body{ text-shadow: 0px 0px 4px rgba(150, 150, 150, 1); }

14 Oct 2017

Oblivious “Goons and Masters” 2009 Sweden Stoner Rock,Stoner Metal

Oblivious  “Goons and Masters” 2009 Sweden  Stoner Rock,Stoner Metal
full vk…

OBLIVIOUS is a new band from Linkoping, Sweden, who combines heaviness along with incredible groove to a melodic stoner rock with a touch of classic 70’s rock n’ roll. Influences can be hear from such great bands as FIVE HORSE JOHNSON, DOZER, KYUSS and CLUTCH, as well as older heroes like BLACK SABBATH, PENTAGRAM and LED ZEPPELIN. ………………………..
You who are old enough may remember how it smelled on the SJ trains twenty years ago? Something fade but at the same time a distinct smell of burnt dust and orange peel. To me a scent memory that brings with it a nostalgic sense of security, about the same results achieved by intercepting OBLIVIOUS “Goons And Masters”. Their stoner has its roots deeply rooted in the seventies and bands like LED ZEPPELIN, BACHMAN TURNER OVERDRIVE and BLACK SABBATH, but have also snapped up elements from contemporary names like BLACK STONE CHERRY and the Swedish genealogists in DOZER. In particular, similarities with the latter may be heard, which at least in my ears is something clearly positive. 

OBLIVIOUS delivers heavy and dirty rock, occasionally easily psychedelic and often with some sad nerve, and the seventies are, as I said, constantly present in both riff construction and song style. Bitwise, “Goons And Masters” tends to become familiar with the recognition factor; a little too safe. However, at the moment the aforementioned sad nerve is allowed to take up more space, the problem is blown away. The magical, masculine endings of “Master of Time” and “Blind Faith” are both very pleasant, but the crown of the work is the seventh track “Dead End Night”. Here, the Linköping sons invite a song whose naked emotion and tremendous desperation hits right in the heart, leaving me with a lump in my throat and the hint of a tear in my eyes. This extremely high level, OBLIVIOUS does not at all do with the debut as a whole, but it is clear that it is a welcome contribution to the Swedish stoner scene. ………..Fredrik Sandberg………….

Here is a new band of ursids that comes to us from Sweden and balances its contribution to the heavy file of the stoner. Oblivious formed in 2004 somewhere in Linköping, a town somewhere in Sweden, a country somewhere in the north. Sweden is one of the biggest suppliers, with a tradition dating back to the 90s, precursors such as Spiritual Beggars and small ironmasters such as Dozer, Abramis Brama, Dexter Jones, Circus Orchestra, Demon Cleaner, Generous Maria, Grand Magus, Mustasch, Sparzanza, The Awesome Machine, Witchcraft or Zebulon. 

With such a biotope in a country that must include a group of ten stoners, we still wonder how young groups have a chance to be heard. With Oblivious, however, the bet is still won and the miracle stoner is renewed again with this troop of hirsutes inspired by their compatriots Dozer, the Americans of Clutch or the great demi-gods of the Seventies like Black Sabbath or Led Zeppelin. 

After a few years on the roads and four demos, Daniel (guitar), Per (bass), Isak (vocals), Sven (guitar) and Jocke (drums) are released on the Transubstans label (the record label of the Swedish sales site Record Heaven) a convincing record, in a traditional stoner vein, with stacks of guitars knitting leaded decibel and colossal rhythm section. The group develops beautiful compositions on long titles like “Red eye goon”, “Masters of time”, “Dead and night” and mow down to the ground with short and nervous “Bide your time” or “Boiling brain”. In between, bluesy and stratospheric titles (“Kickin ‘and screamin’”, “Blind faith”) complete the range of styles and inspiration. 

This disc, which is not necessarily distinct from the mass of its contemporaries, is made with musical honesty and metallurgical sincerity, so there is no reason to neglect it……..François Becquar…………….. 

