Caravan (pagal Жорж Старостин)-3

Caravan (pagal Жорж Старостин)-3

Silentist

CARAVAN: THE SHOW OF OUR LIVES: LIVE AT THE BBC (1968-1975; 2007) 1) Place Of My Own; 2) Ride; 3) If I Could Do It All Over Again I'd Do It All Over You; 4) Hello Hello; 5) As I Feel I Die; 6) Love To Love You; 7) Love Song Without Flute; 8) In The Land Of Grey And Pink; 9) Nine Feet Underground; 10) Feelin', Reelin', Squealin'; 11) A-Hunting We Shall Go; 12) Waffle (Be Alright / Chance Of A Lifetime); 13) Memory Lain Hugh; 14) Headloss; 15) The Love In Your Eye; 16) Mirror For The Day; 17) Virgin On The Ridiculous; 18) For Richard; 19) The Dabsong Conshirtoe; 20) Stuck In A Hole; 21) The Show Of Our Lives. It makes perfect sense to round out the Caravan retrospective with this huge 2-CD package that spans their entire «prog years» career. Prior to this, there have been several rather chaotic releases of BBC material recorded by the band at various occasions; the only one I'd previously heard was BBC Radio 1 In Concert, recorded March 21, 1975 at the Paris Theatre, and it has been almost completely integrated here (strangely, though, without a complete overlap — the original release had ʽHoedownʼ, which is not included here, while the new package adds ʽMirror For The Dayʼ and ʽVirgin On The Ridiculousʼ that were omitted from the 1991 album, so go figure). Anyway, this here is a solid and well-balanced mix of performances from various John Peel and BBC In Concert sessions that, among other things, allows you to get a peek at live interpretations of some of the early material that never survived the transition into the «golden age» — songs from the self-titled debut (including ʽLove Song With Fluteʼ, which is transformed here into ʽLove Song Without Fluteʼ because they could not get brother Jimmy to appear with them, so Dave has to fill his shoes with an organ equivalent of the flute part) and «filler tracks» from the second album, like ʽAs I Feel I Dieʼ. Once we get to the Grey And Pink period, performances start to become more familiar and predictable, but there is still at least one super-curious rarity: ʽFeelin', Reelin', Squealin'ʼ, a 10-minute epic that starts out in inconspicuously default soft-rock mode, but then quickly becomes an improvised psychedelic extravaganza — a free-form freakout that alternately reminds one of The Grateful Dead, Pink Floyd, and The Soft Machine. I would not call it particularly mind-blowing or anything, but it's a bold side of Caravan that had blipped for a few seconds around 1970, then was wiped out completely with the emergence of the Grey And Pink style, and it is interesting to learn that they could occasionally allow themselves to go crazy like this as late as May 1971, by which time ʽGolf Girlʼ had already become their trademark song (ironically, there is no ʽGolf Girlʼ on this package). The second disc, covering 1973-75, is clearly less exciting for those who have already heard all the regular live albums — I mean, there's only so many live versions of ʽThe Love In Your Eyeʼ and ʽFor Richardʼ that I'd care to have in my collection — but it does include a rare occasion of the complete live performance of ʽThe Dabsong Conshirtoeʼ and other songs from Cunning Stunts that might help rekindle your interest in that transitional album. They could have gone further: if you are genuinely curious about continuing this experience, the earlier package Ether Way: BBC Sessions 1975-77, overlapping with this one in regard to the Cunning Stunts tracks, also adds some live renditions of material from Blind Dog At St. Dunstan's (could be entertaining) and Better By Far (probably couldn't) — but on the whole, I understand the decision of the compilers to stop at 1975 and have ʽThe Show Of Our Livesʼ round out the album in gloriously anthemic mode.

