Aynsley Dunbar - To Mum, From Aynsley and the Boys/Remains to Be Heard CD

To Mum, From Aynsley and the Boys/Remains to Be Heard buy CD music HEAVY HORSES brings together the best elements of Jethro Tull's sonic arsenal: heavy guitars, intricate, evolving song structures, folk tendencies, and Ian Anderson's inimitable growl. The album opens with the bouncy "And the Mouse Police Never Sleeps," a fairy tale-like song about the adventures of a group of forest animals. "Acres Wild" features a disco-esque groove held down by funky drums and bass. The album's out-and-out highlight is the nearly eight-minute "No Lullaby," a song that undergoes the sort of musical metamorphoses present in Tull's best material. Another exceptional effort is the multi-textured title track, a song written as a tribute to the farm horses in England (which, at the time of the album's release, were declining in number). HEAVY HORSES is one of the band's most heartfelt efforts. All tracks have been digitally remastered. Recorded at Maison Rouge Studio, Fullham, London in January 1978. Jethro Tull: Ian Anderson (vocals, guitar, mandolin, flute); Martin Barre (guitar); John Evan (piano, organ); David Palmer (portative pipe organ, keyboards); John Glascock (bass); Barriemore Barlow (drums). Additional personnel: Darryl Way (violin).

To Mum, From Aynsley and the Boys/Remains to Be Heard album for sale First-ever domestic CD issue of the group's in-demand second album, featuring 'Ride Captain Ride' When Blues Image launched into their 1970 chart smash, 'Ride Captain Ride', the smoking lamp was always lit. But, with their subtle use of Latin Rhythms, featuring tantalizing fret-board work by Mike Pinera and the addictive conga drums of Joe Lala, this Tampa, Fla. combo proved themselves anything but a one hit wonder on their out of nowhere classic, Open. Sundazed. 2004 Recorded at American Recording Company, Studio City, California. Personnel: Mike Pinera (vocals, guitar); Manuel Bertematti (vocals, drums); Dennis Correll (vocals); Frank Conte (keyboards); Joe Lala (percussion). Liner Note Author: Efram Turchick. Recording information: American Recording Company, Studio City, CA. Photographer: Bob Jenkins. Arranger: The Blues Image. Blues Image: Mike Pinera, Malcolm Jones, Skip Conte, Joe Lala, Manuel Bertematti.

To Mum, From Aynsley and the Boys/Remains to Be Heard songs Recorded between 1966 & 1968. Includes liner notes by John Mayall, Scott Schinder. Following Eric Clapton's departure after the magnificent Bluesbreakers album, Mayall plugged the gap with Peter Green. Little did anyone know (except Green) that he would almost equal Clapton in the minds of fans and the cogniscenti. Two instrumentals on this collection, Freddie King's "The Stumble" and Green's "The Super-Natural", clearly demonstrate the clean sound of his Gibson Les Paul. The line-up is completed by bassist John McVie and Aynsley Dunbar on drums. Ex-commercial artist Mayall also designed and painted the cover, which itself is a fine piece of art-work and is probably rotting in some printer's basement, long forgotten. The remastered CD reissue is quite superb. This is part of Universal's "Blues Classics" series. Remastered & Expanded Edition. 2 Cds. Compilation producer: Bill Levenson. Personnel: John Mayall (vocals, guitar, harmonica, piano, organ); Peter Green (vocals, guitar, harmonica); John McVie (bass); Mick Fleetwood, Aynsley Dunbar (drums); Paul Butterfield. Producers: Mike Vernon, John Mayall.

To Mum, From Aynsley and the Boys/Remains to Be Heard CD music 2 LPs on 1 CD: BLUES IMAGE (1969)/RED, WHITE & BLUES IMAGE (1970). The Blues Image: Kent Henry , Joe Lala, Mike Pinera, Skip Konte, Malcom Jones, Dennis Correll, Manny Bertematti. Personnel: Mike Pinera (vocals, guitar); Frank "Skip" Konte (vocals, piano, organ); Joe Lala (vocals, congas); Manuel Bertematti (drums, congas, tumba). Recording information: American Recording Studios; Wally Heider's Studio. Photographers: Ed Caraeff; Bob Jenkins. Arrangers: Richard Podolor; The Blues Image.