1 Ego Boy
2 Throne
3 Red Eye Goon
4 Master Of Time
5 Kickin’ And Screamin’
6 Bring It On Me
7 Dead End Night
8 Boiling Brain
9 Bide Your Time
10 Blind Faith 

Tapiman “Tapiman” 1972 + “ En Ruta” 1979 + singles Spanish Heavy Psych,Hard Rock

Tapiman “Tapiman” 1972 +  “ En Ruta” 1979 + singles Spanish Heavy Psych,Hard Rock


Tapiman ‎ “Tapiman” 1972 
Newly remastered edition of the great Spanish monster rarity! Legendary hard-rock-psychedelic album from 1971 (for many, also a progressive album!?). Extremely underground hard-rocking power trio!!! Line up features Max Sunyer on guitar (later in Iceberg), and Tapi on drums (just after leaving Maquina!). The CD contains the complete album plus 4 bonus tracks from their singles. Booklet with lots of infos, pictures and Max Sunyer interview, courtesy of Guerssen…….

Incunable of the second stage of splendor of the so-called Spanish progressive rock, that flourished when military service dismantled the band with more projection, Maquina !, the career of the group led by Tapi, the drummer of these, was short in discography and rich in hits. Artifacts of muscular rock, proto-late and heavy, the power trio ended up basing its performance on the chemistry between Josep Mª Vilaseca (Tapi as an artistic name, given that he lived on Tapioles street in Barcelona’s Chinatown) and guitarist Max Sunyer. 
Chemistry collected in the LP of the pink skull on cover, icon of the time and reedited a few years ago by the select seal Guerssen in vinyl. Now Picap bets on the compact, adding as extra sweet the Ep that signed Tapi, four songs that underline the exposed in the album. Fourteen songs in total, with high points like “Do not Ask Why”, “Hey You” or the brutal “No Control”, vehicle of a sunyer in vena and where the missing Tapi show their percussive gifts. 
If someone recovers the live album In Ruta, edited at the time by Chapa Discos, part of the history of national rock will again be available for nostalgic and for anyone who senses that something fundamental is missing…………..

Spanish blues-rock band that existed from 1971 to 1972, founded by Jose Maria Vilaseca (Tapi), and M. A. Nunez (Man). Pepe Fernandez was their first guitarist, replaced by Max Sunyer when he went into the military. The blues based rock album is a great specimen of early Spanish hard rock. The band only released three albums The Eponymous debut in 1971, and Rock and Roll Music in 1972, which consisted of all rock and roll covers. Another album, En Ruta was released in 1979…………….

This Spanish power-trio, being one of the pioneers of hard rock in Spain, made this excellent hard-to-find heavy prog gem in 1971. Their music had influences of Led Zeppelin and Cream. They made another album in 1979. Their sound is typical hard European heavy rock, full of good riffs with some psychedelic & progressive touches. The loud heavy music is somewhat associated with the music of Pink Fairies. Drummer J M Vilaseca sadly died in 1994………..

José María Vilaseca “Tapi” - drums 
Pepe Fernández - bass 
Max Sunyer - guitar

Wrong World
Gosseberry Park
Don’t Ask Why
No Chance
No Control
Driving Shadow (Pepe’s Song)

Tapiman ‎ “En Ruta” 1979

José María Vilaseca “Tapi” (batería ,de Máquina!), Pepe Fernández (bajo) y Max Sunyer (guitarra) (por Javier Moreno).

1. Goesberry Park 
2. Yo Ya Lo He Vivido 
3. Rock Del Furgón 
4. Hermanos 
5. Descalzos 
6. No Puedo 
7. I’m So Down 
8. Lloro por Ti 

Tapiman is a mythical group that has remained almost forgotten. It has happened with many Spanish groups of the 70, but this is a bleeding case, since its trajectory is comparable in quality to many of the great groups of rock of international level of its time. 
We will try with this article to do a bit of musical archeology and of way to inform to the readers that does not know them. On the other hand, it is impossible to speak of Tapiman without discussing its historical context and above all talking about some of the other groups that surrounded them, since the history of this formation was woven through a complex network of like-minded spirits that converged in the rock music of its moment. 

