Badger 1973 One Live Badger - 01 Wheel Of Fortune - текст песни, слова, перевод, видео

Badger 1973 One Live Badger

1. "Wheel of Fortune" - 7:50

2. "Founin" - 7:22

3. "Wind of Change" - 7:15

4. "River" - 6:50

5. "The Preacher" - 3:59

6. "On the Way Home" - 7:39

Brian Parrish - Guitar

Dave Foster - Bass

Tony Kaye - Keyboards

Roy Dyke - Drums

The initiators of the creation of the group were the keyboat Tony Kay and bassist David Foster just fired from YES. Kay met Foster when he collaborated with Yes as a session. Even earlier, Foster played with John Anderson in The Warriors. By the way, the compositions of Sweet Dreams and Time and A Word with the second Yesian album were written back during the existence of The Warriors, and were marked by the authorship of Anderson / Foster. The drummer is a wonderful musician Roy Dike, who had previously played in an interesting hard -car trio Ashton, Gardner & Dyke. The guitarist is Brian Parrish, who played in the Parrish group, and also participated in the recording of the solo album of Adrian Gurvits. In general, the team got a noble one. From the very beginning, the musicians went non -trivial way, opening the Badger discography with a concert album. The material was recorded on December 15-16, 1972 at London’s Rainbow Theater, and the case helped in the release: the group acted as a “warming up” composition of the YES that played the program of their concert album. In this situation, management decided to jointly record Badger and YES. According to these materials, this album was recorded. One of the critics from Rolling Stone magazine reacted like this: “After listening to this album, I hope that Badger will never go to the studio. If they always sound alive so well, they have absolutely no need for this. ” Perhaps, it is worth agreeing with such an assessment. This concert sounds no worse than the majority of the studio albums of the Rock Montens of those years. A very powerful, beautiful and melodic “percent” hard rock, designed in the spirit of the classics of a genre like Deep Purple or Grand Funk Railroad, sounds very driven and at the same time quite exquisite. “Destroyed in the Spirit” does not mean “licked” or “very similar” at all. What it looks like is difficult to say ... It doesn’t look like anything, despite the fact that this is the most classic hard hard. The musicians do not fall to the direct copy of their more eminent brothers, and their style of the game is quite distinctive. The “shock” work of the swarm of the swarm is especially noteworthy. Its hurricane and rather recognizable performance technique is as interesting as in the days of work in Ashton, Gardner & Dyke. Kay keyboards also do not lag behind, leading along with the guitar. Their brightness, expression and beauty mean a lot in the general sound palette. In general, instrumentalists did not hit the mud in the mud (which should be expected from such “venerable” musicians who are at the peak of their career), and the vocalist did not disappoint. Another confirmation (albeit very indirect) that the Rolling Stone magazine was not mistaken in the assessment was that the album was very highly appreciated by the public both in England and in the States. By the way, none other than Roger Dean was engaged in the design of the cover of the record - perhaps the most famous and popular designer of envelopes for vinyl. And another prediction of this magazine turned out to be fair: the group of groups called White Lady failed soon. The album is much less bright and powerful, with a strong influence of Funka and Soul. The vast majority of reviewers characterize it as a pop music of medium lousiness. And he was recorded in a completely different composition.