Dogfeet

Michael Baryshnikov написал(а) к All в Sep 20 11:43:54 по местному времени:

Нello All!

Залит Dogfeet/(1970)Dogfeet_(197091)

Раритет. Английская группа 60-70-х. Также известная, как Sopwith Camel (у нас есть) и Малибу.
В 1970-м выпустили один (этот) альбом, записанный не где-нибудь, а на студии Джорджа Мартина.
В 1990-91 объединились в изменённом составе и сыграли несколько концертов.
Это - ремастированный диск, с 6-ю бонусами, два из которых - концертные записи 91-го года.
В целом, интересно, собственно я зацепился за 10-минутную серсию хендриксовой Вуду Чайлд, остальное тоже ничего (особенного), но интересно, скорее, музыкальным археологам.

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Alongside Paper Bubble, Dogfeet (who were preyiousy known as Chiago Max, Sopwith Camel and Malibu) were one of the few Shrewsbury bands to land a record deal. The band consisted of Alan Pearse (vocals), Trevor Povey (guitar), Dave Nichols (bass). From the late '60s on they were a lovcal live fixture, and also played around Wales, forging a melodic bluesy sound often compared to, and clearly inspired, by the later era of Peter Green's Fleetwood Mac. Their self-titled album was cut at George Martin's Air Studios in early 1970.

Demanding well over L500 for an original copy (which only had around 500 copies pressed) some critics have been unfairly dismissive of this interesting release. Sure, the songs and playing may not be up to that of Fleetwood Mac, but what is. The folky "Since I Went Away" and "Clouds" are somewhat reminiscent of label mates Andwella's Dream, whose "Mr Sunshine" was recorded as second single and then withdrawn. (This bonus laden CD opens with a live version that reformed band recorded in 1991.) Produced by Andy Cameron Mills the end result is surprisingly good. Povey wrote all of the naterial, and it's veried and pleasingly understated. Pearse exhibited an attractive voice, while Povey's slashing guitar was quite effective (check out some of the effects he used on "Evil Women".)

"On the Road" may have been a more simplistic boogie rocker, but extended tracks such as "I Know I Know", the attractive atmospheric ballad "Reprise" and the Western-inspired "Since I Went Away" set them apart from most of their contemporaries. Not that it mattered. The album vanished without a trace, followed in short order by the band.

Like Little Free Rock, T2, Steel Mill, Andromeda and Fuzzy Duck, Dogfeet were one of the many smaller underground bands plying their trade around the provincial gig circuit as the '60s grew into the '70s soaking up influences from bigger bands yet creating their own sound. Neither wholly psychedelic or progressive Dogfeet had elements of both in their hybridised sound which along with the forlorn, solemn show bluesy flow of the Mac also had elements of Wishbone Ash, US West Coast rock and folk.

If L500 is certainly a big steep for a record like this it the few quid spent on this CD is certainly a worthwhile transaction.

(c) CD's Booklet
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(c) Artist Biography and album review by Richie Unterberger, AMG

The British group Dogfeet issued a rare self-titled LP in 1970 that sounded a little like a minor attempt to follow in the Peter Green-era Fleetwood Mac's footsteps. It had the kind of somber blues-rock meeting hard rock feel of some of early Fleetwood Mac's material, without the same level of songwriting, singing, and playing. The record was reissued by Kissing Spell on CD, with the addition of a few previously unreleased demos and two live tracks by a 1991 incarnation of the band.

In the brief liner notes to the CD reissue of this 1970 rarity, the comparison is made between Dogfeet and early Fleetwood Mac. While there is some rough similarity in Dogfeet's use of moody songs that are bluesy without sticking to stock blues-rock progressions, there's a long distance between this and the Peter Green-era Fleetwood Mac. Mostly that's because Dogfeet don't have anywhere near as distinctive a songwriting voice as Green (nor do they have anywhere near as good a singer as Green was, or a guitarist as good as Green or even Danny Kirwan was, though that's another story). It's not poor, but it's not too good either, with songs that are lyrically blunt and unimpressive. Some introspective, almost ballad-like interludes with echoed vocals also can't fail to recall early Fleetwood Mac's quietest moments. Some Santana influence also creeps into numbers like "Reprise," though Santana themselves were influenced by early Fleetwood Mac, so maybe that's just a part of that circle. The CD reissue on Kissing Spell adds a few demos along with a couple of long live cuts from 1991 (including an 11-minute cover of Jimi Нendrix's "Voodoo Chile") that are an unpleasant indulgence to endure.
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Enjoy!
WBR, Michael Baryshnikov.

--- wfido