For a sector of the population of Spain in the late 60s and early 70s, music seemed to bring together a series of components that were considered counter-cultural and antagonistic to the principles that prevailed in the Franco regime. This radicalization of popular music, which was also extended to other spheres of culture, paralleled that which occurred in other countries, but the Spanish situation was very different from that of, for example, England or the United States. After almost forty years of dictatorship, the desire to rebel against an enemy that was double was immense, for the generational scuffle that shook the foundations of Western society was compounded by the hatred felt by young people - and not so young - for the regime fascist of Franco. 

Although the song-protest songwriters are often the most remembered of that time in terms of music, the reality is that many people, musicians and public, let themselves be attracted by another type of sound much more exciting and energetic: rock. In this way, many students and also, but to a lesser extent, a certain part of the working youth outside the academic and intellectual spheres, fell under the spell of these new rhythms impregnated with intoxicating vapors and magic. This made it possible for the musical underground to have the opportunity to maintain itself long enough to offer a large number of concerts and produce a few records that have remained for posterity as proof of its existence, 

As we said, at present this stage of Spanish rock is barely taken into account by the mass culture and institutions, with the honorable exception of some specialized publications that from time to time remember these musicians (for example Route 66). But whether you talk about it or not, give it the value you had or not, the reality is that, beyond the highly promoted singer-songwriters and the ever-present commercial groups that so often scrub the face, here became very good rock music in the 60s and 70s. 

A curious fact is that, for once, all that countercultural activity was decentralized, since except for marked exceptions the two main focuses of progressive rock, at least in its beginnings, were Andalusia and Catalonia. And although we will leave for another moment the Andalusian rock is a fact the great amount of connections that the Catalan rock engages with its brothers of the south. 

The musicians, not only in Andalusia and Catalonia, but scattered throughout the country were the first wave of balanced sound between psychedelia or progressive rock - or “advanced music”, as some called it at the time - were in many cases considered as the advance of a new society. These used to use drugs - which were seen for some time as effective means of release - or at least had the uninhibited pints expected of the wearer. Being a rocker was a way of rebelling and trying to make the underground a way of life outside the established, not so much to escape as to try other possibilities of existence that transgressed the Franco society. 

(Had) to revolutionize the habits, the habits, the scale of values. The subconscious, the dream, comes to the fore. It’s all about psychedelia, which is more than just a buzz word. And the whole question of drugs as a means of those dreamlike, surrealist experiences. 

But the most important thing was that the music they made was hypnotic, exciting. Although not so much in the content of the lyrics, as if it were the case of the singer-songwriters, their rebellion was reflected above all in the forms, in the imagination unleashed of their melodies and in that electrifying experimentation that was expected of the new generation that was would face the regime. There is no doubt that Catalonia in the 1970s was, in many ways, the nerve center of the counter-culture most antagonistic to Francoism. At all levels of culture - art, theater, film, literature, etc. - it was a propitious place for the emergence of genuinely underground ingredients.
Unlike Andalusia, where groups like Smash, Gong or New Times emerged almost out of nowhere with very few means and supports, the Catalan scene had a more or less stable base on which to grow, perhaps for that reason it was also more durable and fertile. It was not by chance in Barcelona that the new airs could be seen coming from nearby Formentera, where a great number of freaks and hippies, many of them foreigners, were mounting a small parallel world of free and acid love. This movement that took place in the islands influenced strongly to folk artists like Jaume Sisa or Pau Riba. Both were integrated later in the progressive scene, but in their beginnings they settled for an autochthonous Catalan folk that soon was dyed of psychedelic to discover the qualities of the LSD. In the words of Pau Riba: 

I went to Formentera to try the acid. It was the time of the hippies and we slept in the rocks of the beach or in the top of the trees. We made psychedelic soups in large boilers, like Asterix. 

This was an effervescent environment where genuine political commitment and sheer petty-bourgeois hedonism were chaotically intermingled, all in a semi-secret environment. In this way, by the end of the decade everything had accelerated and the atmosphere was sufficiently prepared when in the summer of 1969, as an explosion of light and sound, the first album of the group, Machine! , always supported from its beginnings by the patronage of the Barcelonan bookseller Ángel Fábregas. This group, essential for the appearance of Tapiman , forces a crucial moment of clear differentiation between commercial pop music, which sometimes submerged in psychedelia with more or less fortune - see the roots of everything in the articleof Adolfo Alcocer-, and the emergence of a rock with truly underground aspirations. So, Maquina! was automatically considered the paradigm of experimental rock group, only comparable for a time with the Smash , formation that the other south end of the country was also giving much to speak. 

