Edgar Broughton Band - The Harvest Years 1969-1973 (4CD Box Set) (2011) FLAC
Edgar Broughton Band - The Harvest Years 1969-1973 (4CD Box Set) (2011) FLAC Year: 2011 | Format: FLAC / Level 8 (img + * cue + log, AccurateRip) |
Covers: PNG format 600dpi, full scans EMI / Harvest Records • 4CD
in one Jewel Case | Catalog Box: 50999 949488 2 0 | 1.97 GB Genre: Rock /
Psychedelic Rock / Progressive Blues Rock / Classic Rock
Edgar
Broughton Band The Harvest Years 196 -1973 (2011 UK 4CD album set -
Aswell as comprising digitally remastered versions of their first five
albums ('Wasa Wasa', 'Sing Brother Sing', 'Edgar Broughton Band',
'Inside Out' and 'Oora'), this collection also features the previously
unreleased concert 'Live At Hyde Park, London, 18th July 1970'. It was
the band's third appearance at the park, on a bill featuring fellow
Harvest luminaries Roy Harper, Kevin Ayers, and headlined by Pink Floyd.
Their 45 minute set is faithfully reproduced in all its raw and raucous
glory!). Most retrospectives of the late 1960s and early 1970s musical
counterculture tend to focus on the gentler side, the pastoral
underground that kept the spirit of folk Eden alive. What still remains
unfashionably overlooked is the scungier reaction to the hippy idyll:
those artists whose refusal to smoke the peace pipe was expressed in a
rawer, more desperate form of heavy blues-aftermath rock. Cast as
willing outsiders from the start, the likes of Groundhogs, Pink Fairies,
and Global Village Trucking Company were slated to play outside the
fence, slamming and jamming protests and gurning crudities from the back
of a flatbed truck. Mudflecked descendants of Winstanley’s
Diggers, arriving in clapped-out vans, to announce the wilting of flower
power. Music from a paradise garden turned to mud. The most enduring of
these were The Edgar Broughton Band, a righteous, Beefheart-loving
brigade formed by Broughton brothers Robert (aka ‘Edgar’) and
Steve, with bassist Arthur Grant, in mid-’60s Warwick. With in-
again-out-again guitarist Victor Unitt, the outfit delivered a pounding
to the Tolkien-tranquilised hordes of UFO and Middle Earth, taking up a
strategic position in the Notting Hill scene in ’68, from where
they were signed to Blackhill Enterprises and became an early addition
to EMI’s ‘alternative’ label, Harvest. This generation of
the underground - which effectively lasted until the economic crises of
the Heath administration, only to dissipate into the nationwide commune
scene and the rugged ordeal of outdoor free festivals - fell into a
curious blind spot in UK politics, with general rage against the Man and
the Machine, but few specific issues to grapple with. How much more
angry energy would’ve been generated had Britain stood
shoulder-to-shoulder with the US in Vietnam? As this four-CD set -
comprising five LPs plus an unreleased Hyde Park concert from 1970 -
reveals, EBB had rage (and humour) in spades. “Death Of An Electric
Citizenâ€Â, from debut Wasa Wasa, is a Beefheartian romp, as is
single “Apache Drop Outâ€Â, a curious mix of Safe As Milk boogie
and pastiche Shadows. And in channelling their hate into “Out
Demons Out!â€Â, the ritual chant of the festival community, taped at a
‘live studio’ concert at Abbey Road in December 1969, they
found their vocation. Riffing off The Fugs’ Pentagon-cleansing
anthem, “Demons†is goof-off protest folk with a throbbing
bluesy vein. Shortly after came the single “Up Yours!â€Â, a
V-sign to the political process that today’s student dissenters
would be wise to adopt. Sing Brother Sing (1970), full of “songs
about child molesters, nymphos and the imminent apocalypseâ€Â,
according to one review, and The Edgar Broughton Band (1971) were the
group’s zenith. Concerts reveal EBB in their element, but surprise
subtleties such as the string arrangements and stereo guitar effects on
“For Dr Spock†and David Bedfords’s orchestrations on
“Evening Over Rooftops†show the group - now back with Unitt -
to be more inventive in the studio than their scuzzy image might
suggest. “... Rooftops†aspires to epic status, a skyline
meditation, uncannily pre-echoing Neil Young’s “Like A
Hurricaneâ€Â, while “The Birth†is lanky and goosey-loose,
gritted with hoarse harmonica. For Inside Out (1972), they decamped to a
Devonshire mansion. Its remoteness from city life is audible in more
laidback, country-ish textures, though “Homes Fit For Heroesâ€Â
and “Double Agent†still dealt with contemporary issues. Oora
(1973) keeps on trucking through triumphalist rock (“Things On My
Mindâ€Â) and austerity folk-rock (“Evictionâ€Â); the end of
the Harvest story but not the band, who continue the mission to this
day. In this new age of cuts, riots and harsh winters, their
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