www.rockisland.ru

[sybelle]

действительно ровно месяц!
оформила электронную подписку на Rock's Back Pages - архив старых статей, интервью, рецензий.
соответственно, есть возможность скачивать то, что нужно.
список здесь:
http://www.rocksbackpages.com/library.html

Так что если кому-то что-то понадобится - пишите.

[adi]

Спасибо за предложение!

Ну хотя бы вот это... для начала

Uriah Heep

Uriah Heep: The Magician’s Birthday (Mercury)
Review by Metal Mike Saunders, Creem, 1973

Uriah Heep: Live
Review by Robot A. Hull, Phonograph Record, June 1973

Uriah Heep/Bram Tchaikovsky: City Hall, Newcastle
Review by Phil Sutcliffe, Sounds, March 1979

[sybelle]

Uriah Heep: The Magician’s Birthday (Mercury)
Metal Mike Saunders, Creem, 1973

A DUD. There was some controversy over whether Uriah Heep’s last album, Demons and Wizards, wasn’t a bit of a tone-down itself, a retreat from the joyously blasting excess of Look At Yourself.

I personally said pox on the whole issue, since Demons and Wizards had enough fuzzbox to keep me satisfied, and the material was much more even than Look At Yourself (which may have been two-thirds exciting, but that remaining third was pure tedium).

The first side is listenable, being a hold-over from the Demons and Wizards style. The first three songs rock, with 'Sunrise' and 'Spider Woman' good and raunchy. Right off the bat, however, you notice how poorly recorded the LP is and how over-mixed those goddamn vocals on 'Sunrise' are. The side trails off toward the end: though 'Rain' is a nice ballad, 'Echoes In The Park' drags as a slower-paced number.

Side two reveals what seems to be the shape of things to come for Uriah Heep. I don’t think I’ve heard a more irritating LP side this year from a previously kickass group. A Moog keeps shrieking throughout 'Sweet Lorraine', messing up what otherwise might be a good rocker, and it’s all down hill after that.

'Tales' is non-rocking pablum, with the vocals so loud they drown out everything else (as elsewhere on the LP — Uriah Heep seem to have gotten the notion that their vocals are hot stuff or Art or something), and then comes the magnum opus: the title cut. 'The Magician’s Birthday.' Ten minutes. It’s a cryptic tale with a supposed weighty message, musically mostly pure pretentious fatuousness, with the instrumental tracks so under-mixed that the rest has no punch anyway. Absolutely awful. It’s enough to drive grown man up the wall.

It’s beyond me how a group that could sound so much like the Music Machine on 'Easy Livin’' could come up with a package as full of dreck as this one. Worse yet, if the trend continues, the next album will be completely schlock and Uriah Heep can join Yes and Jethro Tull in the ranks of the foremost Art practitioners of our time. And Ken Hensley didn’t even go to a conservatory, as far as I know. It’s all a shame, really.

© Metal Mike Saunders, 1973

[sybelle]

Uriah Heep: Live
Robot A. Hull, Phonograph Record, June 1973

SEE THE FUNNY heavy metal group. For some time now they been on top of things; rock critics drooled in agreement that they'd become regular heavy guys. Promotion got 'em gold star awards and silver bullets and scum band of the year citations. Now they just go thlop.

Spin their china platter, and you can hear the sound of a demolition derby abandoned on some eerie prehistoric plain. Their disc revolves, transmitting tingling echoes into your inner ear, but who needs another lousy synthesizer band shitting bellybutton lint and pissing blood?!! Like, this ain't even good and lousy enuf to rank down there with the Godz.

True, some clever a-hole decided to enclose a twenty page color booklet featuring Snoopy pix and news clippings, thereby maintaining that fascinating tradition begun by Terry Knight and the Four Seasons before there was ever any Fugs doodling heavy metal cornball riffs next to Burroughs stroking his boiling nuts. Certainly a full color photo album was more than this dude bargained for, but that ain't gonna save this monstrosity!!

Like, listen, you morons...this disc may very well be heralding the quiet death of heavy metal, and I say good riddance, too. Hell, heavy metal crud has got away with selzer for the last two years, and I been waiting for one of those bands to slit their own throats. Finally the creeps done it, and boy, do it sound horrible.

I mean, the band struggles thru all their fop material, particularly from Look At Yourself and Magician's Birthday Party, and then has the gall to do a Jesus puke medley of old rock 'n' roll standards like 'Blue Suede Shoes' and 'Whole Lotta Shakin' Going On'. Not only is it the most ridiculous racket tirade ever put on plastic, but I double dare anybody to sit thru it just once.

Mainly, however, I'm glad to see that the dupes decided to release this junk cuz now this heavy metal klanking can be cleared off the scene and make some room for decent worthwhile trash. I mean, just look at your pop charts for the past few weeks and note the trend of a more tasteful record consumer.

Number one was 'Poke My Eyes Out' by Jose Feliciano, and then bubbling in the number two position was 'Killing Me Softly With Tweezers' by black-hearted Roberta Flurk, and then 'Tie A Yellow Ribbon Round the Cisco Kid' and on down the endless list...