Caravan: Live At The Fairfield Halls

CARAVAN: LIVE AT THE FAIRFIELD HALLS (1974; 2002) 1) Memory Lain, Hugh / Headloss; 2) Virgin On The Ridiculous; 3) Be Alright / Chance Of A Lifetime; 4) The Love In Your Eye; 5) L'Auberge Du Sanglier / A-Hunting We Shall Go / Pengola; 6) The Dog, The Dog, He's At It Again; 7) For Richard; 8) Hoedown. Of all the live archival releases by Caravan covering single-date (or double-date) performances, I select only Live At The Fairfield Halls as an example, since it has a certain priority over everything else: it was originally released, in a slightly abbreviated version, as The Best Of Caravan Live in 1980, for the European market. The actual show took place on September 1, 1974, in London, approximately one year after the show with the New Symphonia and also introducing new member Mike Wedgwood on bass — just a few weeks before the once-again-revamped band entered the studio to record Cunning Stunts. Consequently, the setlist here is pretty much the same as on the expanded version of Caravan & The New Symphonia: lots of tracks from their most recent offering (Plump In The Night), ʽLove In Your Eyeʼ and ʽFor Richardʼ as stabilized mega-epic-classics, and a few non-studio LP rarities — ʽVirgin On The Ridiculousʼ is done here without orchestral support as it was on the New Symphonia album, and ʽBe Alright / Chance Of A Lifetimeʼ is an outtake from the Plump In The Night sessions that did not make it onto the original album (but a studio version of which is now also available on the expanded CD edition). Since, predictably, there is not a lot of difference between the live performances and the studio originals, that's pretty much all you need to know — well, I might add that the show, also predictably, was a good one, and that Richardson's viola parts more than make up for the lack of a complete orchestra on ʽVirginʼ. The audience participation bit on ʽHoedownʼ is rather cheesy, but an unavoidable evil, especially for a band as audience-friendly and cheerful as Caravan; luckily, at least the in-between song banter is kept short and to the point. Otherwise, I am not really sure why anybody would want to bother with the record, given the availability of New Symphonia which at least adds a fresh twist to these songs. Perhaps in 1980, with Caravan arguably hitting rock bottom and all, a release like this made sense — just to remind the record-buying public of how great these guys used to be. Today, it is only for dedicated fans who wish to spend some time picking up all the little nuances that separate loyal live reproductions from the originals. Like, for instance, ʽFor Richardʼ is three minutes longer than the studio version here — I am still not sure if this is because they extend some of the jam sessions or because they take it such a leadenly slow tempo at the beginning, but I am too lazy to go check it out.

Caravan: Canterbury Comes To London

