David Cross – Memos From Purgatory (1989)

Format: flac + cue + log

Genre: Progressive Rock, Jazz Rock/Fusion

Release Date: 1989

Label: KING Records

(Review from progarchives.com, scaruffi.com)

This is the first album David Cross released under his own name. Like on his later albums, Cross is supported by several other musicians, but more than his other albums, “Memos From Purgatory” sounds like a solo album, even though three of the eight songs were written by Sheila Maloney. The album is completely instrumental.

David Cross also directed the staging of “Memos From Purgatory” at the Half Moon Theatre and other venues using dancers, musicians, lights, slides, etc.

David Cross - violin

Pete McPhail - saxophone

Sheila Maloney - keyboards

Simon Murrell - bass

Dan Maurer - drum

Biography by Geoff Orens

The violinist for King Crimson from 1972 to 1974, David Cross later launched a solo career with the David Cross Band, which featured an interesting sound comprised of violin, bass, keyboards, drums, and saxophones.

David Cross was born in Turnchapel, England, near Plymouth. After leaving King Crimson, Cross formed the improvisational rock group Ascend, and spent the better part of the 1970s and 1980s composing for and working with theater groups in a variety of capacities. His first solo release was Memos from Purgatory (1989), which was later staged by Cross. With the David Cross Band, Cross moved between improvisational pieces and more composed ones. While the music bears some similarity to 1970s King Crimson, it is slower-paced with musical phrases and ideas that appear out of nowhere and disappear as quickly, leading some to call his music underdeveloped. 1998's Exiles was more song-oriented and featured guest appearances by Crimson alumni Robert Fripp, Peter Hammill, John Wetton, and Peter Sinfield. In 1999, Cross formed Noisy Records.

Jeff Beck - Wired 1976 (MFSL UDCD 531 Gold Japan)

Perpetual Flame (2008)

Genre: Rock, Jaz-Rock, Fusion 
Format: Ape+ cue + log
Released: 1976 
Label: Mobile Fidelity Sound Lab
Number of Discs: 1

Line Up :

Jeff Beck - Guitar, Guitar (Acoustic), Bass
Wilbur Bascomb, Jr. - Bass
Max Middleton - Clavinet, Rhodes piano, Keyboards
Jan Hammer -Drums, Engineer, Synthesizer, Remixing, Producer

Richard Bailey - Drums

Ed Greene - Drums
 Narada Michael Walden - Drums, Piano

Track Listings:

1. Led Boots

2. Come Dancing

3. Goodbye Pork Pie Hat

4. Head For Backstage Pass

5. Blue Wind

6. Sophie

7. Play With Me

8. Love Is Green

Jazz-rock fusion music has no greater exponent than Jeff Beck, whose latest album, Wired, demonstrates how vital this genre can be. Even more important, Wired presents Beck in a context that finally satisfies both his uncompromising musical standards and commercial necessity.
Beck's first group, the Yardbirds, was the most inventive of the early Sixties British blues bands and is now credited with producing three of the most important electric guitarists of the past ten years -- Eric Clapton, Beck and Jimmy Page. Both Clapton (with Cream) and Page (with Led Zeppelin) became famous after leaving the Yardbirds. But Beck remained a relatively obscure figure. This despite the fact that the hits following "I'm a Man" -- "For Your Love," "Shapes of Things," "Over Under Sideways Down," "Happenings Ten Years Time Ago" -- were all powered by his brilliantly manic lead guitar. In comparison, Clapton was an extremely conservative stylist and Page, merely a technician. But Beck's guitar work was visionary: "Shapes of Things" shows his mastery over raga-style guitar solos and multitracking, ideas which were in their infancy at the time. Beck experimented with blues progressions, using feedback and other distortion techniques to push the electric guitar's expressive capabilities into new areas, as well as developing rock and R&B styles along the same lines. After leaving the Yardbirds, Beck made a classic solo album, Truth, with a band which included Rod Stewart and Ron Wood. Page, meanwhile, formed his own band, Led Zeppelin, whose music was a variation on Beck's concept (compare the versions of "You Shook Me" on Truth and the first Led Zeppelin album). He returned two years later with a jazz-accented R&B outfit based around keyboardist Max Middleton and singer Bob Tench. Their two albums featured a lighter, more progressive guitar style. But Beck was still not satisfied and tried a brief, disastrous fling into heavy metal with the ex-Vanilla Fudge/Cactus rhythm section of bassist Tim Bogert and drummer Carmine Appice. Last year, producer George Martin reunited Beck and Middleton for their greatest collaboration, Blow by Blow, which became Beck's best-selling solo album and established him firmly in the jazz-rock hierarchy. But Beck was only developing ideas he'd been playing with for years. On Wired, Beck invites a direct and favorable comparison with John McLaughlin (with whom he toured last year) by collaborating with ex-Mahavishnu keyboardist Jan Hammer and his band. Martin didn't score any of the horn arrangements because Hammer's synthesizer fills all those spaces, but the album is better recorded and has a much fuller sound than Blow by Blow. Middleton's contribution is still essential -- his one song, "Led Boots," opens the album at its hottest pace and it's definitely enhanced by the interplay with Hammer's keyboards and Beck's guitar. Hammer's synthesizers work from Middleton's clavinette base, and Beck stitches runs in between. Beck wrote no songs for this record in order to concentrate on his playing, but he dominates the album conceptually. You can tell "Head for Backstage Pass" is bassist Wilbur Bascomb's song from the bass solo that kicks it off, but from there it's all that Beck/Middleton Metal Motown Machine. Drummer Narada Michael Walden contributed four songs, three of which sound like they could have easily come from the Blow by Blow sessions. "Sophie" shows the distance between McLaughlin's cerebral meandering and Beck's incisive, witty compositional ability as the song moves from an introspective theme to an incredibly hard-edged composition. Hammer swings here in a sweating, un-self-conscious ride of pure joy that needs no guru for inspiration. Hammer's "duet" with Beck, "Blue Wind," builds phased rhythm guitars against the tension of those slogging, perfectly imprecise drums into an anthem pitch with furious overhead. Beck's cover of the Charles Mingus ode to Lester Young, "Goodbye Pork Pie Hat," is an unlikely if not unappreciated inclusion that seems to understated to clock in as more than a tentative exploration of an already well-covered tune, but Beck's soloing, as usual, carries it off with some bizarre phrasing and adventurous distortion. Many of Beck's older fans claim he's toned down to play this music, but listening closely, you can hear all the fire and imagination that has characterized every phase of his career. Wired is the realization of a style Beck has been working toward for years, and should finally attract the recognition he deserves. - John Swenson, Rolling Stone, 7/29/76.