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Topics - ObiwanKenomi

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196
Jan Akkerman (NL) / Jan Akkerman - A Biography
« on: October 23, 2015, 01:38:39 PM »
Jan Akkerman - A Biography by Wouter Bessels

Imagine a guitar player who played with musicians like Claus Ogerman, Alan Price, Herman Brood, Peter Banks, Charlie Byrd and Ice-T. You won't be guessing anybody else than Jan Akkerman. During his nearly 50-year career, he did almost anything a musician could possibly do. Even now in 2003, he has been developing himself towards new musical fields with a sheer enthusiasm which is so typical for all his projects so far.

Jan was born on Christmas-eve of 1946 in Amsterdam, The Netherlands. He picked up a guitar for the first time at the tender age of 5. Jan's father was a guitar player himself, while his mother encouraged him to play the accordion. Luckily, he later definitely chose to pick up the guitar, although he also can play keyboards and even the saxophone. As a teenager his interests turned from classical music into rock 'n roll, so at an early age he played in local bands like The Friendship Sextet (his first band), The Shaking Hearts and Johnny & His Cellar Rockers.

The 'Cellar Rockers' turned into Johnny and The Hunters, and later on The Hunters. Akkerman wrote 'The Russian Spy and I' which featured the famous lick that definitively set his name in the music business. During the last few months of The Hunters, Jan recorded his first solo album 'Talent for Sale' in 1968, with Sidney Wachtel on drums and Ron Bijtelaar on bass. This album featured some Rhythm & Blues-standards, as well as some compositions of his own. This release marked the end of the 'early years', in which he also did studio sessions for a Dutch band called 'The Cats' and on several other Dutch acts (like Unit Gloria, The Buffoons and The Blue Diamonds), for most of which he was not credited,His famous quote on this issue :"Mind over matter? Well ,I don,t mind and that doesn,t matter."

In 1969, Jan was asked to play the guitar parts (and Hammond organ) on an album by vocalist Kazimierz (Kaz) Lux. Together with Pierre van der Linden on drums and André Reynen on bass, this recording project turned into the band 'Brainbox'. Their one and only album was released at the end of 1969 and was immediately regarded as a Dutch progressive rock classic one. Featuring covers like 'Summertime', 'Sinner's Prayer' and 'Scarborough Fair' (alongside several compositions of their own), Akkerman arranged the cover-versions in a very original way and played some marvelous guitar parts on his Gretsch White Falcon.
Akkerman left Brainbox at the end of 1969.

Between 1970 and 1976, Jan was a member of 'Focus", the band that became popular all over the world. During the Focus-years, Jan released two solo albums. In 1972, 'Profile' was released, which featured one side of heavy progressive rock called 'Fresh Air' with the help of his Focus-band mates drummer Pierre van der Linden and bass player Bert Ruiter. Side two of 'Profile' was mostly acoustic, with Jan playing the alto-lute on a couple of tracks. His third album 'Tabernakel' was recorded in the US with the help of the well-known arranger George Flynn. A logical follow-up to 'Profile', Jan again played the lute, alongside keyboards, guitars and his electric sitar. Both 'Profile' and 'Tabernakel' were very successful outside the Netherlands.

197
Eloy (Germany) / Eloy - The Vision the Sword and the Pyre
« on: October 23, 2015, 11:07:02 AM »
Some news taken from Eloy´s website:

Over the last 15 years Eloy´s Frank Borneman has been working on a rock opera dedicated to Joan of Arc. The next step will be taking this opera on the road.
In addition to the large choirs and orchestral sounds, Frank will also be supported by Eloy, making the work part of the band's core discography.

The music for "La Vision l'épée et le bûcher" or "The Vision the Sword and the Pyre" will even be sung in two languages for the live appearances. The show will also go on the road in Germany under the title "Die Vision, das Schwert und das Feuer", with lyrics in German.
It goes without saying that this project presents an enormous challenge, especially for Frank as the author of the content. As such, fans will have to wait patiently for the music to be released on CD. Only then can work begin on the stage production – as soon as the financing has been secured and the cast for each version is in place.

Being an Eloy fan way from the early seventies, I hope to get a chance to see this show on the road somewhere.