Why? , the first long disc of Maquina!after two singles, was a really devastating job, full of very ambitious themes in its structure. Between the grooves of this vinyl were soft subjects close to the American folk rock sound, the fuzzy acid stridence of the fuzz guitar or the intricacies of a hallucinated Hammond organ, it was a sonic orgy midway between the psychedelia of the late 60s and the progressive rock that was going to break in with the 70’s. The theme that gives title to the disc, of more than twenty minutes, was a true feat, to thousand years of a present where the list of musical successes was dominated by Raphael, Rocio Jurado or Manolo Escobar. This epic theme, full of improvisation and sound excesses, was like the definitive kick-off for a great number of musicians anxious to put soundtrack to a generation. 

Machine! lived in this way a short period of considerable glory. It was a very favorable context since they had the acceptance of a very large public taking into account the circumstances. Although a brief incursion into the capital of the state did not reproduce the success achieved in their land, in Catalonia they devastated there wherever they went, and even come to earn the esteem of Salvador Dalí, who among other things declares himself publicly admirer of the cover of Why ?, with the famous croissant and the clock, work of the bass player and singer of the group: Jordi Batiste. 

In Machine! played the battery Joseph M. Vilaseca, nicknamed “Tapi” for living on the Tapioles street in Barcelona. Vilaseca was not of the founding members, but given his special charisma and overflowing talent he had become fundamental to the group. However, in 1971 the group had to stop its activity temporarily by the military service of two of its members (it was not going to be the first nor the last group fucked by the fucking mili) and Tapi decided to take the reins of the group, thus producing internal differences in musical direction to follow. This ends in the rupture and in a later complaint against the remaining members by the name of Machine! . 

Shortly before this Vilaseca had been reunited by the Seal joint with three of the musicians of the group Vértice . Tapi had already collaborated with this group on their single single and this time they recorded several classics of rock'n'roll and blues. The result is an album called Rock'n'roll Music , of very powerful rock and with very progressive tendencies that includes versions of John Mayall or Ray Charles. The disc is published in 1970 with a very short run. This project is a clear advance of what would come later with Tapiman. 

As Vilaseca had not managed to get the name of Machine! decides to take advantage of that Vértice has finished to call to his friend guitarist Miguel Angel Nuñez, with which after a few tests it verifies that they obtain the musical chemistry that a true progressive group needs. For the position of bassist went to another ex-partner of Vértice , the bassist Pepe Fernandez. 
As we see there was a constant in the groups of the time: the repeated recombination of the same people in different projects. This was because the musicians with more or less related concerns were limited at that time, and surely also because in Spain at that time it was not easy for a young man of precarious economy - the great majority - to acquire and maintain the necessary equipment for set up a rock band. With this new formation as trio that they decide to call Tapiman they are dedicated to compose a series of themes inspired by the rock harder that was arriving at droppers of the foreigner, especially of the power trio to the Hendrix Experience or Cream, but they would add a peculiar rage which these referents did not have.
Soon after, with a few songs composed under the arm, they manage to sign up for Edigsa to release a first single with two tracks: “Hey You” and “Sugar Stone”, resulting in two impressive songs of crude hard rock with a clear progressive vein , a sound close to that of other international groups such as Irish Cofee, Piel de Pueblo or the first Balleto di Bronzo, that is to say, with a direct and rather crude sound, but without leaving the taste for filigrees in the guitars or the complications with the rhythms “ Hey You” starts with a crushing, perfectly matched rhythm base.Tapiman. The guitar almost is limited to accompany in almost all this first cut, but in the end it enters with a strident single that puts the hair of tip. For its part, “Sugar Stone” is, if anything, even stronger and guitar, especially by the powerful riff that sustains throughout their minutaje. 