CARAVAN: CANTERBURY COMES TO LONDON (1997; 1999) 1) Memory Lain Hugh; 2) Headloss; 3) Nine Feet Underground; 4) The Dog, The Dog, He's At It Again; 5) Cold As Ice; 6) Somewhere In Your Heart; 7) I Know Why You're Laughing; 8) Liar; 9) For Richard; 10) Golf Girl. For a band that was never really known for virtuoso musicianship, unusual stage behavior, or at least a dedicated arena-size fan following, Caravan have had a fairly insane number of archival releases out in the past thirty years — not on the Grateful Dead level, of course, but still at least a dozen live documents of various tours over the decades, collecting and reviewing all of which would require an arch-obsessed mind. For this reason, I will pick out only a few representative points, even if they might not necessarily be the absolute best ones; but then again, it seems that Caravan had always had a decent live sound, and ultimately it all comes down to differences in set lists or sound quality. This one, technically, should not even be counted as an archival document: released in 1999, it documents the band on their promotional tour for The Battle Of Hastings, containing all or most of the show played at The Astoria, London, on September 17, 1997. In this setting, they are already augmented by Doug Boyle (who would remain with them for the Breakfast Item album), and Dave Sinclair is still in. The setlist, as the track listing quickly tells you, includes a large chunk of Battle Of Hastings material in the middle, bookmarked by classics from In The Land Of Grey And Pink and Plump In The Night, plus the perennial ʽFor Richardʼ — a fairly good flow control here, since interspersing the recent pop-style material with long-winded epics of the band's heroic past would probably work much to the new material's detriment. All the performances are carried off quite respectfully: the new guitarist does have a bit of that Eighties leftover flair (after all, he did spend a lot of time playing for Robert Plant in the decade of hair metal), but only about as much as is needed to give the songs a bit of an extra energy punch, not a bad thing for a band that somehow has to compensate for the age (and general chronological irrelevancy) factor. Also, bass player Jim Leverton is no Richard Sinclair when it comes to singing, so I do believe that ʽGolf Girlʼ is sung by Pye instead, while the final vocal section of ʽNine Feet Undergroundʼ sorely loses in the beauty department (in fact, Leverton has to struggle to stay in tune on that one). As for the new material, they took most of the highlights from Battle Of Hastings without carrying over the slower, drearier stuff (ʽCold As Iceʼ is the only exception — I'd much prefer ʽIt's A Sad, Sad Affairʼ); the insane guitar solo on ʽI Know Why You're Laughingʼ is almost as effective as the studio version (not quite, because the studio version was immaculately constructed, and this one has moments of unfocused improvisation that sometimes kill the tension), but ʽLiarʼ is extended by means of an additional solo and played rawer and with more aggression than in the studio, so it's really fun to hear these songs taken to the stage. Nevertheless, apart from a two-minute tricky introduction to ʽGolf Girlʼ that has the audience clapping along and trying to guess if they are really going where the fans think they should be going, the album offers no surprises — this is just Pye Hastings' Caravan giving old prog rock fans a deserved good time for their money. We do have evidence, though, that as late as the late Nineties they could still sound like goddamn Caravan on that stage. Whether the same judgement would apply to their shows in the 2010s, I honestly have no idea, though.