198
Eloy (Germany) / Eloy - Historical Overview
« on: October 23, 2015, 10:45:07 AM »
Copied from the original entry by Melo the Prog Goddess on the old bazaar.

"The name Eloy is based on the book "Time Machine" by H.G. Wells. Wells describes in his book the situation of mankind about 800.000 years later, and Eloy is a human race in his story. The Eloy in Wells' story have made a new start with the help of the time traveler. In a way, it was a new beginning for the human race. German rockbands in the late 60's played mainly covers from other bands instead of playing their own compositions. Record deals for German bands were absolutely rare and German bands generally were considered to be second class bands in their own country. At that time it was a strong effort for a German band to come out with only their own compositions. It was a start into an unknown future, and from this point of view, comparable to the human race in Wells' story. That is why I got the idea to name the band Eloy.

I started to play in the early 60's, inspired by bands like The Shadows and American rock'n'roll singers, and later The Beatles. I found the other musicians of Eloy by chance, but I felt from the beginning that this would be a longtime project!"

1969: Eloy is formed. Initially it is a school band, whose repertoire inclued songs by The Beatles, The Moody Blues, The Who and Cream.

1970: Eloy wins the first prize at a newcomer competition and they recorded two of their own compositions for a single which is released on an independant label. ( Daybreak/Walk alone )

1971: Eloy's first LP (self-titled) is recorded in the "Stars-studio" (Hamburg) and released.

"From the beginning, we tried to find a very special style, influenced by progressive rock music. Of course, it took time to find an individual identity. In the beginning, we had with lead singer Erich Schriever, guitar and keyboard player Manfred Wieczorke, and me, 3 composers in the band. I got the leadership of the band after Erich left us in 1972. He was very good, qualitywise, but not willing to do the step to a professional. Furthermore we had some problems with him, while playing live. He was no entertainer at all, too politically-oriented and not visionary enough. At that time I was only the guitar player in the band. When Erich left overnight, I had to replace him for a couple of gigs and so I played guitar and sang. At that time, we intended to find another lead singer to replace Erich, but that wasn't that easy in the early 70's. The first two concerts with me as a singer turned out to be more successful than ever before! In the end, we decided that I continue to sing. Helmut Draht on drums was replaced by Fritz Randow.

Like every other band we had problems at the beginning to coordinate all ideas, but at the time of our first EMI album, "Inside", everybody in the band was agreeing on playing in a progressive style."

1973: "Inside" released on EMI's Harvest label. First tours supporting English acts like Beggars Opera or East of Eden.
- The song "Future city" reached the topten of some american radio-stations.
- The single "Daybreak" was released (B-side: "On the road")
- Wolfgang Stöcker left the band. Luitjen Janssen replaced him.

1974: "Floating" released. This album was recorded at night - at the same time as the Scorpions recorded their album "Fly to the rainbow", because Rudolf Schenker arranged Frank Bornemann for the production of their album.

1975: "Power And The Passion" released with second guitarist Detlev Schwaar. It reaches sales figures of 30.000.

"The reason for the break-up of the band in 1975 was mainly the way of working, plus the style of the music. I personally wanted to continue the way of Eloy with concept-albums and a mixture of symphonic arrangements, atmospheres and rock structures. Some members of the band didn't agree with this concept. Manfred Wieczorke changed to the band Jane, mainly for financial reasons, as Eloy was in an awful financial state after a lot of trouble with our manager Jay Partridge.

In 1976, I had to reform the band totally and found musicians in my hometown, who were sharing my vision regarding the future of Eloy. It was also the first time that I was accepted as the producer of the band, and so I could realize everything I had in mind.

Klaus-Peter Matziol is very individual and creative, and his way of playing gave Eloy a very special push. Jürgen Rosenthal came not only for drumming, but also wrote the lyrics for three albums : "Dawn" (together with me), "Ocean", and "Silent Cries And Mighty Echoes" (together with me). His way of playing the drums was influenced by Neil Peart and Bill Bruford, and also gave Eloy a special accent of the rhythm parts. Detlev Schmidtchen moved from the guitar to the keyboards and tried to replace Manfred in every way. He was excellent! These two musicians have a common spirit. With this line-up, Eloy became the most successful rockband in Germany.

