felser

This thread has inspired me to finally watch this - I've owned it for years. Music is extremely spacy (and good). Best of breed, 60's SF space division (the song, not the album). They never again recorded anything vaguely like this, though some of the live tapes from this era floating around show this influence.

Got inspired by our Pink Floyd discussion to finally watch this. I've owned it for years, but never got around to it. Watching it now.

There were a couple of eras of Gong. They started out as an offshoot of Soft Machine, led by Daevid Allen, and then were taken over by Pierre Morlan, who steered them in a much more accomplished jazz-rock direction, without either the highs or lows of the Allen years.

We owe a great debt of gratitude to this woman and this album for many many Blue Note reissues being funded: Evelyn Champagne King's "Shame" has always been THE disco record for me, though I basically enjoyed the whole genre (knowing the scorn that statement will bring me). Also definitely not correct, but certainly necessary.

Except when Gilli Smyth was doing her thing with them.

4-disc Jethro Tull "This Was" 50th Anniversary box for 18.99 pounds at Amazon UK https://www.amazon.co.uk/This-50th-Anniversary-Jethro-Tull/dp/B07GRLPXRW/ref=as_li_ss_tl?keywords=tull+this+was+50th&qid=1554461522&s=music&sr=1-1-catcorr&linkCode=ll1&tag=superdeluxeed-21&linkId=111d62a4f6e26977d3aa8b12336dc818&language=en_GB

Hawkwind was definitely in that space, but came on the radar a little bit later. Soft Machine was in that space at the beginning, a Canturbury scene group, when Kevin Ayers was in the group and Mike Ratledge had all the solo space and Robert Wyatt was singing a lot (first album), and still when Hugh Hopper replaced Ayers (second album). You can get an idea by listening to "Moon in June" on Third, and imagine it without the horns. There is a fair amount of BBC and other recordings of the early Soft Machine available, including earlier "Moon in June". Their Third album was a transition, and by their Fourth album, they were totally a jazz-rock group. Some of the other Canturbury scene groups, such as Caravan, did nice extended things with lots of organ. Caravan's "Nine Feet Undergound" is amazing.

It hasn't so far over 30+ years,.

I grew up and live in the Philly/NJ/NYC area where Springsteen was a cultural icon even a few years prior to his national breakout. What can I say, one pleasant myth-enhanced memory for old time's sake. I'm sure Dallas-Ft. Worth has equivalent myths. Sometimes I just want to hear what I want to hear. I understand too many of the realites behind Woodstock, yet was still extremely moved when I visited the site in Bethel Woods a couple years ago. Moved as much by the loss of the dream as much as anything. We've had the same discussion in other threads. Hearing a singer tell you what you want to hear is a lot more soothing for the soul than Albert Ayler when soul-soothing is the desire. "Come on people now, smile on your brother, everybody get together, try to love one another right now." I know it can't happen, and I know WAAAY too much about why, but I still really really like hearing it. I had the same arc as you about two years delayed, moved from a steady diet of rock to Coltrane and then Blakey/Mingus/Miles around 72-73, but was not oblivious to the transient pleasure of car radios or to what was happening in FM rock and soul. Didn't totally tune out until grunge and new jack totally killed the joys of both for me. "Go Your Own Way" sounds great to me on a car radio. Ornette Coleman, I need a more focused setting. To each his own, it's a big tent, we can all fit.

Can anyone speak of that rhythm section? I've never heard of any of them, but I want to believe...

I hear you, but Bruce live is hard to not join in. You want to believe and sing along "Show a little faith, there's magic in the night" when he does Thunder Road. I think of bopping along to "Born To Be Wild" back when I was doing trigonometry homework or whatever ca. 1968-69.

Yeah, I bet being in a psych hospital with a bunch of patients singing "... we don't need no education, we don't need no thought control.." or whatever would be just a BIT disconcerting.

PM sent on Yo Miles! - Henry Kaiser & Wadada Leo Smith (2 cds on Shanachie) $10 Yo Miles! - Sky Garden (2 cds on Cuneiform) $20 Ulrich Gumpert Quartett - A New One (Intakt) review copy $4 Michael Griener - Squakk Willisau & Berlin (Intakt) review copy $4 Ingrid Laubrock Octet - Zurich Concert (Intakt) review copy $4 Oliver Lake/William Parker - To Roy (Intakt) review copy $4 Charles Lloyd - Sangam (ECM) $6

Amazon pre-order price down to $16.79, so that is the way to go if you carpe dium.

It does, but pretty serious case of the whole being less than the sum of the parts. And they couldn't even get the song title right.

I also own the book.

That may be why this label changed their name to Nimbus West.

As have I. Buying direct from them is the way to go on box sets, even significantly less expensive than their prices on ebay.

I've found that also. They flood the results with "Sponsored" products, and sometimes the "Amazon Choice" third party seller for a product is more expensive than others, with no additional benefit offsetting the extra expense. I've also found their CD prices rising in general, both Amazon itself and third party sellers, and have bought very little from them in many months, the bulk of my business going to ebay for new CD's and ebay or discogs for used CD's.

They recorded in Europe starting late 1984, were there for a few years. It was one guy, Tom Albach, running the company. I bought a bunch of CD's directly from their website a few years ago, and he fulfilled the orders himself. The website is no longer active, but they are on bandcamp. Here is something I found on the web at http://www.cvinyl.com/labelguides/nimbus.php LABEL GUIDE: NIMBUS Nimbus Records was founded in 1978 by entrepreneur Tom Albach with the intention to record the music of the Pan Afrikan Peoples Arkestra, Horace Tapscott and members of the Union of God's Musicians and Artists Ascension (UGMAA). UGMAA and the Arkestra were founded by Los Angeles-based jazz pianist Tapscott in 1961, and the Arkestra itself went unrecorded for almost 20 years. Nimbus was based in Los Angeles until 1985/87 when Tom Albach moved to Amsterdam in the Netherlands and started recording European artists. The label name changed to Nimbus West around 1984, and this incarnation of the label still exists today.

That Jesse Sharp is really good. I like all of the L.A.-based Nimbus West recordings I own or have heard. Gets much dicier once they moved operations to Europe.

Suggest you start with the live album half of Ummagumma.

Thanks for the clarification. Haynes and Trucks, to my ears, are very tight playing together.