![]() ![]() Highs In The Mid Sixties #13 - LP ( 1984).Highs In The Mid Sixties #12 - LP ( 1984).Highs In The Mid Sixties #11 - LP ( 1984).Highs In The Mid Sixties #10 - LP ( 1984).Highs In The Mid Sixties #9 - LP ( 1984).Highs In The Mid Sixties #8 - LP ( 1984).Highs In The Mid Sixties #7 - LP ( 1984).Highs In The Mid Sixties #6 - LP ( 1984).Highs In The Mid Sixties #5 - LP ( 1983).Highs In The Mid Sixties #4 - LP ( 1983).Highs In The Mid Sixties #3 - LP ( 1983).Highs In The Mid Sixties #2 - LP ( 1983).Highs In The Mid Sixties #1 - LP ( 1983).Copies of the LP have fetched upwards of $500 on the collectors' market, a testimony to the enduring quality of its songs. release is this expanded, remastered Rhino Handmade issue. ![]() But the album never crossed the Atlantic its very first U.S. release, Stevens traveled Stateside for a two-week tour in the summer of 1970. Greeted with critical acclaim upon Outlander 's U.K. Performed by a remarkable cast of musicians hand-picked by English rock tastemaker Ian Samwell, Outlander was created with a minimum of rehearsal and consists largely of first takes. Its jazz-Indo-psych ragas merge seamlessly with its acid folksongs and Dylan-esque meditations on relationships and politics. Arising from the same fertile soil as the work of the late-'60s icons, Stevens's album nonetheless manages to avoid easy comparisons. His one English-language album is 1970's Outlander, an outstanding marriage of musicianship and eclecticism. Stevens sang mostly in his native language, a political act not unlike speaking Basque in Spain or Cherokee in the U.S. A local legend whose psych-folk influence can be heard in such contemporary Welsh groups as Super Furry Animals and Gorky's Zygotic Mynci, Stevens also founded his country's first independent record company, the estimable Sain label. Meic Stevens may not be a familiar name in much of the world, but in his native Wales the singer-songwriter's stature is often compared to that of Bob Dylan. Luv doesn't sing lead, but she adds to the album cover's goofball appeal. Songs like "Waiting For The Rain" have an elegant power. Jade really has a flair for the dramatic, and comes off sounding quite important indeed. The closing "Reality" is packed with killer wah-wah guitar, and that should hook most of you, but the rest of the album, while mellower, is terrific too. Like Darius (to whom his voice has been compared), Jade Stone wanted to be a big star! It was obviously not to be, and the world is left with this unique album, which is a mixture of 60s hippie, 70s country and timeless lounge rock, jacked up by inspired songwriting, Jade's overwhelming personality and tremendous arrangements. Most copies have a promo sticker on the front cover. The poster (which is great) has only been found in a handful of copies and is worth almost as much as the album itself. Major personal fave, but hardly for everyone, and the cover shot alone will scare a lot of potential buyers off. Well-produced, with some fantastic tracks like "Man", featuring great keyboard and fuzz interplay, and soulful-loungey vocals. Not metropolitan hip, but dreams of stardom and glamour from the American underbelly, two renegade souls zooming down the highway between Austin and Nashville. ![]() Neon sign singles bars, pool halls and re-opened nightclubs flash by while Jade Stone sings like the rock star he hopes soon to be. Gorky park stare rar full#The music is notoriously hard to describe, but projects scenes of all-night cruising through Edge City in a stolen Cadillac, downing reds with cheap sparkling wine that you refer to as "champagne", with the 8-track blasting "Mosaics" at full volume. Interest in this is on the rise and rightly too, cause this is one cool ultra-1970s artefact by a couple decked out in full period regalia including a handlebar moustache (Jade Stone), hot pants (Luv), and a psychedelic VW bus. ![]()
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