In that period, the financial situation was better than ever before, so we could do whatever we wanted to do. To record an album like "Dawn", with a string orchestra, would cost much more money nowadays ! The inspiration in the lyrics to our albums was mostly the world we live in, and I usually use fantasy or science-fiction stories to bring out what I feel. Except for some lyrics by Jürgen Rosenthal, I wrote most of the songs, arranged and produced them all. Crediting the band collectively for writing the music was only a way to give every member of the band the same amount of money."

1976: "Dawn" sells 150.000 copies

1977: "Ocean" sells 200.000 copies. In german charts better than Genesis or Queen.

1978: "Eloy Live", a double-livealbum is released (due to technical problems not a complete live-album).

1979: "Silent Cries and Mighty Echoes" sales surpass "Ocean"


199
Eloy (Germany) / Eloy - Links & Info
« on: October 23, 2015, 10:43:37 AM »
Eloy is a German "Krautrock" band, which has been active since 1969 - present.

More on Eloy can be found in the other topics from this board and on the following website(s):


Eloy´s Website: http://www.eloy-legacy.com/

Eloy on MySpace: https://myspace.com/official4eloy

Eloy on Facebook: https://www.facebook.com/Official4Eloy

Eloy on ReverbNation: http://www.reverbnation.com/Official4Eloy

Eloy on Proggnosis: http://www.proggnosis.com/ARTIST_Detail.aspx?AID=97

200
Kayak (NL) / Kayak - Links & Info
« on: October 23, 2015, 10:32:41 AM »
Kayak is a progressive band from the Netherlands, which has been active since 1972.

More on Kayak can be found in the other topics in this board and on the following website(s):


Kayak´s Website: www.kayakonline.nl

Kayak on Facebook: https://www.facebook.com/pages/Kayak/209230952473801

Kayak on iTunes: https://itunes.apple.com/nl/artist/kayak/id24990441

Kayak on Proggnosis: http://www.proggnosis.com/ARTIST_Detail.aspx?AID=162

201
Kayak (NL) / Kayak - Biography
« on: October 23, 2015, 10:21:59 AM »
The History of Kayak:

1967-1972

line up: Ton Scherpenzeel, Ron van de Werff, Chiel van Praag, Pim Koopman

Kayak's roots are in the Dutch town of Hilversum, where founding members and neighbourhood friends Ton Scherpenzeel (keyboards, bass guitar) and Pim Koopman (drums, guitars) played together in several bands like Balderdash (1967) and High Tide Formation (1970, pictured above). Guitarist Johan Slager played in HTF's final line up until the group disbanded in 1971. That same year Ton, Pim and Johan began to record a number of demos (a project called 'Ten Ride Ticket') and occasionally played live (as Alta Quies). Around this time both Ton and Pim started studying at the Hilversum Music Academy, where fellow student Max Werner joined forces with Ton and Pim by lending his unique voice to their musical efforts. Ton's main classical instrument was the double bass, Pim and Max both studied percussion. When bassplayer Cees van Leeuwen (replacing Frenchman Jean Michel Marion) completed the first line up, the group that was to become Kayak managed to get a recording contract with EMI- after being dismissed by Phonogram who had an initial interest in the band, even recorded some demos with them, but in the end let go when Ton and Pim refused to record other material than their own.

1972-1974

line up: Max Werner, Pim Koopman, Cees van Leeuwen, Johan Slager, Ton Scherpenzeel

Kayak was launched by EMI and manager Frits Hirschland as a new supergroup, although the individual members were hardly 20 years old, had little experience as a live band and basically had not proven anything in the music business other than having an original and stubborn mind of their own. The first two albums, "See See the Sun" and "Kayak II" delivered three modest hits ("Lyrics", "Mammoth" and "Wintertime"), but more importantly made Kayak's name as a talented young band with a growing progressive following.