Those are fab singles if you ask me. But poor ole Uriah Heep, them being all washed out and all, just don't stand a chance with such talent around. Cuz they went out with discotheques and rock 'n' roll revival shows. Cuz ya can't eat em raw, balls and all. Cuz they be hokey pissants who drone like they know their biz, but they never really play it loud.

Damn, I hope this group don't get pregnant so's we gotta put up with Uriah Heep offspring. I just want em to quietly fade away like they came in, and let all their feeble records destroy themselves.

No kiddin' this album is so dull not even Beany and Cecil would dig it.

© Robot A. Hull, 1973

[sybelle]

Uriah Heep/Bram Tchaikovsky: City Hall, Newcastle
Phil Sutcliffe, Sounds, 10 March 1979

HEEP AND Tchaikovsky? All I expected to want to write was a letter to the civic authorities asking them to put Andrex instead of Bronco in the gents' bog because it's kinder on the ears. It was a gloomy prospect all round, not enhanced by my piles giving me gyp again (any potent remedies out there). And yet it turned out quite nicely considering.

Cunningly built pop efforts like 'Sarah Smile', which I didn't like, have little to do with Bram T's approach on stage. In white against black, lit plain and bright, his trio produced loud, last, determined, thrashing which was not at all out of place on the undercard to Heep. In 10 songs there wasn't a spare space for a stray note to find a home. Of course being in a pretty bleak frame of mind I soon started to find a whole new range of objections to the musical monotony and shapelessness.

But then two songs kissed it all better; a startling choice in Hendrix's 'Red House' and a powerful version of the Motors' 'Whisky And Wine'. I didn't realise what a fine guitarist Bram is. And Keith Boyce made his two bass drums rumble like nobody else I've heard since Ginger Baker. That was all the convincing I needed that Bram will do something very good — though overall his present set isn't it. The gross steamrollering he gave to the Monkees' ‘I'm A Believer' reaffirmed that he still has a lot of sorting out to get through.

Whereas Uriah Heep seemed to have just completed the cleansing of their heavy metal organ stables. Cartloads of malodorous muck have been removed and there stand the band smelling of roses once more. I've always loathed them and thought last year's Innocent Victim album was the nadir of a worthless career, as it was simple and bad instead of their former barefaced bold and bad. The accompanying concert was similarly uninspired. Yet here they were at the City Hall yet again, a band transformed, reborn.

Probably the style hasn't changed much, but I couldn't believe that so music life could be injected into the erstwhile rotting corpse of Heep music. I even enjoyed some of Mick Box's newly disciplined guitar playing, a statement unparallelled in the history of the music press I shouldn't wonder. What impressed me most though was the vocal harmonies which they let to fly with such rare confidence I wondered whether this was perhaps what The Motors had always aimed at and never achieved live — all that metal power actually dominated by the human voice at full throttle.

Without exception the numbers I underlined for bravos were from Fallen Angel, their latest LP; 'Falling In Love', 'Woman Of The Night', 'One ' 'More Night' and 'Who Needs Me'. A couple of Innocent Victim tracks only confirmed their status as bummers and, towards the end, the crowd's old , favourite set-pieces did become a mite overbearing for this outsider. The gonzo-Gothic romance of their last encore, 'Gipsy', really is preposterous though – more laughable than obnoxious when the band are playing so well.

This can't be love. I feel so ill (as if someone had popped a hot coal down the back of my jockey shorts). Maybe Mick and me could make a go of it, though.


© Phil Sutcliffe, 1979

[Stranded]

Sybelle, только не бей! Хватило сил только на описание Magician's birthday. Если все статьи там написаны в таком духе, то мне читать там нечего: такое ощущение, что ее писал человек просто ограниченный. Больше всего добило: "'The Magician’s Birthday.' Ten minutes. It’s a cryptic tale with a supposed weighty message, musically mostly pure pretentious fatuousness" "Easy livin'", которую с сожалением он вспоминает, конечно хороша и великий рок-н-ролл, но создается ассоциация с человеком, в еде не признающим ничего, кроме мяса.
_________________
Ex-stirlits

[sybelle]

[crow]

Катя, а можно ..
The Who in San Francisco
Report and Interview by Michael Lydon, New York Times, September 1968

The Who
Essay by Penny Valentine, Street Life, November 1975

тока если можно на мэйл..можно?
_________________
can you see me shining?

[Pluribus]

sybelle,
Пожалуйста
Brian Auger
Oblivion In Orbit: Brian Auger & Oblivion Express Play The Orbit Room, Toronto
Review by Rick McGrath, OjO, April 2003
и все Country Joe & The Fish

[Tisha]

[sybelle]

все должно быть в личках

[Tisha]

[crow]

а можно ещё..
Keith Moon: An appreciation
Profile by Chris Welch, The History of Rock, 1981
_________________
can you see me shining?

[sybelle]

можжжно...

[Tisha]

И вот эти три...

Rainbow Rising: Ritchie Blackmore Gets It Up
Interview by Jon Tiven, Circus, June 1976

Post-Purple: Ritchie Blackmore's Rainbow
Report and Interview by Jon Tiven, Circus, September 1975

Deep Purple
Profile and Interview by Mat Snow, Q, February 1991
_________________
In your pomp and all your glory you're a poorer man than me