what are you listening to v.2.0

race

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QUATERMASS: "Laughin' Tackle" (2013 re-mix)

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Another group that should have gotten a lot more attention. A power-trio with all great musicians but particularly the uber-talented keyboard player Peter Robinson who later went on to play with Phil Collins Brand X.

I always thought the cover design matched the mood of this track ... a kind of unsettling image of a future gone awry. The track features an interesting arrangement including a full string orchestra used to great effect. Throwing out some great tones on the Hammond the main theme is developed by the band and then the strings are introduced in dramatic fashion and really push the ensemble forward. After the drum break section, an isolated heart beat bass line starts up while the keyboard flits about like some frightened creature. A huge descent and then ascent by the strings leads back into the main theme but now the strings are glissing and sliding around with occasional violent thrusts. The whole affair is lurching along now like some unleashed nightmare. Finally fading back into the heartbeat bass with subdued echoes of the main theme which then dissolves into a wordless female lullaby. Just brilliant stuff!

And this was 1970.

BTW - I'd encourage anyone to listen to the full album. The musicianship really stands out, even within the confines of the 70s power-trio form.
 
QUATERMASS: "Laughin' Tackle" (2013 re-mix)

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Another group that should have gotten a lot more attention. A power-trio with all great musicians but particularly the uber-talented keyboard player Peter Robinson who later went on to play with Phil Collins Brand X.

I always thought the cover design matched the mood of this track ... a kind of unsettling image of a future gone awry. The track features an interesting arrangement including a full string orchestra used to great effect. Throwing out some great tones on the Hammond the main theme is developed by the band and then the strings are introduced in dramatic fashion and really push the ensemble forward. After the drum break section, an isolated heart beat bass line starts up while the keyboard flits about like some frightened creature. A huge descent and then ascent by the strings leads back into the main theme but now the strings are glissing and sliding around with occasional violent thrusts. The whole affair is lurching along now like some unleashed nightmare. Finally fading back into the heartbeat bass with subdued echoes of the main theme which then dissolves into a wordless female lullaby. Just brilliant stuff!

And this was 1970.

BTW - I'd encourage anyone to listen to the full album. The musicianship really stands out, even within the confines of the 70s power-trio form.
I think Emerson, Lake & Palmer may have listened to that album a few times before recording Brain Salad Surgery (1973)...
 

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