BFT #129 Discussion Thread

[felser]

Here is the link. Let me know of any issues - looking forward to hearing your thoughts on the music!

http://www.thomkeith.com/bft129.html

[B. Clugston]

I really enjoyed your Blindfold Test. Lots of interesting tracks. Track 3 is Freddie Hubbard's "Arietsis," or in this case "Aries" from The Body & the Soul.

[felser]

Thank you for your kind words! You are correct on #3. I always thought that was a magical little track, may be the first thing I ever heard by Hubbard.

Edited December 1, 2014 by felser

[Homefromtheforest]

Enjoying the sounds on this...is track #6 Dee Dee Bridgewater?

[felser]

Enjoying the sounds on this...is track #6 Dee Dee Bridgewater?

Glad you're enjoying it, thanks. #6 is not Bridgewater, and it not being Bridgewater is one of the specifics I designed into this BFT (I certainly would have guessed Bridgewater if I didn't know better)! What I'm saying makes little sense now, but will be clearer at the reveal when I explain it.

[JSngry]

Waking from the BFT coma long enough to take a day off work, sleep late, listen early, all thanks and disclaimers nailed to the floor, here we go/

TRACK ONE - Wanting to say Gary Bartz, but not 100% sure, the tone, at least on my computer speakers, is not as "dry" as what I normally associate with Bartz.. No matter. I like it Not as many altoists get as into the overtone vocabulary as do tenor players (or so it seems), and whoever this is has it down and is speaking it naturally. Also very much dig the rhythm section, very natural in their space. One lick in middle of the alto solo hit a James Spaulding vibe, so this might be a Spaulding date, maybe?

TRACK TWO - Thought it might be Adele Sebastian, but no. Very familiar early-mid 70s "spiritual" thing, I always liked that, still do, and now we have the soprano player, who is probably also the flutist, pretty damn fluent on both axes. and...I don't know who this is, some Strata-East thing, maybe. And maybe the poet is the flutist is the soprano? Sounds familiar, though....Ah, ok, this makes sense, Google "complete the circle" and "jazz", and there you have it, JuJu, Nia, Strata-East indeed. This is one of the Strata-Easts I didn't find until later on, have only heard it a few times, but yeh, Plunky always brought it, no exception here.

TRACK THREE - Freddie with the Wayne Shorter Orchestra! I love this record, Wayne writing for big band, and only sometimes being realistic about what he writes .The chart on "Chocolate Shake" is a real grinner, Wayne was always one foot where he was, one foot where he was going to be, and both feet always moving. This is not a perfect record, but it's a great one, just because of who is doing what is being done and how they are going about doing it. Anything else is just...details.

TRACK FOUR - Oh my...I want to wear white and billowy...and be surrounded on stage by dancers and sweaty percussionists shooting love bullets at Donnie & Marie, love bullets aimed to kill, but kill with love...but nevertheless kill. Ok, period-ness aside, this is a pretty nice cut, true to it's conception from top to bottom, no weak links or betrayals of not really getting it. almost sounds like a Gato Flying Dutchman side, but that's not Gato, nosiree. And it's not Azar Lawrence (is it?). nor Harold Vick(?) but it does have a kind of Earth Wind & Fire vibe to it, the Latin rhythm/R&B attitude/Jazz harmony gestalt that was EW&F at its creative peak. So, no idea, but it sounds better as it plays through the second and third times, and honestly, i wasn't really expecting that to be the case. Good one!

TRACK FIVE - Well, that sure sounds like Hannibal on trumpet, and George Adams on tenor, this is what you need to get up get goin', and stay goin', so much energy, not frantic not edgy, just...goodness, energy to get good stuff done well. Can't say that I know this album, but sure would like to!

TRACK SIX - Pretty sure that's Jean Carn(e), but on what record, I don't know. Hope it was at the end of an LP side, because, where do you go from there except either turn the record over or let that side play again? I love this little blip in the commercial/jazz zones, I mean, it's almost a pop song, almost a "spiritual jazz" song, ant the hook is all these fourth-y intervals, and ultimately, it comes out like something taht you could play for anybody anywhere - during that window of time when you could. I'm wanting to say that Norman Connors would be in the mix here somewhere too..oh hell, yeah, I remember this! Slewfoot! Yeah, at the time, this felt to me like Connors was going pop (but who saw You Are My Starship coming on?), but in retrospect, that thing, this style has hung around, keeps being fed upon by new generations, usually those with roots in dance music. So hell yeah, this. THIS!