It’s a very good single and the thing really promises, but as it could not be otherwise they start to appear problems. After participating in this single MA Nuñez has to leave to make the happy mili - it seems that military service is the curse of the musicians of the time !! - and a new guitarist should be urgently sought. Tapi suggests to fill this position with another of his former comrades in Vertex: Joaquim “Max” Sunyer, who, after certain doubts, accepts. This would not be the first collaboration between Vilaseca and Sunyer, since a little earlier they had participated in a project of electrification of the Catalan folk that would be published with the name of First Round of Cançons. 

A curious detail is that despite the arrival of Sunyer, the band maintains the name of Tapiman , which is nothing more than the product of joining Tapi’s nickname with the initials of Miguel Angel Nuñez and also the band continues to play the songs composed by his partner in military service. 

Max Sunyer brings to Tapiman his virtuosity with the guitar and above all much versatility. Nunez is certainly a good guitar, but Sunyer could cover many more records, as it was marked by powerful riffs, typical of the most caveman rock, that made brilliant and delicate incursions into jazz. You could see that he had played since he was very young, and by now he was an experienced musician who made his living by taking part in a number of commercial recordings of the time. Enter Tapimanhe was given the opportunity to apply his gifts to the music he truly liked, although it was primarily a professional matter, a means of earning a living and with which to support his family. For her groupmates it was something else, it was pure fun. 

At this point Tapiman is one more group in a quite acceptable scene. Throughout 1969, 1970 and 1971 a new wave of formations of very different styles had been appearing. These were gradually disappearing - the progressive rock bands Pan and Regaliz , OM, Jarka, Fusion, Música Dispersa (where he collaborated also Vilaseca), the electric stage of Pau Riba, etc. These groups are taking the scenarios of Catalonia, but nevertheless they do not have much repercussion in other places of Spain. Even “success” in Catalonia was indeed a minority. Take as example the disc of Music Dispersa, which only sold 350 copies, something that can give us an idea of ​​the dimensions of what was happening. 

In this situation of discreet expansion of the underground the Tapiman take out a new single, already counting on the collaboration of Max. In this new work it becomes evident a new orientation in the sound of the group. The little press that deigned to pay attention to all this movement had highlighted Tapiman as one of the best live and this new plastic is greeted effusively. However, this change of course can also be interpreted as a false step. This single, which includes the songs “Love Country” and “ Walking all along the life”,is much softer than the previous one. They are not bad things, but obviously they do not reflect all the energy capacity of the group, perhaps losing what made them so special: their crudeness and force. 

These are scrambled times for the country. In 1971 the permanent festival of the Iris Hall of Barcelona is celebrated, where Tapiman participates next to Smash, Sisa, Pan and Licorice or Pau Riba . Given the atmosphere of revolt that still queued after the so-called processes of Burgos the police was dedicated to beat without care to the exit of each concert, for the simple fact of being “thing of hairy”. Tapimanalso participates in Madrid in a festival of progressive rock that the previous year had not been able to be carried out because of a pitched battle between students and rockers. But despite this political instability and the atmosphere of violence, they are also days of great excitement and fun. According to Vilaseca himself in an interview published on Route 66 shortly before his death: 

In Lerida, in Borges Blancas, we threw all the tomatoes of the region, but it was not something that happened often. We act throughout Spain. I remember that in Leon we went to see the cathedral and when we left we began to chase a group of people shouting “Furry, to them!”. To Gijón we went by train and the taxi drivers refused to take us to the hotel, they saw our pints and they thought that we were going to dock them. We had to cross the city on foot, with our bags and equipment. In Seville we found a lot of atmosphere, we spent a week drunk. I also remember with pleasure the north, in Pamplona we had a wonderful time.
After the second single, as early as 1972, the band finally draws an LP, for it is chosen themes from the stage Nuñez and other new. Fortunately they choose to return to the sound of the first single and the general tone of the disc is of a force as before had not been heard in a group of this country. The album is wrapped in a striking cover that brushes the kitsch, but undoubtedly is of immense charm. This is the work of Guillem Paris (member of the Pan and Licorice , one of the groups with which Tapiman shared the scene more frequently). 