1974-1976

line up: Ton Scherpenzeel, Pim Koopman, Bert Veldkamp, Johan Slager, Max Werner

In 1974 bass player Cees van Leeuwen decided he couldn't combine his university studies with the hectic tour and recording schedule of the band, and left. He was replaced by Bert Veldkamp. In this lineup the band recorded its third album, "Royal Bed Bouncer", which generated another modest hit single, "Chance for a Lifetime." If the first two albums showed an even balance between the two main writers of the band, Pim and Ton, RBB showed Scherpenzeel at a creative peak. The band kept on touring and by 1976 was an established top act on the Dutch/Belgian music scene. A row between manager Hirschland and EMI lead to the departure of the group from EMI. It turned to Phonogram, the same company that in 1971 had refused to sign the band. With LP number four, "The Last Encore", Pim Koopman found himself solidly back in the writer's chair with Ton. The first big setback came later that year, when Pim left the band. Bass player Bert Veldkamp also quit, so within two months the band lost its complete rhythm section and one of the group's main songwriters.

202
Camel (UK) / Camel - Biography
« on: October 21, 2015, 06:37:09 PM »
Copied from the original topic by Jethro Fish on the old Bazaar.

By August of '72, CAMEL were signed to MCA Records. They quickly entered the studio to record their first self-titled album, 'CAMEL'. A collection of individual songs, chiefly from Latimer and Bardens, the album was greeted with muted success and MCA did not take an option for a second album. By now, the group had acquired management, Geoff Jukes and Max Hole of Gemini Artists (later to become GAMA Records), and moved to Decca Records where they would remain for 10 years. The push & pull relationship between Latimer and Bardens brought out the best from their compositional skills. They inspired one another with their individual solo work both in the studio and on stage. Energies were high. CAMEL gigged 9 months of the year and firmly established a reputation for their excellent live sound.

Their second album, 'MIRAGE', heightened their profile and the album sleeve attracted the unwanted attention of the USA branch of Camel cigarettes who demanded the band change the cover or face legal action. The USA record company quickly fashioned a new sleeve to avoid legal hassles. The original sleeve remained unchanged throughout the rest of the world as Geoff Jukes had already struck a deal with the European branch of the cigarette company to release tiny packets of cigarettes (5 cigarettes to a packet) using the CAMEL artwork, including track-listing. So enamoured were the executives in Europe, they visited the band in the studio trying to talk CAMEL into renaming the songs on 'MIRAGE' (e.g., "Twenty To The Pack"). They also wanted CAMEL to cover their amps with camel skins, allow advertisements and give away cigarettes at all the performances. The latter was successful as Jukes had struck a deal the band were never privy to. The band were getting 'belligerent' and a sarcastically amusing Peter Bardens suggested an album song-title of "Twenty Sticks Of Cancer".

Thus ended the association twixt the beast and the leaf.

In 1975, CAMEL 'concept' album came about. For 'MIRAGE' Latimer had written 'White Rider' (inspired by Tolkein's 'Lord Of The Rings') and Ferguson suggested doing a an entire album based on a book. All band members were fond of reading at the time so each set out in search of a good story. Bardens suggested 'Siddhartha' and 'Steppenwolf' but when Ferguson suggested Paul Gallico's 'THE SNOW GOOSE' the emotional appeal was strong. 'THE SNOW GOOSE' took fans by surprise. Entirely instrumental, 'THE SNOW GOOSE' earned them Melody Maker's "Brightest Hope" award and firmly established the band with a strong and loyal fan base. It also took author Paul Gallico by surprise. Gallico, a fierce opponent of cigarette smoking, hated the name of the band believing it to be connected to the cigarette company and threatened to sue if the title was not changed. Legalities observed, the album title had the additional words "inspired by" and the threat was subdued. This behind-the-scene drama had no effect on the appeal of the album. On 17th October 1975, accompanied by the London Symphony Orchestra, CAMEL performed 'THE SNOW GOOSE' at The Royal Albert Hall to a sold-out crowd.

In early '76, 'MOONMADNESS' brought greater critical acclaim in the USA. Producer Rhett Davies created an open, intimate sound for'MOONMADNESS', and the 'concept' was more ethereal with inspiration derived from the individual musician's characters. Yet'MOONMADNESS' would become the swansong for some. A jazzy influence had impressed itself upon CAMEL and, during the European tour, the dynamic sound of saxophonist Mel Collins marked the first change in the sound of Camel after Ferguson had encouraged Collins' inclusion in the band.