To Mum, From Aynsley and the Boys/Remains to Be Heard songs While Savoy Brown later became proponents of hard-edged 1970s boogie-rock (a formula with which one of their splinter groups, Foghat, achieved some commercial success), they started out as one of the many bands in the British blues scene of the late-'60s. This two-fer features the band's debut and sophomore releases and shows Savoy Brown launching from several of the most common reference points for British blues. 1967's SHAKE DOWN, for example, includes covers of songs by Willie Dixon, B.B. King, and John Lee Hooker. Though not a British blues essential, the album is distinguished by the guitar work of bandleader Kim Simmonds. 1968's GETTING TO THE POINT contains a fair bit of original material, and was the first album to feature vocalist Chris Youlden, who brings a new confidence to the band. This well-assembled and nicely remastered re-issue should be of interest to fans of the genre. First two late 60's albums from Savoy Brown. The CD's have been digitally remastered with newsleeve notes and come housed in a slipcase. BGO. 2005. 2 LPs on 1 CD: SHAKE DOWN (1967)/GETTING TO THE POINT (1968) Savoy Brown: Brice Portius (vocals); Martin Stone, Dave Peverett (guitar); Ray Chappell (bass guitar); Leo Mannings (drums); Chris Youlden, Rivers Jobe, Roger Earle, Kim Simmonds. Personnel: Chris Youlden (vocals); Kim Simmonds (guitar); Bob Hall (piano); Rivers Jobe, Ray Chappell (bass guitar); Roger Earle (drums). Audio Remasterer: Andrew Thompson . Liner Note Authors: Neil Slaven; John O'Regan. Additional personnel: Bob Hall.

To Mum, From Aynsley and the Boys/Remains to Be Heard album for sale The Aynsley Dunbar Retaliation's first two albums, The Aynsley Dunbar Retaliation and Doctor Dunbar's Prescription, are combined into this two-CD reissue, which adds lengthy historical liner notes by British blues-rock expert Harry Shapiro. On their self-titled debut album, the group flashed a British blues-rock approach that was rather similar to that of John Mayall & the Bluesbreakers circa 1967. That was unsurprising considering that leader and drummer Dunbar had played on the Bluesbreakers' 1967 A Hard Road album, and that bassist Alex Dmochowski would later play with Mayall himself. Although everyone in the Aynsley Dunbar Retaliation was a skilled player, the record ultimately comes off as rather second-division late-'60s British blues, though in a little heavier and darker a style than Mayall's. That's not to say it's mediocre, but the material (mostly original) is only average, and not quite up to the level of the musicians' instrumental proficiency. Too, Victor Brox isn't the greatest singer, though he's okay, and while Jon Morshead plays guitar well, his style sometimes seems quite influenced by Peter Green (listen especially to his work on the cover of Percy Mayfield's "Memory of Pain"). Additionally, some of the original material wasn't all that original; the work song-style "Watch 'N' Chain" certainly bears similarities to the tune that Donovan popularized under the title "Hey Gyp" (itself similar to a song that Lonnie Young, Ed Young, and Lonnie Young, Jr. had recorded under the title "Chevrolet" on Atlantic's 1960 Roots of the Blues LP of Alan Lomax field recordings [reissued in 1993 under the title Sounds of the South]). It's not a bad record overall, however, with the players getting a chance to take extended solos on the instrumentals "Sage of Sidney Street" and "Mutiny." The Aynsley Dunbar Retaliation's second album was much the same as their first, offering competent late-'60s British blues, given a slightly darker cast than was usual for the style via Brox's somber vocals. Like their debut, it was dominated by original material, and as on its predecessor, the compositions were rather routine blues-rock numbers, though they benefited from arrangements by highly skilled players. The best of these tracks were the ones that utilized Brox's gloomy, almost gothic organ, if only because it made them stand out more among the company of the many similar bands recording in the prime of the British blues boom. Otherwise the main fare was straightforward blues-rock that was well-played, but rather average and forgettable, the most distinguished ingredient being Dunbar's hard-hitting, swinging drums. If only because it has some original songs that were better than anything on the first album ("Fugitive," "Till Your Lovin' Makes Me Blue," and "Tuesday's Blues," the last of which has some songwriting and guitar work quite similar to Peter Green's late-'60s style in those departments), it's a slightly better listen, though not up to the standards of somewhat similar groups like Fleetwood Mac and John Mayall & the Bluesbreakers. ~ Richie Unterberger 2 original albums on 1 CD: AYNSLEY DUNBAR RETALIATION(1970) / DOCTOR DUNBAR'S PRESCRIPTION(1970). Aynsley Dunbar: Aynsley Dunbar (drums); Victor Brox (vocals, guitar, keyboards); Jon Morshead (vocals, guitar); Alex Dmochowski (bass guitar).