TRACK SEVEN - Well, that's Jean again, with Azar Lawrence on Prestige. Hell yeah. That's all there is to be said about this one - hell yeah. That, and whatever happened to Woody Murray?

TRACK EIGHT - Sergio Mendes, Lani Hall, Vera Cruz retitled as "Empty Faces". My appreciation for Sergio Mendes and what he did within an overall pop environment has more or less ballooned over the last few years based on overall albums strength, and this cut is a prime example. This might(?) have been the first American recording of a Milton Naschimento song, and where did it happen? On a freakin' Sergio Mendes album. Not just that, but they played the shit out of it, Lani Hall, hey, outside of a certain zone, no thanks, but inside her zone, like this, and whoa, you got something there, something good. All those A&M albums are worth checking out for the deep cuts, as are some of the post-A&M albums, I'm thinking in particular of the "soccer" album that's got some super dope stuff on it (as well as some super dopey stuff), the one where Stevie Wonder contributed a few songs (The Real Thing + 1 more), but there's a Clifford Coulter(!!!!) thing on there that is all-time excellent. But this - this is so damn good, so hello Sergio Mendes, hello Lani Hall, and hello Milton Naschimento. Y'all c'mon it!

TRACK NINE - Oh crap, I think I have this record...but can't call it..hate it when that happens. Anyway...cats sound kinda drug, not really hitting on it. It's a familiar tune too...but it seems just a bit saggy to me. But dammit, I know I have this record!

TRACK TEN - My only guess would be a very aged Leon Thomas playing with a young-ish retro-band, but I can find no evidence of such a recording. Good vibes, though.

TRACK ELEVEN - Terry Callier, "Dancing Girl", What Color Is Love. Hello, Charles Stepney, one of the unheralded geniuses of a comparatively narrow window in time, but genius, definitely. Terry Callier's cool too, very, but as to why this record sounded like this, Charles Stepney, RIP Genius.

Thanks, John, this was a very nice day to begin an off day. I was supposed to be having a rehearsal with my band today, but the drummer's got the flu, so not gonna waste a day going to work when I don't have to, and besides, this is better than that, just better, period, than going to work, at least that work, not the rehearsal, that's work too, but that's my work, the other is jsut a job-work, and yes, this is a lot better than that, so again, thank you, sir!

[Homefromtheforest]

So track 6 is "slewfoot"? Darn..I have that album too! Guess I don't listen to it enough...I think Norman's outfit on the cover scares me off too much

[B. Clugston]

Track 6 is "Mother of the Future," the opening track on Norman Connors' Slewfoot. It was written by Carlos Garnett.

[felser]

Track 6 is "Mother of the Future," the opening track on Norman Connors' Slewfoot. It was written by Carlos Garnett.

Yes!

[felser]

Waking from the BFT coma long enough to take a day off work, sleep late, listen early, all thanks and disclaimers nailed to the floor, here we go/

TRACK ONE - Wanting to say Gary Bartz, but not 100% sure, the tone, at least on my computer speakers, is not as "dry" as what I normally associate with Bartz.. No matter. I like it Not as many altoists get as into the overtone vocabulary as do tenor players (or so it seems), and whoever this is has it down and is speaking it naturally. Also very much dig the rhythm section, very natural in their space. One lick in middle of the alto solo hit a James Spaulding vibe, so this might be a Spaulding date, maybe?

Not Spaulding.

TRACK TWO - Thought it might be Adele Sebastian, but no. Very familiar early-mid 70s "spiritual" thing, I always liked that, still do, and now we have the soprano player, who is probably also the flutist, pretty damn fluent on both axes. and...I don't know who this is, some Strata-East thing, maybe. And maybe the poet is the flutist is the soprano? Sounds familiar, though....Ah, ok, this makes sense, Google "complete the circle" and "jazz", and there you have it, JuJu, Nia, Strata-East indeed. This is one of the Strata-Easts I didn't find until later on, have only heard it a few times, but yeh, Plunky always brought it, no exception here.

You nailed it. I also love Plunky's work from this period. I got this one when it first came out back in the day.

