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Артист: Robin Trower Альбом: Long Misty Days, 1989 Издатель: Chrysalis / F2 21107 DIDX 5078 Жанр: Blues-Hard-Album-....Rock... Формат файла: eac-cue-log-wv-scans-iso Ссылка: CD 102 clicks Нахождение: eDonkey/Torrent Примечание: Repack, CueTools

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TRACKLIST

1. Same Rain Falls 2. Long Misty Days 3. Hold Me 4. Caledonia 5. Pride 6. Sailing 7. S.M.O. 8. I Can't Live Without You 9. Messin The Blues

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"сборник" ссылок - Topic Link: Robin Trower - 9CDs

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You can read about Robin @ AMG

"сборник" ссылок - Topic Link: Robin Trower - 9CDs

Review: starling.rinet.ru
Terrific! Maybe a one year break from studio work did work wonders on Mr Trower - I find Long Misty Days to be his very best effort in terms of songwriting and creating particularly exciting and memorable melodies. It was a hard call to distinguish between this and Bridge Of Sighs, because the 1974 classic was, after all, extremely solid and quintessential in the stylistic and technical senses. But when it comes to hooks, the notion I worship most of all, Long Misty Days takes number one - out of the nine songs on here, not a single one is unattractive. So I have no choice but to give both albums a ten.
How the hell could Robin come up with these blistering numbers after the relative stalemate of For Earth Below is, in fact, beyond me. This album is not at all 'experimental' - basically, it's just the same old style with not a single component of the sound having been changed. Robin is still churning out his riffs and blazing out his solos, Dewar is hollering in his usual self-assured soulful style, and neither of the two venture all that far from raw R'n'B. And it's not that all the melodies are original or anything - they do continue recycling the mood of 'Bridge Of Sighs' on such tracks as the title one, etc. But somehow they have managed to make their style more compact and precise, concentrating on song structure, melody and well-designed atmospheric passages rather than on their raw jam power that made for nothing but good background music. The songs are relatively short and always up to the point - taking an interesting idea or two and always driving it home, onto the exact spot where it belongs.
The fast rip-roaring rockers rule as usual and even better: both 'Same Rain Falls' and 'Caledonia' feature Trower at his very very best, although the main star, to me, seems to be Dewar: his delivery is both melodic and soulful, completely sincere and moving as he sings some of the most catchy vocal melodies ever to be heard on a Robin album. 'Caledonia' is the fans' usual favourite, and it kicks ten thousand tons of the proverbial ass - Robin bases the song on a Hendrixey wah-wah rhythm that's impossible to resist and throws in some of the more standard redhot solos. But I think that 'Same Rain Falls' is even better, as it manages to recreate a sense of utter majesty and stateliness unmatched elsewhere on the album; I mean, when Dewar cranks out the 'same rain falls on you, falls on me' lines, don't you want to picture him as an ecstatic Biblical prophet or somebody? I sure do.
'Minor' rockers, like 'Hold Me', 'Pride', and 'S.M.O.', are nowhere near as climactic, but they aren't actually meant to - they were designed as filler, but were actually designed as nice-sounding filler: 'Hold Me' is particularly good, with a mean cynical old riff holding up the melody and Dewar phasing his vocals to fine effect. I like that style - slow, yet steady and compact, catchy, slightly ironic/cynical, with lengthy thoughtful guitar notes that give you all the time and possibility to suck in their beauty before they go away. 'Pride', meanwhile, gets us on the b-b-b-b-ouncy side, but it's a bit repetitive, with Robin mostly repeating one note on his wah-wah over and over again, while the 'I got my pri-i-i-i-i-ide' chorus sounds... er... a bit icky, as some of my regular commentators might say. Icky in that 70's AOR style, if you get me. Radio-friendly like Bad Company, even if far more interesting and I actually dig the song. 'S.M.O.' is probably the worst of the lot - it hearkens back to the sloppiness of For Earth Below, sounding more like a boozy jam than an actual song. And Trower's "wah-wah chat" sounds nowhere near as convincing as it is on 'Caledonia'. Still, not a bad number.
I'm also quite partial to 'Messin' The Blues'. Subjective little old me thinks that since the riff on which the song is based is AWESOME - one of the best Trower ever came up with - the whole song is awesome as well, even if it mostly consists of repeating it over and over and over and over and over and... [repeat for four minutes]. Kill me with objective remarks, slaughter me with cynical criticism, but I'm not budging on that one. I couldn't stand a dumb riff if it were going on for so long, I guess, so the process of deduction tells me it's great.
Which leaves us with three gorgeous, deeply moving ballads. 'Long Misty Days' recreates Trower's trademark epic style, with less accent on the 'echoey' guitar, though, as Robin unexpectedly brings that fat distorted grrrrumble into the very centre of the sound and Dewar has to holler at the top of his lungs to battle with the prominent six-string. But he manages to save the vocal melody in the process, and as a result the track never becomes a simplistic heavy metal screamfest; on the contrary, it retains all of its lyricism and tender beauty, despite the distortion and loudness. And both 'Sailing' and 'I Can't Live Without You' are also prime examples of Trower's songwriting. I can't really believe my ears on how catchy all this stuff is. Is it the same Robin Trower who used to rely on sound alone and let the melodies go down the drain just a couple of years before? Is it? The guy must have taken idea-constituting lessons from Paul McCartney.
I really can't find any significant flaws anywhere on this record - as far as Trower's style goes (the one which doesn't earn him more than an overall rating of one, of course, but that's another story), it is absolutely immaculate, a glorious culmination of the best known period of his career. It's a good thing, too, that he decided to experiment with that old style on the following records - try as he might, he just couldn't have topped this one while continuing in the same vein.