Caravan: Cool Water

CARAVAN: COOL WATER (1977; 1994) 1) Cool Water; 2) Just The Way You Are; 3) Tuesday Is Rock And Roll Nite; 4) The Crack Of The Willow; 5) Ansaphone; 6) Cold Fright; 7) Side By Side; 8) You Won't Get Me Up In One Of Those; 9) To The Land Of My Fathers; 10) Poor Molly; 11) Send Reinforcements. I do realize that a «from-the-vaults» release of an entire album that was originally deemed unfit for release by Caravan's record label at a time of general decline for Caravan is hardly going to be exciting news for the non-diehard fan. But yes indeed, after the critical and commercial failure of Better By Far, Caravan did record a second album for Arista, scheduled for release in 1978; and Arista did reject it, shelving the tapes for more than 15 years, before Pye got hold of them, dusted them off and released them pretty much as they were, on a minor label. And the most surprising thing about it is — Cool Water is, by all means, «better by far» than Better By Far, or, for that matter, anything else that Caravan did in the late 1970s and early 1980s. Actually, if I am correct, only the first seven tracks here really come from the promised album; the surprisingly short length (32 minutes) is explained by the fact that the release only gives us the compositions by Hastings, leaving out a few contributions by Richard Sinclair — who did, as it turns out, temporarily return to the band in 1977 before leaving again to join Camel; apparently, one of the songs that he'd originally recorded with Caravan in that period eventually became Camel's ʽDown On The Farmʼ (which is hardly surprising, since it always had that lightweight, downhome, facetious Caravan groove to it). The CD release is further padded with four tracks from a later session — not sure about the year, but the only Caravan member on that session was Pye, accompanied by Roxy Music's John Gustafson on bass and future Marillion member Ian Mosley on drums. The songs do sound stylistically similar to the main material, though, so there will be no jarring break in perception. Anyway, the key difference from typical Caravan output of the period is that, although this is still strictly a pop album, the songs are somewhat tighter written and contain more seductive melodic moves than usual. Formally, the title track might be one of those smooth-jazz-meets-adult-contemporary borefests, but Schelhaas chooses some epic keyboard tones (and it is cool how the song has Minimoog, electric piano, and organ all going on at the same time), and the chorus transforms the song into a heartfelt prayer — and we do not know many Caravan songs that sound like prayers, do we? Unfortunately, nobody seemed to take that request literally and give Mr. Hastings some cool water as requested. But even if you still get bored with the song's slow tempo and way-too-soothing arrangement, ʽJust The Way You Areʼ is the first in a series of upbeat pop tracks with cute 'n' catchy singalong choruses that show Hastings had definitely not run out of ideas by that time — there's also ʽCold Frightʼ, a piece of funny funk-pop, and, among the later bonuses, ʽPoor Mollyʼ, one of Caravan's (or, in this case, solo Hastings') rare forays into disco, and the calypso-influenced ʽYou Won't Get Me Up In One Of Thoseʼ, both of which are passable. Things get worse on deliberate attempts to «rock out»: ʽTuesday Is Rock And Roll Niteʼ is pretty cringeworthy — Pye Hastings and boogie are about as compatible as Bill Gates and WWE, and unless you take Pye's invitation to «rock and roll!» with a heavy side of irony, I don't see any grounds for competing with contemporary rockers here. Did Pye intend this to be an ironic send-up? Not sure. Then there are the other slow ballads: ʽCrack Of The Willowʼ has a memorable, old-fashioned synth riff, good for a decent traditional country dance; ʽSide By Sideʼ has an equally memorable voice-guitar duet, though the song's steady waltz tempo is far from the peak of Hastings' creative inventiveness; and ʽSend Reinforcementsʼ ends the CD on a very uplifting note — with the single best use of falsetto on the whole album. I realize that I am not shedding much light on particularities here, but these particularities are hard to comment upon — it's just good old Pye in his friendly-glowing mode, taxing his brain and his soul for a few more melodic lines that would accentuate the glowing. So why exactly is this piece better than the albums that surround it on both sides, and is it pure coincidence that Cool Water had to stay in the vaults for so long when melodically inferior product was made available? My guess would be as good as anybody's, but Cool Water has a more homely and personal feel, where something like The Album would strive more for arena-rock values. As for Better By Far, it was homely, too, but somehow it just did not have the same amount of vocal and instrumental hooks — a slip-up, perhaps, that could be corrected with the follow-up level if the band had not been so cruelly let down by its label. Not that I am implying that Cool Water is a forgotten masterpiece: at best, it is just evidence that the genius of Caravan did not evaporate in one day, but kept fluctuating for a while, before the turbulence of the Eighties shut it off completely. But it is indeed an album worth owning, and it is good to see it reinstated in the regular Caravan chronology, so a thumbs up without any second thoughts. Posted by G. S. at 2:19 PM 0 comments Labels: Caravan Wednesday, May 31, 2017 Caravan: Paradise Filter