This self-titled album opens with “Wrong World”, written by Sunyer and Pepe Fernández, undoubtedly one of the best hard rock songs in the history of this country. It’s a frenetic cut from start to finish. Over the overwhelming rhythmic base of Tapi and Fernandez, the guitarist shines out bringing to light all his resources with a single long and intricate that sounds both hard rock and jazz. The voice of Fernandez is very rude and is perfect to the subject. 

After this masterful opening comes “Gosseberry Park”, written by Puig Cabanach, former companion of Vilaseca in Maquina! This cut is more leisurely and melodic than the previous one, with a letter of clear lysergic references. Here the voice sounds much more contained and supported by some very good choirs. Again the bass and drums combine perfectly, and Sunyer’s guitar shines back in a more epic and delicate tone. 

Then comes “Dont’t Ask Why”, theme of the first stage as it is a collaboration of Vilaseca and MA Nuñez. It is a cut full of changes that go from softness to very fast jazz rhythms. As in the previous song Tapi sings, and it is evident that English is not his thing, nevertheless that does not prevent that court is returned to be sublime. Impressive as it sounds the trio in the final part where the Fernandez bass has as much protagonism as the guitar. 

“Practice” is a subject of Sunyer and apparently refers in its letter to the group’s lack of discipline for the rehearsals, something that Sunyer suffered especially since he was a musician much more methodical than his companions. In the musical is a very good subject, defined by an original guitar riff. 

“Paris” is a collaboration between Vilaseca and Sunyer. It is an instrument of a very melancholic tone where Sunyer’s guitar flies high (supported by the organ that Vilaseca adds later). An excellent cut. 

“No Chance” is another composition by Sunyer. It is a much more joyful cut than the rest and catchy chorus that is again the excuse for the guitar to do wonders on a phenomenal rhythmic basis. In an album where everything is excellence this cut comes to be of the best. 
When we have not yet recovered from the above, there comes “Moonbeam”, an instrument - again from Sunyer - that also reaches the maximum height and where it is necessary to emphasize the magnificent battery of Vilaseca. 

“No Control”, another collaboration Vilaseca-MA Nuñez, is the return of the purest hard rock of mastodontic riffs and rude voices, this time with marked blues. Stunning bass and powerful Sunyer guitar. 

“Jenny” collaboration of Sunyer and Pepe Fernandez, is the disco ballad, by the way quite strange. Fernandez, with an even worse English than Tapi, is giving us a dramatic love song. The result is the least charming, with a very atmosphere of the time. Towards the end the whole band breaks the soft tone and marks a tremendous jam. 

“Driving Shadow (Pepe’s Song)”, collaboration of Nuñez and Pepe Fernández, is the longest track of the album, clearly divided into several sections. It starts with an unprecedented rotundity so far, with a speed and power that can be dismissed as proto-trash. Then the thing is varying with a long and original Sunyer only. Splendid also the bass / drums game. The initial velocity then returns, though it is abruptly cut off and the subject enters into a kind of psychedelic passage of distorted organ and hallucinated voices. A unique closure for a disc that in the opinion of the writer does not have any failure. 

As expected this story does not have a happy ending. Despite the critical success of the album and the predictable good results for the future, Tapiman did not last much longer as such. Max Sunyer decides to leave the group to see how his teammates do not take him as seriously as he does. Since the release of the album, little discipline in the rehearsals is increasingly pronounced and Sunyer, who takes music as his profession, can not consent. Thus the most fruitful formation of Tapiman is broken, leaving in the progressive Spanish panorama an irremediable gap. It is true that Tapiman reappears later with another formation getting to edit a live album called En Ruta, but although this training is good, they do not reach the quality and inventiveness of the early years. 

After Tapiman , Vilaseca by other groups including Lone Star . Meanwhile, Sunyer embarks on groups like Iceberg , leading a second wave of progressive rock in parallel to the revitalization of Andalusian rock or the advent of punk and urban rock. 

But that’s another story…… Antonio Ramírez……… 

Tapiman “Hard Drive” 2017 Spain Heavy Psych released by Guerssen Records
Previously unreleased homemade recordings from 1971 featuring the very first line-up of the band. 