TRACK THREE - Freddie with the Wayne Shorter Orchestra! I love this record, Wayne writing for big band, and only sometimes being realistic about what he writes .The chart on "Chocolate Shake" is a real grinner, Wayne was always one foot where he was, one foot where he was going to be, and both feet always moving. This is not a perfect record, but it's a great one, just because of who is doing what is being done and how they are going about doing it. Anything else is just...details.

Correct. I love this cut!

TRACK FOUR - Oh my...I want to wear white and billowy...and be surrounded on stage by dancers and sweaty percussionists shooting love bullets at Donnie & Marie, love bullets aimed to kill, but kill with love...but nevertheless kill. Ok, period-ness aside, this is a pretty nice cut, true to it's conception from top to bottom, no weak links or betrayals of not really getting it. almost sounds like a Gato Flying Dutchman side, but that's not Gato, nosiree. And it's not Azar Lawrence (is it?). nor Harold Vick(?) but it does have a kind of Earth Wind & Fire vibe to it, the Latin rhythm/R&B attitude/Jazz harmony gestalt that was EW&F at its creative peak. So, no idea, but it sounds better as it plays through the second and third times, and honestly, i wasn't really expecting that to be the case. Good one!

Yeah, this one is interesting, and has surprising staying power. Not Lawrence or Vick.

TRACK FIVE - Well, that sure sounds like Hannibal on trumpet, and George Adams on tenor, this is what you need to get up get goin', and stay goin', so much energy, not frantic not edgy, just...goodness, energy to get good stuff done well. Can't say that I know this album, but sure would like to!

It's Hannibal, but not George Adams. And actually, I know you are aware of this album!

TRACK SIX - Pretty sure that's Jean Carn(e), but on what record, I don't know. Hope it was at the end of an LP side, because, where do you go from there except either turn the record over or let that side play again? I love this little blip in the commercial/jazz zones, I mean, it's almost a pop song, almost a "spiritual jazz" song, ant the hook is all these fourth-y intervals, and ultimately, it comes out like something taht you could play for anybody anywhere - during that window of time when you could. I'm wanting to say that Norman Connors would be in the mix here somewhere too..oh hell, yeah, I remember this! Slewfoot! Yeah, at the time, this felt to me like Connors was going pop (but who saw You Are My Starship coming on?), but in retrospect, that thing, this style has hung around, keeps being fed upon by new generations, usually those with roots in dance music. So hell yeah, this. THIS!

Correct, and Amen!

TRACK SEVEN - Well, that's Jean again, with Azar Lawrence on Prestige. Hell yeah. That's all there is to be said about this one - hell yeah. That, and whatever happened to Woody Murray?

Yep.

TRACK EIGHT - Sergio Mendes, Lani Hall, Vera Cruz retitled as "Empty Faces". My appreciation for Sergio Mendes and what he did within an overall pop environment has more or less ballooned over the last few years based on overall albums strength, and this cut is a prime example. This might(?) have been the first American recording of a Milton Naschimento song, and where did it happen? On a freakin' Sergio Mendes album. Not just that, but they played the shit out of it, Lani Hall, hey, outside of a certain zone, no thanks, but inside her zone, like this, and whoa, you got something there, something good. All those A&M albums are worth checking out for the deep cuts, as are some of the post-A&M albums, I'm thinking in particular of the "soccer" album that's got some super dope stuff on it (as well as some super dopey stuff), the one where Stevie Wonder contributed a few songs (The Real Thing + 1 more), but there's a Clifford Coulter(!!!!) thing on there that is all-time excellent. But this - this is so damn good, so hello Sergio Mendes, hello Lani Hall, and hello Milton Naschimento. Y'all c'mon it!

Yeah, I think this is tremendous, and wanted to create an environment for people to hear it with fresh ears rather than stale preconceptions.

TRACK NINE - Oh crap, I think I have this record...but can't call it..hate it when that happens. Anyway...cats sound kinda drug, not really hitting on it. It's a familiar tune too...but it seems just a bit saggy to me. But dammit, I know I have this record!

I'm impressed if you have this one!

TRACK TEN - My only guess would be a very aged Leon Thomas playing with a young-ish retro-band, but I can find no evidence of such a recording. Good vibes, though.

Not Thomas. The band is really interesting on this one, given the context.

TRACK ELEVEN - Terry Callier, "Dancing Girl", What Color Is Love. Hello, Charles Stepney, one of the unheralded geniuses of a comparatively narrow window in time, but genius, definitely. Terry Callier's cool too, very, but as to why this record sounded like this, Charles Stepney, RIP Genius.