CARAVAN: PARADISE FILTER (2013) 1) All This Could Be Yours; 2) I'm On My Way; 3) Fingers In The Till; 4) This Is What We Are; 5) Dead Man Walking; 6) Farewell My Old Friend; 7) Pain In The Arse; 8) Trust Me I Am A Doctor; 9) I'll Be There For You; 10) The Paradise Filter. Ten more years and another attempt to get back in the saddle. The funds for this, apparently, were raised through crowdfunding, and the recordings took place at the same time that Richard Coughlan was fighting his last battle — his passing and the release of Paradise Filter both happened in December 2013. And whether it was Coughlan's state of health or just the usual aging process for everybody, Paradise Filter is quite obsessed with issues of health and dying. In 1975, a song with the title ʽTrust Me I Am Your Doctorʼ could have only had one meaning, and quite a salacious one at that. But considering that all of the band's members are well in their sixties now, who knows, maybe it is a song about how you should trust your doctor. (Well, not really, but then again, the album comes without a lyric sheet, and I'm too lazy to make it out on my own). The lineup for Paradise Filter is the same as for the previous album, with the obvious exception of Coughlan, replaced by newcomer Mark Walker; Jimmy Hastings is not involved, either, nor is Dave Sinclair, so most of the extra instrumentation is provided by Richardson (viola, cello, flute, mandolin, you name it), while the bulk of the material is written by Pye. Fortunately, there is no attempt to repeat the «limp-prog» formula of Breakfast Item — once again, this is a straightforward pop-rock album, with a bit more emphasis on rock this time around: after a brief organ introduction, ʽAll This Could Be Yoursʼ kicks in with a colorfully distorted guitar that immediately makes it more likable, if no less stereotypical, in a power-pop mode, than ʽSmoking Gunʼ. Do these guys show renewed energy? Probably not, but at least the upbeat melodic fun is back, and Richardson's viola solo gives the song a nice lightweight classical edge in addition. Not that the whole album is amusing: like I said, there is a clear fixation on death and all sorts of problems that usually lead to it — apparently, Pye is not growing happy as time goes by, and from a musical standpoint, I actually welcome the fact that he is becoming more grumbly and leads the band in a darker direction, that is, back to the disposition he showed on Battle Of Hastings. This is not to say that blues-rocky songs like ʽI'm On My Wayʼ and ʽPain In The Arseʼ have any staying potential: their riffs are dusted off from fifty-year old stock or so, their atmospheric effect is undermined by excessive restraint, and even a thoroughly pissed-off Pye Hastings is never quite as convincing as a sunshine-radiating happy Pye Hastings. But it all feels sincere — enough to make me vaguely interested in hearing what a sixty-year old Pye Hastings has to say about the state of the world, or, rather, how he is saying that. The darkest songs are in the middle: ʽDead Man Walkingʼ and ʽFarewell My Old Friendʼ need no special explanation and trigger no special endorsement — a dark acoustic folk-rocker and a mournful piano ballad with predictable effects, although Richardson's viola always makes things a tad more exquisite than they could be. As things roll by, the mood eventually lightens up and Pye starts throwing some of his stock sugar around (ʽI'll Be There For Youʼ — the song sounds exactly as its title could suggest), before winding things down with a yawn, on a completely adult contemporary note with the title track (ironically, this is the only non-Pye song on the album). As of 2017, it is quite possible that this is going to be the last new Caravan record: the guys are not getting any younger, there has been very little activity from them since 2014, and Paradise Filter gives off an even stronger impression of a musical testament than Battle Of Hastings did (come to think of it, these guys seemed really old in 1995, and there's almost twenty years lying in between these two albums!). If it is, at least it is definitely a better bet than Breakfast Item: it feels more true to Hastings' real state of mind and less bent on trying to «recapture the magic» that can no longer be recaptured by any means. With a modest thumbs up, I can recommend the record to any major fan of Caravan — its mix of elderly grimness and cheerfulness is a useful last brushstroke to the life picture of Pye Hastings. And if it happens not to be the last, well, I'd be happy to be proven wrong in my predictions. Posted by G. S. at 5:38 PM 0 comments Labels: Caravan Wednesday, May 24, 2017 Caravan: The Unauthorized Breakfast Item