Not long after Andy Ward was pushing for a more complicated rhythm section, a style that matched neither Feguson's ability nor interest. This would be the first major change CAMEL would see. In the early days of 1977, bassist Doug Ferguson left CAMEL never to appear with them again. The loss of Ferguson's quiet strength would prove, in years beyond, to have the greatest impact on the band...

The first major shift in CAMEL's lineup created 'RAIN DANCES'. Although not an "official member" of CAMEL, Mel Collins would spend much of his time in the studio and on the road with the band. Preferring to maintain his independent status as a session player, Mel would continue to appear with CAMEL on and off until 1985.

Richard Sinclair, formerly from Canterbury's Caravan, possessed the jazzier style Andy Ward had hoped for but the mix of personalities did not posses the balance of earlier days. Inevitable change began to gather momentum. Pressure for a hit single was brought to bear from the management and Decca Records.

Latimer and Bardens struggled with their opposing styles of writing, complicating instead of complimenting their relationship. Camel's sound was further affected by a new producer, Mick Glossop. Upon release, 'BREATHLESS' proved a bit of a shock to fans with its unusual combination of pop, jazz and progressive. It was loved by some, hated by others.

'BREATHLESS' entered the charts and quickly exited shortly thereafter. But chart success was not the last change CAMEL would encounter in '78. On 30th July, just before Camel's tour and amidst a storm of disagreements, keyboardist Peter Bardens left the band...

The split with Peter Bardens had been acrimonious but unavoidable. Bardens went straight into rehearsals with former bandmate Van Morrison for an album, "Wavelength", and tour. Bardens also promptly signed a lucrative solo deal with Arista Records and soon released 'Heart To Heart'.

But Andy Ward and Andrew Latimer decided to embrace the opportunity to expand the band. Two keyboard players would create an interplay CAMEL had not been able to experiment with previously. They contacted Richard Sinclair's cousin Dave Sinclair, and his former bandmate Jan Schelhaas for the '78 tour to promote 'BREATHLESS'. Although this lineup had no recorded output, Dave Sinclair had made a quiet appearance on 'BREATHLESS', performing keyboards on "You Make Me Smile" and "Rainbows End", a song Latimer had written for Bardens.

The 'BREATHLESS' tour lasted 3 months. The pressures of live performing took toll. By tours end, Dave Sinclair would return to Canterbury and Richard Sinclair would be asked to leave CAMEL...


203
Camel (UK) / Camel - Links & Info
« on: October 21, 2015, 06:34:07 PM »
Camel is a progressive rock band from the UK, which has been active from 1971 - present.

More on Camel can be found in the other topics from this board and on the following website(s):


Camel´s Website: http://www.camelproductions.com/

Camel on Facebook: https://www.facebook.com/pages/Camel-Band/419562134853848?fref=ts

Camel on Proggnosis: http://www.proggnosis.com/ARTIST_Detail.aspx?AID=63

204
Listening Profiles / Obi´s playlist
« on: October 21, 2015, 04:38:46 PM »
Listening to the king of blues, B.B. King.

205
Tangerine Dream (Germany) / Tangerine Dream - Quantum Key (2015)
« on: October 21, 2015, 04:22:14 PM »
On the 20th ofnovember 2015, Tangerine Dream will release a new cupdisc called Quantum Key.

Quantum Key will be the vanguard of the coming Quantum Gate album which Thorsten, Ulrich and Hoshiko are currently working on.

Edgar Froese, the head and founder of Tangerine Dream, had the wonderful idea of translating the current knowledge of the quantum physics - which he was very much interested in - into sound and already started this project before his sad death in January 2015. The cupdisc Mala Kunia was the first music out of “The Quantum Years” series which was published in November 2014 on the occasion of the MMW Festival concert in Melbourne.

It was a great fortune that Edgar still had the chance to discuss his vision with the remaining band members and that Bianca, Edgar's wife, decided to continue with Tangerine Dream. She knew that Thorsten, Ulrich and Hoshiko could face this huge challenge with their beautiful talents. At the same time this task would be a unique chance for the music coming into life. So the band continued developing these musical ideas after Edgar's sudden "change of his cosmic address" and you will have the chance now to listen to some wonderful tracks. In honour of Edgar!

I´m curious.


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