Nothing has ever hit me any harder than this and "Alley-Wind Song", great credits to Callier, but, as you point out, ultimately testaments to the genius of Stepney.

Thanks, John, this was a very nice day to begin an off day. I was supposed to be having a rehearsal with my band today, but the drummer's got the flu, so not gonna waste a day going to work when I don't have to, and besides, this is better than that, just better, period, than going to work, at least that work, not the rehearsal, that's work too, but that's my work, the other is jsut a job-work, and yes, this is a lot better than that, so again, thank you, sir!

Thank YOU, Jim, really appreciate your great insights!

Edited December 2, 2014 by felser

[JSngry]

Oh crap, that's Eric Kloss with Hannibal! DUH! I should have recognized that, didn't sound that much like George Adams, but it was the only name who came to mind with Hannibal, and I made myself believe it. Sorry

But I am confused about Not Jean Carn on Azar's "Bridge into the New Age"...really?

On #1, does "not Spaulding" mean IS Bartz, or wrong on both counts?

[felser]

Oh crap, that's Eric Kloss with Hannibal! DUH! I should have recognized that, didn't sound that much like George Adams, but it was the only name who came to mind with Hannibal, and I made myself believe it. Sorry

You got it.

But I am confused about Not Jean Carn on Azar's "Bridge into the New Age"...really?

My turn for duh - you're right. I had in my head it was Dee Dee Bridgewater. I have a long history of crossing wires on those two on material from that period. Sorry! I've edited my original comment so as to not proliferate the confusion.

On #1, does "not Spaulding" mean IS Bartz, or wrong on both counts?

It's Bartz. Great job!

Edited December 2, 2014 by felser

[JSngry]

Post-Milestone Bartz?

[mjazzg]

Really enjoying listening to this selection. Love the overall vibe. Hopeless at identifying but others are doing that nicely for me

I do wonder whether that's Dwight Trible singing on track 10. I know that voice and he's the only one that comes to ind at the moment

thank you for ending with one of my Desert Island discs - peerless Callier

[felser]

Post-Milestone Bartz?

Milestone Bartz.

Really enjoying listening to this selection. Love the overall vibe. Hopeless at identifying but others are doing that nicely for me

I do wonder whether that's Dwight Trible singing on track 10. I know that voice and he's the only one that comes to ind at the moment

thank you for ending with one of my Desert Island discs - peerless Callier

Yes, Trible. The interesting names are the tenor player and pianist. Thrilled that you share the love for the Callier cut!

[mjazzg]

A bit of research suggests Ernie Watts and Patrice Rushen accompanying Trible perhaps? If so, how's the rest of the album?

[felser]

A bit of research suggests Ernie Watts and Patrice Rushen accompanying Trible perhaps? If so, how's the rest of the album?

Yes. Rest is excellent if you like Trible (and liked Thomas). I do and did.

[mjazzg]

A bit of research suggests Ernie Watts and Patrice Rushen accompanying Trible perhaps? If so, how's the rest of the album?

Yes. Rest is excellent if you like Trible (and liked Thomas). I do and did.

I do and did but not as much as Callier

[The Magnificent Goldberg]

Blimey, this was a nice ride! Here we go.

1 Oh, pretty advanced music here. Obviously competent, but not my cup of tea, or within the scope of my knowledge.

2 Well, I don’t suppose it is, but this makes me think of Herbie Mann with Chick Corea. But when he stated talking, it obviously wasn’t Mann. Early seventies Black Revolutionary Ensemble or some such band with much influence from the Last Poets.

OK, if this song is called ‘Complete the circle’, it’s by Ju Ju, from Chapter 2: Nia. You shouldn’t put stuff on with titles mentioned and those by only one band ever. Sorry.

Damn good, though. Glad to hear this.

3 A bit of hard bop by a biggish band with a fleet trumpeter who might as well be Freddie Hubbard. Great for what it is. Band is a bit too brassy for me. Needs more saxes.

4 Oh, it’s groove time in the old homestead! One thing about the hard boppers I always liked – they can put a good groove on when they relax and don’t try so hard. It wouldn’t surprise me if the drummer were Idris Muhammad. But it wouldn’t surprise me if it weren’t, because I think I might be able to ID it if it were. I probably know the horn players, but can’t finger them. Damn good!