CARAVAN: THE UNAUTHORISED BREAKFAST ITEM (2003) 1) Smoking Gun; 2) Revenge; 3) The Unauthorised Breakfast Item; 4) Tell Me Why; 5) It's Getting A Whole Lot Better; 6) Head Above The Clouds; 7) Straight Through The Heart; 8) Wild West Street; 9) Nowhere To Hide; 10) Linders Field. The Battle Of Hastings, with its subtle, but special atmosphere of cold melancholy and nostalgia, could have been a highly appropriate and intelligent last goodbye for Caravan — one of those nice turns of events when a formerly great and then degenerated band comes together for one last statement; not a huge one, but reflecting a certain degree of wisdom and experience. Too often, however, the temptation to mistake a successful «last goodbye» for a sign of self-permission to go on recording new stuff, so to speak, becomes impossible to overcome. And thus, at the turn of the new millennium, Caravan come together once again — to make a record that, to me at least, sounds completely superfluous. Again, this lineup only includes Hastings and Coughlan from the original band, although Dave Sinclair was still a member when they went into the studio: he contributes and plays on ʽNowhere To Hideʼ. Reportedly, though, he split with the band again over «creative differences», and all the other tracks feature Jan Schelhaas, the band's old keyboard player from the Blind Dog At St. Dunstan's period. Richardson and Leverton reprise their roles from The Battle Of Hastings, and an extra lead guitarist, Doug Boyle (who'd previously played with Robert Plant's band) is brought over to lend a hand. With the Hastings / Richardson / Schelhaas core, you might faintly expect them to deliver another Blind Dog — unfortunately, instead of this they deliver another Better By Far, albeit with some technical flaws that were typical of the late 1970s corrected and replaced with some technical flaws that are typical of the early 2000s. If you have heard the opening track, ʽSmoking Gunʼ, you have already assessed the overall sound of the record — grimly optimistic pop music created by prog survivors and released in a world where neither distorted guitars nor cosmic-sounding electronic sounds no longer make anybody bat an eye just because they are, you know, distorted and/or cosmic-sounding. It's a nice sound, but it no longer has the added bonus of The Battle's world-weariness, because these guys have survived their mid-life crises and seem fairly happy now to occupy their parliamentary seats in the post-prog world of elder(ly) statesmen — making professional, but pizzazz-free music. The production is marvelous: all the most subtle guitar overtones reveal themselves instantaneously. There is hardly anything substantial behind that production, though. The second track, ʽRevengeʼ, sounds almost exactly like the first one, and that is just the beginning. Eventually, after about four numbers that are completely interchangeable, they arrive at a point where they remember that they used to be a progressive band with long-winded epics, and begin to pump out 7-8-minute long epics that, unfortunately, fall more into the «adult contemporary» pattern than into the «progressive rock» scheme (amusingly, something very similar had earlier happened to Genesis, with their pseudo-prog monsters like ʽDriving The Last Spikeʼ, etc.). ʽIt's Getting A Whole Lot Betterʼ, for instance, is an unmemorable chunk of smooth blues-jazz with Kenny G-style sax solos; ʽHead Above The Cloudsʼ is at least speedier, but essentially it's the same smooth jazz taken at a faster tempo. One might have hoped that ʽNowhere To Hideʼ, the only track left behind by Dave Sinclair (and sung by Jim Leverton rather than Hastings), would be better — but its first half is exactly the same jazz-pop as everything else, and its second half largely consists of a fusion synth solo from Sinclair that sounds like... well, I have no idea why I should be listening to any of this instead of, say, Al Di Meola. At least Al Di Meola had pyrotech nics. Why should you need Al Di Meola-like music without pyrotechnics? In the end, the only track that has shown a few signs of life to me was the instrumental finale, ʽLinders Fieldʼ, mainly because they hit upon a different kind of sound here — multi-tracked folksy jangle mixed with smooth, ambient-like keyboards. It's a pretty and unassuming coda with a curious (probably unintentional) psychedelic effect on the brain. But having to sit through 50 minutes of professional, clear-sounding, thoroughly monotonous, humorless, and essentially meaningless adult pop to get to it? Honestly, I'd much rather live my life knowing that the door on Caravan was slammed with the last power chord of ʽI Know Why You're Laughingʼ. Recommended only for major Pye fans and hardcore sentimentalists; for everybody else, definitely a thumbs down. Posted by G. S. at 4:30 PM 0 comments Labels: Caravan Wednesday, May 17, 2017 Caravan: All Over You

