The Getaway (album) (1982) 
Rupert Hine – The Wildest Wish to Fly (album) (1983) 
The Fixx – Phantoms (album) (1984) 
Tina Turner – Private Dancer (tracks) (1984) 
Howard Jones – Human’s Lib (album) (1984) 
Howard Jones – The 12" Album (album) (1984) 
Chris De Burgh – Man on the Line (album) (1984) 
Martin Ansell – An Englishman Abroad (album) (1985) 
Howard Jones – Dream into Action (album) (1985) 
Rupert Hine and Various Artists – Better Off Dead (soundtrack) (1985) 
Thinkman – The Formula (album) (1986) 
The Fixx – Walkabout (album) (1986) 
Eight Seconds – Almacantar (album) (1986) 
Howard Jones – Action Replay (album) (1986) 
Tina Turner – Break Every Rule (tracks) (1986) 
Thompson Twins – Close to the Bone (album) (1987) 
Bob Geldof – Deep in the Heart of Nowhere (tracks) (1986) 
Various Artists – Secret Policeman’s Third Ball (tracks) (1987) 
Underworld – Underneath the Radar (album) (1987) 
On Rebel Heels – One by One by One (album) (1987) see: [1] 
Thinkman – Life Is a Full Time Occupation (album) (1988) 
The Joan Collins Fan Club – “Leader of the Pack” (single) (1988) 
Stevie Nicks – The Other Side of the Mirror (album) (1989) 
Tina Turner – Foreign Affair (tracks) (1989) 
Rush – Presto (album) (1989) 
Thinkman – Hard Hat Zone (album) (1990) 
Various Artists – One World One Voice (album) (1990) 
The Fixx – Ink (tracks) (1990) 
Bliss – A Change in the Weather (album) (1990) 
Bob Geldof – The Vegetarians of Love (album) (1990) 
Rush – Roll the Bones (album) (1991) 
Remmy Ongala – Mambo (album) (1992) 
Chris De Burgh – Power of Ten (album) (1992) 
Howard Jones – In the Running (album) (1992) 
Bob Geldof – The Happy Club (album) (1992) 
Spin 1ne 2wo – Spin 1ne 2wo (album) (1993) 
Rupert Hine – The Deep End (album) (1994) 
Katey Sagal – Well… (album) (1994) 
Various Artists – One Week or Two in the Real World (tracks) (1994) 
Milla Jovovich – The Divine Comedy (tracks) (1994) 
Les Négresses Vertes – Zig Zague (album) (1994) 
Touch! – Marche avec moi (album) (1994) 
This Picture – City of Sin (tracks) (1994) 
Ezio – Black Boots on Latin Feet (album) (1995) 
Éric Serra – GoldenEye (tracks) (1996) 
Noa – Calling (album) (1996) 
Duncan Sheik – Duncan Sheik (album) (1996) 
Marian Gold – United (album) (1996) 
Éric Serra – The Fifth Element (tracks) (1997) 
Celtus – Moonchild (album) (1997) 
Thanks to Gravity – Start (album) (1997) 
Various Artists – Welcome to Woop-Woop (tracks) (1998) 
Éric Serra – RXRA (album) (1998) 
Duncan Sheik – Humming (album) (1998) 
Eleanor McEvoy – Snapshots (album) (1999) 
Stroke 9 – Nasty Little Thoughts (album) (1999) 
Rat Bat Blue – Greatest Hits – Vol. 2 (The Hungry Years) (album) (1999) 
Geoffrey Oryema – Spirit (album) (2000) 
Suzanne Vega – Songs in Red and Gray (album) (2001) 
Ra – From One (album, uncredited) (2002) 
Teitur – Poetry & Aeroplanes (album) (2003) 
Martin Grech – Unholy (album) (2005) 
Amanda Ghost – “Time Machine” (single) (2006) 
Stuart Davis – Stuart Davis (album) (2006) 
T.D. Lind – Let’s Get Lost (album) (2007) 
Songs for Tibet, album plus underlying remix The Heart of the Matter (2008) 
Echo Echo – Fall Like You’re Flying (album) (2010) 
Rupert Hine - “Unshy on the Skyline” (album) (2015) 
Songs for Tibet II, album plus You Can’t Be Chased, Ostinato Mix (2015) 

johnkatsmc5, welcome music..







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“A Revolutionary New Triumph in Tape” 1958

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