Lovely Moon

A significant name of the German krautrock scene, Thirsty Moon were found in Bremen in 1972 and started as a 7-member band. By the same year their eponymous debut was already recorded and released by Brain Records. It consists of four short tracks and one epic jam,clocking at over 20 minutes (+ bonus track on this CD edition). The album follows the typical German mode of krautrock with strong interplays, long jamming and a lot of space for endless improvisational musicianship.
Saxes are everywhere played by Willie Pape and ranging from smooth passages to abstract heavy parts. There is also some lovely percussion work throughout the listening, featuring also nice organ and groovy electric pianos. Vocals are English with a rough edge, which fit very much to the band's style…

A significant name of the German krautrock scene, Thirsty Moon were found in Bremen in 1972 and started as a 7-member band. By the same year their eponymous debut was already recorded and released by Brain Records. It consists of four short tracks and one epic jam,clocking at over 20 minutes (+ bonus track on this CD edition). The album follows the typical German mode of krautrock with strong interplays, long jamming and a lot of space for endless improvisational musicianship.
Saxes are everywhere played by Willie Pape and ranging from smooth passages to abstract heavy parts. There is also some lovely percussion work throughout the listening, featuring also nice organ and groovy electric pianos. Vocals are English with a rough edge, which fit very much to the band's style…

Various Artists - New Moon's In The Sky: The British Progressive Pop Sounds Of 1970 (2019) {3D Set, Grapefruit CRSEGBOX0}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.37 Gb | MP3 @320 -> 563 Mb
Full Artwork @ 300 dpi (jpg) -> 35 Mb | 5% repair rar
© 1970, 2019 Grapefruit Records / Cherry Red | CRSEGBOX059
Rock / Pop / British Psychedelia / Prog-Rock / Art Rock / Psychedelic Pop

Having documented the British psychedelic scene with anthologies devoted to the years 1967, 1968 and 1969, Grapefruit's ongoing series fearlessly confronts the dawn of the Seventies with a slight rebrand. New Moon's In The Sky: The British Progressive Pop Sounds Of 1970 features (appropriately enough) seventy tracks from the first year of the new decade as the British pop scene adjusted to life without The Beatles. The 3-CD set concentrates on the more song-based recordings to emanate from British studios during 1970, whether from a pure-pop-for-then-people perspective or the more concise, melodic end of the burgeoning progressive rock spectrum.

Tift Merritt has become unexpectedly (and thankfully) prolific since she signed with Fantasy Records in 2008, after going four years without releasing a record. See You on the Moon is her third album in as many years, and from the first track, the gentle and soul-infused love song "Mixtape," she demonstrates that she can maintain solid quality control at this pace and does so with ease. See You on the Moon is a more spare and intimate-sounding set than 2008's Another Country, as if she learned a bit about the value of concision with her 2009 solo acoustic live set Buckingham Solo, but Merritt clearly works well with others (the backing musicians are uniformly great, and Jim James of My Morning Jacket contributes some solid harmonies on "Feel of the World"), and while the arrangements wisely avoid cluttering the clean landscapes of her melodies, producer and engineer Tucker Martine gives the recordings a full-bodied sound even when the performances are purposefully simple. As on Merritt's other albums, the real key to See You on the Moon lies in her songs and her voice, and both are in splendid form here.

The phrase 'Lovely Thunder' suggests a beautiful sound with an undertone of menace. One need go no farther than "Gypsy Violin," the last song and centerpiece of the album Lovely Thunder, to hear how Harold Budd takes the phrase and forges a musical equivalent. Underneath the plaintive melody of the synthesized violin and an occasional foghorn-reminiscent bass note lies a bed of synth chords that are present throughout, sometimes adding notes, sometimes dropping them, sometimes moving a chord up or down a key and into dissonance with the rest. The overall result is an undulating base that never quite lets the listener settle onto firm ground, giving the song a distinct edge. Drones do figure prominently as a musical base for many of the album's other songs, yet the music is generally more akin to the reverberated keyboard treatments Budd utilized to stunning effect on his two collaborations with Brian Eno. Those looking to explore beyond The Plateux of Mirror and The Pearl would do well to give this album a listen, as they will most likely be both challenged and satisfied.

Following the release of his solo debut, Joy of a Toy, Kevin Ayers created the Whole World to take the album on the road. In retrospect, the band was a kind of Brit supergroup, comprised of young Mike Oldfield (bass/guitar), Lol Coxhill (sax), Mick Fincher (drums, occasionally subbed by Robert Wyatt), and David Bedford (keys/arrangements). Following the tour, the band found itself in the studio, and in October 1970 Ayers introduced the world to the Whole World with the release of his follow-up, Shooting at the Moon. A snapshot of the era, the album is saturated with original ideas, experimentation, and lunacy, all powered by the bottled grape. It is this very "headiness" that propels and simultaneously hinders the work, resulting in a project overflowing with potential, much of which remained underdeveloped…

Following the release of his solo debut, Joy of a Toy, Kevin Ayers created the Whole World to take the album on the road. In retrospect, the band was a kind of Brit supergroup, comprised of young Mike Oldfield (bass/guitar), Lol Coxhill (sax), Mick Fincher (drums, occasionally subbed by Robert Wyatt), and David Bedford (keys/arrangements). Following the tour, the band found itself in the studio, and in October 1970 Ayers introduced the world to the Whole World with the release of his follow-up, Shooting at the Moon. A snapshot of the era, the album is saturated with original ideas, experimentation, and lunacy, all powered by the bottled grape. It is this very "headiness" that propels and simultaneously hinders the work, resulting in a project overflowing with potential, much of which remained underdeveloped…