CARAVAN: ALL OVER YOU (1996) 1) If I Could Do It All Over Again, I'd Do It All Over You; 2) Place Of My Own; 3) The Love In Your Eye / To Catch Me A Brother; 4) In The Land Of Grey And Pink; 5) Golf Girl; 6) Disassociation (Nine Feet Underground); 7) Hello Hello; 8) Asforteri 25; 9) For Richard; 10) Memory Lain, Hugh; 11) Headloss. Re-recordings of your own classics are not just pitiful: as a rule, they brand you very concisely as a «second-rate» artist — I think Page and Plant were the only ones who could properly get away with this shit, because most of the stuff they did was re-inventions rather than re-recordings, but other than that, Caravan here are joining the league of Blue Öyster Cult and The Animals, for no reason whatsoever — of course, it is understandable if you want to nostalgize in the confines of a studio, but what good are the results for even a dedicated fan? This is not a bad album, just utterly pointless. Unless the point is just admitting defeat: «hey guys, none of you bought The Battle Of Hastings when it came out — so I guess you like the old shit more, here's an acoustic version of ʽThe Love In Your Eyeʼ for you, enjoy». As you can see from the track list, this is a representative retrospective of the classic years of Caravan, covering every album from the self-titled debut and up to Plump In The Night. The sonic structure is a little weird: about two-thirds of the record is almost completely acoustic (except for a few lead electric parts every now and then), up to the first part of ʽFor Richardʼ — after which the distorted guitars kick in with full force, and the album continues as an electric appearance until the end. The musicianship remains strong through the entire album, and Hastings continues to be in fine voice — and these are all great songs, so, formally, one cannot complain. But I struggle to find any specific points for which these arrangements should be recommended. If anything, there are some weak points — namely, the production, which sounds strangely cluttered and disorienting: lots of gratuitous percussive overdubs, special effects, echoes, sometimes giving the songs a cavernous feel that they really do not deserve. Additional odd ideas include, for instance, the overdub of fake stadium audience cheer and applause over the last two tracks — well, sure, those Plump In The Night tracks could be played in an arena setting, but why should we be told that? Is it some sort of poorly hidden envy on Pye's part, that he never got to play in a proper arena? Anyway, those crowd noises splattered all over ʽHeadlossʼ are really very annoying and distracting and, might I say, in poor taste. Thus, unless you are interested in a couple of nice jazzy acoustic solos here and there (with a Spanish touch on ʽThe Love In Your Eyeʼ), it is probably better to just forget this record ever existed. Apparently, that was not the end of the story: a couple of years later, Hastings and Co. followed it up with All Over You Too, featuring a second batch of re-recordings, this time from 1973 to 1976; and that one, according to rumors, was even more tasteless than the first one, so I have not bothered to search it out. All in all, a very silly decision.

2017 m. liepos 22 d.

Silentist / Long haired freaky people need no apply

2024 m. gegužės 7 d.

Silentist / E.L.O. - Confusion (RIP R.Tandy)

2024 m. gegužės 2 d.

Silentist / Moody Blues - One step into the light (RIP Mike P)

2024 m. balandžio 25 d.

Visi dienoraščiai

Kiti šio vartotojo įrašai

Komentarai (1)

Susijusi muzika: pasirinkti

PERŽIŪRĖTI

RAŠYTI

Alvydas1
2017 m. liepos 27 d. 19:45:37

Uff, pagaliau perskaičiau. Starostinas su amžiumi nebe toks priekabus. Čia jis apžvelgia koncertinius Caravan bei naujesnius jų albumus, lygina su jų pripažintais klasika albumais. Didelis šios grupės žinovas. Verta įsiklausyti į jo nuomonę.

____________________
Sielos polėkis, išmokantis skrist - Galimybės ribotos, bet pasiryžęs bandyt. Pink Floyd - Learning to Fly

Atsakyti

Vartotojo vardas:
Slaptažodis:	(bent 6 simboliai)
Pakartokite slaptažodį:
El. pašto adresas:	(reikės patvirtinti)

Naujienos	Dienoraščiai	Stiliai
Grojaraščiai Diskusijų temos	Kūryba	Vartotojai
Komentarai	Dainų tekstai	Gairės

Albumas Daina Grupė Kita


Nuoroda su atnaujinta informacija bus atsiųsta jums.
Jūsų komentarai arba papildoma informacija, padėsianti mums greičiau papildyti duomenų bazę.
SIŲSTI PRAŠYMĄ / Grįžti į paiešką

Pasiūlė	Daina	Mėgsta
malia	Around The World (La La La La La) ATC	2
Sahja	Kelintą laukt tavęs Lemon Joy	1
Silentist	'Long as You Know You're Living Yours Keith Jarrett	0
DjVaids	Vmeste Potap	0