Sunday Night Sessions Stream. Lyrics hotel california fast car ain't no sunshine heart of gold angie love will tear us apart and it stoned me girl from the north country losing my religion a change is gonna come space oddity vincent.
Three of the 45s in the "Valens Memorial Series" , , came with picture sleeves. The one illustrated at left is from There were three EPs released on Del-Fi. At far left is the paper picture sleeve for the promotional-only Del-Fi PR-1, released in February, The fourth singles label far left was black with silver print, with a light blue Del-Fi logo at the top. This design was used from the beginning of until Del-Fi went dormant in The 45 label far left was green with black print.
The first Del-Fi album label near left , was light blue with black print, the label print having been hand-lettered by a calligrapher. Around the edge of the label was a series of light blue circles on a black field, similar to the circles on the 45 label then being used.
At the top of the label the circles were interrupted for the label name, which was in light blue. This label design was only used for the first album, DFLP Around the edge of the label was a light blue "sawtooth" design inside another, gold, sawtooth design. The third Del-Fi label near left , used starting in , was black with gold print, using generally the same design as the second label with the colors reversed.
The light blue-on-black inner sawtooth ring had been reversed to black on a light blue field, making the overall design around the edge look like a series of diamonds. Where we know stereo versions exist, we have listed both the mono and stereo numbers. For those whose numbers are only the mono listings, we know of no stereo issue. We would appreciate any additions or corrections to this discography. Just send them to us via e-mail. Both Sides Now Publications is an information web page.
We are not a catalog, nor can we provide the records listed below. We have no association with Del-Fi Records, which is currently still in business. A real shame because the music here is great. After Headroom FM start to become way more commercial sounding. This is worth hearing if you get a chance. It's unfortunate too that the band's best album remains their least heard.
The studio master disc was apparently lost, leaving only a limited handful of now very rare vinyl LPs to represent FM at its creative zenith my own digital copy is a secondhand dupe, only recently re-acquired after stupidly purging the record from my music library long ago. But the album was a unique achievement for the group, and well worth the detective work needed to find it today.
The lack of magnetic tape in the original recording process provided a state-of-the-art clarity rarely heard in the pre-digital dark ages, but more than that the technique liberated their music in a way the band would never recapture. The performances, and the music itself, was looser here than anywhere else in their sporadic discography, and at the same time tighter than ever, presenting two LP-sides of spontaneous yet well-rehearsed jams, miles away from the more commercial, song-based output of other FM albums.
It's hard to believe the entire thing was performed live in the studio, and even harder to reconcile the exciting results with the relative sellout of "Surveillance", released by the same line-up the following year. Call it what you want: bad timing; marketplace pressure; a lack of confidence in their own abilities This kind of negative karma never happened to that other Canadian Prog trio.
Just two lengthy instrumental tracks over this EP lasting just about a half-hour , but both of them are divided in four or five movements. Opening on Headroom giving the album's other name , the trio embarks on a breakneck speed movement, where Billy Cobham would not disown Deller's drumming.
More spacey effects sometimes dissonant are happening during the second movement, The only time vocals are to be heard, they're muffled in deeply in the mix at the start of the third movement, but this doesn't mean that the track comes back to a sense of normalcy. Indeed, when FM crossed that border, there was no turning back, but the trio almost loses itself two thirds of the way into their cosmic expedition. Once they finally find their way, it's a slow jazzy violin between Ponty and Lockwood return to base.
This limited-number release DTD album had become quite rare I lost my vinyl copy somewhere crossing the pond , because it had never seen, a reissue, beit in vinyl or on CD, until early , when Esoteric finally released it, along with the splendid Black Noise and the band's following two albums also never released legit , still with Ben Mink.
The album consists of only two sidelong tracks, each clocking at about 15 minutes. In fact this time FM sounded more focused and determined on the style they followed. Their sound was very polished and refined with melodic violin drives by Mink and a spacey bass performance by Hawkins, surrounded by the omnipresent synthesizers in an electronic enviroment.
One certain reason are the opening notes, performed on electric mandolin and the constant change of moods. There are however a couple of dead holes with minimalistic synths and effects in here, while FM insisted on playing on the dreamy side of Art Rock with the gears down and the atmosphere remains pretty calm all the way.
I could say that FM's approach on this effort was pretty genuine. But not passionate enough to keep the listener's full attention due to the lack of inner dynamics. FM followed-up their excellent debut album Black Noise with this experimental live-in-the-studio effort. It was unique of its kind as the band apparently recorded it "direct to disc". How much of it that was rehearsed beforehand and how much is improvisation is hard to say exactly, but the results are mixed at best.
There are hardly any vocals and what little there are sound very weak in comparison with other FM albums. Progressive Rock fans are bound to be interested in an album with two 15 minute plus tracks, but even though Headroom has its moments the overall impression is that it is too thin with ideas and lacking in direction. I find it mostly listenable, occasionally enjoyable, but not particularly memorable in the end.
Mink later became a k. While the band later became commercial in the s, there was always that leaning right from the start, but for the most part, Black Noise and Surveillence are very good crossover prog albums. Direct-to-Disc aka Headroom finds them more in the eclectic prog territory, and also by far their least commercial, most experimental album. Direct-to-Disc seemed to be a brief fad in the late '70s where artists would record a bunch of material, and then have their choice material pressed directly to disc, with no master tapes, so if you're wishing Headroom was reissued on CD, sadly that is unlikely to happen.
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Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying.Dec 14, · The Best Album Cover Photos Ever: Help Us Update Our List. What's your favorite album cover photo? Which ones do you hate? By Stan Horaczek. December 14, More. Latest. Photo Of The Day. This photographer chases the Midwest’s most dramatic storms. Here are .