5 Is Bennie Maupin the tenor player here? Never really paid much attention to him, though I have a few things with him on them. I don’t think he and the trumpet player have quite enough to them to sustain this for a quarter of an hour, but we’ll see. Five minutes in and no flagging of interest here. Eight – I’m supposed to get tonight’s dinner in from the garage freezer, but I can’t stop this. Well, for a change, I do not think the trumpet player is Freddie Hubbard (so it probably is ) The piano player seems a bit under-recorded – I mean, quiet and overpowered by the drummer. Can’t concentrate on him. Well, back with the chore done and a cuppa made and now we’re on the low-powered bass solo. Same problem, overcome by the drummer. This is either the engineer’s fault or the drummer’s. Perhaps it’s a live recording, in which case everyone does the best they can.

OK, this was good except for the sound, which wasn’t up to scratch for the piano and bass, or the drummer, who was too loud. It’s not often a bit of hard bop chains me to my seat.

6 More of the same, with a lady singer, whose voice I don’t like much. But the tenor player is WAILIN’. Woooooo!!! Yes, Word, I know it’s a spelling mistake. Damn good drummers you’ve picked for this BFT young man! And you can hear the pianist clearly. Backings like this are one good reason to use electric pianos. Hazard a guess at George Coleperson on sax, but without much conviction.

7 Same singer? Sax player sounds as if it MIGHT be Harold Vick, this time. No, Coleperson again. Not Coleperson, much too Hendersonlike for George.

8 Different singer. Good singer. Interesting song. Interesting and often exciting accompaniment. No idea who.

9 Heavy rhythm sections, you’ve chosen. I can see what someone meant about the flow of this programme. I immediately like this trumpet man: dramatic but not silly with it. I doubt if I’ve heard him before. Soprano man’s a bit ordinary, though good. The only soprano saxmen I can identify are Fathead and Sidney, and it’s neither of them. Pianist sounds a bit like Cedar Walton to me.

10 Ah, relaxed, almost balladic version of a tune I can’t identify. “Prince of Peace”. Well, it was always a ballad. The singer sounds foreign – not American, that is. Oh and he can sing!!! Oh, this is something! Live and he’s well liked by the crowd. So he probably IS American, but with a slightly different accent. I feel the pianist is familiar. I like what he’s making of this a lot. The tenor player is right there, welcoming me in. A right little band of masters here. Don’t know who this is, except there’s a version by Tony Esposito.

11 Gawd, another good song by a good singer with an interesting delivery. Never heard this singer before. I get a strong feeling someone’s been listening to Gil Scott-Heron here, but can do it better. A lot better.

Really NICE stuff in this BFT young sir. Mostly very enjoyable. You have my thanks, Squire. I await the reveal with great interest.

MG

[felser]

Blimey, this was a nice ride! Here we go.

1 Oh, pretty advanced music here. Obviously competent, but not my cup of tea, or within the scope of my knowledge.

Yet a name you will be familiar with.

2 Well, I don’t suppose it is, but this makes me think of Herbie Mann with Chick Corea. But when he stated talking, it obviously wasn’t Mann. Early seventies Black Revolutionary Ensemble or some such band with much influence from the Last Poets.

OK, if this song is called ‘Complete the circle’, it’s by Ju Ju, from Chapter 2: Nia. You shouldn’t put stuff on with titles mentioned and those by only one band ever. Sorry.

Damn good, though. Glad to hear this.

It is the Juju track. And I am more interested in sharing good music people may not be familiar with than I am in "fooling" people, so I am glad you enjoyed it!

3 A bit of hard bop by a biggish band with a fleet trumpeter who might as well be Freddie Hubbard. Great for what it is. Band is a bit too brassy for me. Needs more saxes.

Yes, Hubbard.

4 Oh, it’s groove time in the old homestead! One thing about the hard boppers I always liked – they can put a good groove on when they relax and don’t try so hard. It wouldn’t surprise me if the drummer were Idris Muhammad. But it wouldn’t surprise me if it weren’t, because I think I might be able to ID it if it were. I probably know the horn players, but can’t finger them. Damn good!

Not Muhammad. You're right about the sax player.

