Joy (1977)

With the resurgence of interest in post-punk, ZERO is a timely and kaleidoscopic collection of the work of producer Martin Hannett who changed the musical landscape of the late twentieth century. He was what you want a producer to be. A mad scientist, notoriously difficult and demanding, tormented and troubled, in the tradition of Joe Meek, Phil Spector, Jack Nitzsche, and Lee Perry.

Shimshon Miel is a sole musician, a multi instrumentalist who recorded this album by himself in Tel Aviv 1977. He had one public appearance at the Rock Club in Tel Aviv but shortly after disappeared from the public eye after failing to distribute his record. Originally released in 1977 in an edition of 220 copies privatly. The music is fabulous fuzzy acid folk with experimentations in a 'Canterbury ' way, with some exciting fuzzy distorted guitar passages and some long tracks included here. The CD has 4 bonus tracks.

Miguel Ríos is a best-selling, internationally renowned Spanish singer, songwriter, and actor whose career is intrinsic to the establishment of rock & roll as a serious art form in Spain. It has been written that without rock & roll it is impossible to understand Spain's contemporary history, and without Ríos, it is impossible to understand rock, so proclaimed King Juan I in 1993. Ríos began his recording career in 1963 with the single "El Rey del Twist," but spent most of the decade acting in films and television. He didn't release his debut album until 1969's Mira Hacia Ti; the following year, his single "Himno a la Alegría" (adapted from the final movement of Beethoven's Ninth Symphony) was also released in an Anglo version as "A Song of Joy" and hit number 14 on American charts, sold over three million copies, introduced the concept of "symphonic rock" to Spain…

After the disastrous "Gottle O' Geer" album from the previous year (which had been intended as a Dave Swarbrick solo album), stalwart Simon Nicol returned to the group and provided the group with the crucial ingredient it had been missing since he departed in 1972 with his perfectly sympathetic guitar. Here we have them sounding like Fairport Convention again, tackling traditional fare with great enthusiasm and aplomb. Their joy in playing as a reconstituted group shines through on tracks like "The Eynsham Poacher", with its lovely harmonies, and as a formidable instrumental group it's tracks like bassist Dave Pegg's "Jams O'Donnell's Jigs" that satisfy most. The title track is one they attempted clear back in 1970 and is a sure-fire jaw-dropping classic. A fine return to form.