Jack Traylor And Steelwind ‎ “Child Of Nature"1973 US Psych County Rock

Jack Traylor And Steelwind ‎ “Child Of Nature"1973 US Psych County Rock...recommended...!
full vk

Jack Traylor was a Grateful Dead/Jefferson Airplane associate who contributed towards Kantner, Slick and Freiberg’s Baron Von Tollbooth and the Chrome Nun, various members of the collective returning the favour by playing on his 1973 solo album, Child of Nature, credited to Jack Traylor and Steelwind. 

Jack was the main songwriter and vocalist, and sticks to unvarnished acoustic rhythm guitar. The have a female vocalist, Diana Harris, who also happens to play some piano, a lead guitarist who mainly sticks to electric, a third guitar player, Skip Morairty, and a bassist. Plus, longtime Airplane producer Al Schmitt produced their debut, Child of Nature. 

Traylor’s an okay singer/songwriter (the title track is catchy), the young Chaquito gets in some nice work, and has one extended solo which owes a lot more to flashy rock than folk (“Time to be Happy”). Besides Traylor and Chaquico, the other members of Steelwind dropped off the face of the planet. The drummer is Malo member Rick Quintanal, and Freiberg plays faint mellotron on one track. “Caveat Emptor”…

A basic desire of any species is reproduction, and occasionally the urge strikes bands as well. Paul McCartney became the surrogate father of Badfinger and helped kick off the nostalgia influenced power-pop of the 70s, while Jefferson Airplane step-parented Steelwind. It is almost simple one-to-one substitution - Jack Traylor was the main songwriter and vocalist, and sticks to unvarnished acoustic rhythm guitar (Kantner). The have a female vocalist, Diana Harris, who also happens to play some piano (Slick), a lead guitarist who mainly sticks to electric (Kaukonen), a third guitar player, Skip Morairty (Balin), and a bassist (Casady). Plus, longtime Airplane producer Al Schmitt produced their debut, Child of Nature. Sure, it is not quite that simple, and this comparison is far more interesting than Steelwind’s music. I wish I would stop running across these albums from the Airplane’s vanity label, Grunt. Traylor’s an okay singer/songwriter (the title track is catchy) but outside of Chaquico, who later hald the same position in Jefferson Starship, the group’s backing is vanilla folk/soft rock stuff (plenty of lame 70s flute courtesy of Skip Morairty). When they did pick things up a bit, Steelwind sounds like an Airplane knockoff (the politically themed "Smile”, “Gone to Canada”). The young Chaquito gets in some nice work , and has one extended solo which owes a lot more to flashy rock than folk (“Time to be Happy”), but beyond that your pulse will not rise too much. Child of Nauture is instantly forgettable, pleasant 70s music, but its dated political content insures that it will not be played in a bank lobby near you anytime soon. Besides Traylor and Chaquico, the other members of Steelwind dropped off the face of the planet. The drummer is Malo member Rick Quintanal, and Freiberg plays faint mellotron on one track. “Caveat Emptor” indeed. 

*Jack Traylor - Guitar, Vocals 
*Craig Chaquico - Guitar, Mandolin 
*Danny Virdier - Bass, Vocals 
*Skip Moriarty - Guitar, Flute, Vocals 
*Diane Harris - Piano, Vocals 
*David Freiberg - Keyboards 
*Bill Laudner - Vocals 
*Kent Middleton - Harmonica, Percussion 
*Rick Quintanal - Drums

A1 Child Of Nature 
Vocals – Bill Laudner 
A2 Birds And Beasts And Bumblebees 3:32 
A3 I’ve Got You 
Keyboards – David Freiberg 
A4 Smile 4:14 
A5 Time To Be Happy 
Written-By – Gerald D. Moriarty 
B1 Come On, Children 3:50 
B2 Fifteen Years After 4:17 
B3 Gone To Canada 4:31 
B4 Caveat Emptor 
Written-By – Craig Chaquico 

johnkatsmc5, welcome music..







Cassette Deck

Cassette Deck







music forever

music forever