5 Is Bennie Maupin the tenor player here? Never really paid much attention to him, though I have a few things with him on them. I don’t think he and the trumpet player have quite enough to them to sustain this for a quarter of an hour, but we’ll see. Five minutes in and no flagging of interest here. Eight – I’m supposed to get tonight’s dinner in from the garage freezer, but I can’t stop this. Well, for a change, I do not think the trumpet player is Freddie Hubbard (so it probably is ) The piano player seems a bit under-recorded – I mean, quiet and overpowered by the drummer. Can’t concentrate on him. Well, back with the chore done and a cuppa made and now we’re on the low-powered bass solo. Same problem, overcome by the drummer. This is either the engineer’s fault or the drummer’s. Perhaps it’s a live recording, in which case everyone does the best they can.

OK, this was good except for the sound, which wasn’t up to scratch for the piano and bass, or the drummer, who was too loud. It’s not often a bit of hard bop chains me to my seat..

Not Maupin or Hubbard. This is a later generation vinyl rip, which may account for some of the sound deficiencies.

6 More of the same, with a lady singer, whose voice I don’t like much. But the tenor player is WAILIN’. Woooooo!!! Yes, Word, I know it’s a spelling mistake. Damn good drummers you’ve picked for this BFT young man! And you can hear the pianist clearly. Backings like this are one good reason to use electric pianos. Hazard a guess at George Coleperson on sax, but without much conviction.

Not Coleman, drummer's album.

7 Same singer? Sax player sounds as if it MIGHT be Harold Vick, this time. No, Coleperson again. Not Coleperson, much too Hendersonlike for George.

Yes, same singer. Not Vick or Coleman.

8 Different singer. Good singer. Interesting song. Interesting and often exciting accompaniment. No idea who.

You may well be very surprised by this one in the reveal

9 Heavy rhythm sections, you’ve chosen. I can see what someone meant about the flow of this programme. I immediately like this trumpet man: dramatic but not silly with it. I doubt if I’ve heard him before. Soprano man’s a bit ordinary, though good. The only soprano saxmen I can identify are Fathead and Sidney, and it’s neither of them. Pianist sounds a bit like Cedar Walton to me.

Not Walton. This is the most obscure track in the BFT.

10 Ah, relaxed, almost balladic version of a tune I can’t identify. “Prince of Peace”. Well, it was always a ballad. The singer sounds foreign – not American, that is. Oh and he can sing!!! Oh, this is something! Live and he’s well liked by the crowd. So he probably IS American, but with a slightly different accent. I feel the pianist is familiar. I like what he’s making of this a lot. The tenor player is right there, welcoming me in. A right little band of masters here. Don’t know who this is, except there’s a version by Tony Esposito.

The singer is American. The pianist is very well known, and yet may be quite a surprise.

11 Gawd, another good song by a good singer with an interesting delivery. Never heard this singer before. I get a strong feeling someone’s been listening to Gil Scott-Heron here, but can do it better. A lot better.

Singer would certainly be familiar with Scott-Heron. And is much better known in UK than in USA, though he is an American.

Really NICE stuff in this BFT young sir. Mostly very enjoyable. You have my thanks, Squire. I await the reveal with great interest.

Thank you for your kind, enjoyabie, and insightful comments, glad you enjoyed it!

MG

[The Magnificent Goldberg]

8 Different singer. Good singer. Interesting song. Interesting and often exciting accompaniment. No idea who.

You may well be very surprised by this one in the reveal

MG

Actually, I'm not very surprised. I always liked Mendes and have been exploring Latin music a lot lately and intending to get properly into him soon. This will encourage me to do that sooner, rather than later. Thanks.

MG

[felser]

8 Different singer. Good singer. Interesting song. Interesting and often exciting accompaniment. No idea who.

You may well be very surprised by this one in the reveal

MG

Actually, I'm not very surprised. I always liked Mendes and have been exploring Latin music a lot lately and intending to get properly into him soon. This will encourage me to do that sooner, rather than later. Thanks.

MG

This is a good starting place. 48 cuts, all from the prime A&M era, including the one from this BFT.

[The Magnificent Goldberg]

Thanks but I don't usually go for compilations unless I don't think I'm going to get the real albums. They have to be ditched when I do get them.

MG

[JSngry]

Crystal Illusions is a darn good album as a whole, you can proceed with confidence, imo.

[felser]

Crystal Illusions is a darn good album as a whole, you can proceed with confidence, imo.

I second that emotion. The title track is a landmark, and "Empty Faces" is on this album.

Edited December 3, 2014 by felser