11239 - THE CRAZY WORLD OF ARTHUR BROWN - ZIM ZAM ZIM (2014)

THE CRAZY WORLD OF ARTHUR BROWN WITH
''ZIM ZAM ZIM''
JULY 28 2014
50:44
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1 Zim Zam Zim 02:16
2 Want To Love 04:55
3 Jungle Fever 05:04
4 The Unknown 05:01
5 Assun 03:43
6 Muscle Of Love 05:23
7 Junkyard King 06:05
8 Light Your Light 05:29
9 Touched By All 06:19
10 The Formless Depths 06:25
All Tracks By Arthur Brown, Jim Mortimore, Sam Walker
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Jim Mortimore/Bass Guitar, Guitar, Percussion, Voice, Noises, Arrangements
Björn Dahlberg/Clarinet, Saxophone
Sam Walker/Drums, Percussion, Voice, Noises, Arrangements
Victor Peraino/Effects
Nina Gromniak/Guitar
Lucie Dun/Keyboards, Voice
River Requena/Noises (Owl)
Matthew Gest/Piano, Keyboards
Raul Requena/Saw (Chainsaw)
Will Rumfitt/Trombone, Helicon
Anisa Arslanagic/Violin, Viola
Mike Simmonds/Violin, Viola
Kate Daisy Grant/Voice
Arthur Brown/Voice, Noises, Arrangements
Nick Pynn/Voice, Viola
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BIOGRAPHY/AMG
Rovi
This UK band was formed in 1971 by the eccentric Arthur Brown (b. Arthur Wilton-Brown, 24 June 1944, Whitby, Yorkshire, England), a vocalist who had achieved momentary commercial fame three years earlier with his memorable single, "Fire". This new venture was completed by Andrew Dalby (b. Gainsborough, England; guitar), Julian Paul Brown (b. Liverpool, England; synthesizer), Michael Harris (keyboards), Desmond Fisher (bass) and Martin Steer (drums), a line-up immortalized in the film Glastonbury Fayre. Their debut album, Galactic Zoo Dossier, was a radical, experimental set, and featured an extended version of "Space Plucks", a piece the singer had written for his previous band with organist Vincent Crane. This high standard was sadly not maintained on its follow-up, Kingdom Come, which relied on contemporary progressive styles and featured new bass player Phil Shutt. Harris and Steer were dropped from the band for Journey, on which Brown, Dalby and Shutt were joined by keyboardist Victor Peraino and a drum machine. Kingdom Come broke up completely when their founder embarked on an erratic solo career.
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BIOGRAPHY/AMG
Richie Unterberger
One of the most electrifying one-shot artists of the '60s, British singer Arthur Brown briefly set the charts alight in 1968, as well as thrilling audiences with his theatrical performances, which saw him wearing helmets of fire and outlandish costumes. His debut album was surely one of the most left-field commercial successes of the late '60s, if not of rock history. In addition to topping the British charts (and reaching number two in the U.S.) with his brilliantly demonic single "Fire," the self-proclaimed god of hellfire actually scored a Top Ten LP with his 1968 debut. Unveiling Brown's demented, fire-obsessed lyrical visions and swooping, theatrical vocals, it showcased his band's manic, agitated psychedelic sound, which was anchored by incendiary drumming, Pete Townshend's production, and an organist who could be best described as Jimmy Smith on acid. Brown's original band broke up in early 1969; in the early '70s he released several albums with Kingdom Come, which saw him pursuing a maddeningly obscure and less exciting brand of art rock. He recorded off and on after, with an additional flash of fame springing from his role as a priest in the film Tommy.
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WEBSITE
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TO THE TOP
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11238 - ARTHUR BROWN WITH RICK PATTEN - THE MAGIC HAT (2012) (PLEASE SEE ''COMMENTS'')

ARTHUR BROWN WITH RICK PATTEN
''THE MAGIC HAT''
2012
70:38
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01 - Life-Festival 01:58
02 - Street Wolves 05:44
03 - I Built A Life 02:16
04 - Earth Song; Untamed; Candy Floss Horn 08:14
05 - Morning; Breaking Free 01:58
06 - Soul Sensation 05:13
07 - The Stranger 03:12
08 - Consciousness Ship 05:14
09 - Glorious Fool 03:53
10 - Are You Still There 05:16
11 - Golden Sun 03:11
12 - Fairground 01:42
13 - Spin The Wheel 03:10
14 - Heaven And Hell 05:09
15 - Higher Love 03:59
16 - River Of Time 06:13
17 - Let A Little Shine 04:07
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Arthur Brown - Vocals
Rik Patten - All Instruments
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BIOGRAPHY/AMG
Rovi
This UK band was formed in 1971 by the eccentric Arthur Brown (b. Arthur Wilton-Brown, 24 June 1944, Whitby, Yorkshire, England), a vocalist who had achieved momentary commercial fame three years earlier with his memorable single, "Fire". This new venture was completed by Andrew Dalby (b. Gainsborough, England; guitar), Julian Paul Brown (b. Liverpool, England; synthesizer), Michael Harris (keyboards), Desmond Fisher (bass) and Martin Steer (drums), a line-up immortalized in the film Glastonbury Fayre. Their debut album, Galactic Zoo Dossier, was a radical, experimental set, and featured an extended version of "Space Plucks", a piece the singer had written for his previous band with organist Vincent Crane. This high standard was sadly not maintained on its follow-up, Kingdom Come, which relied on contemporary progressive styles and featured new bass player Phil Shutt. Harris and Steer were dropped from the band for Journey, on which Brown, Dalby and Shutt were joined by keyboardist Victor Peraino and a drum machine. Kingdom Come broke up completely when their founder embarked on an erratic solo career.
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BIOGRAPHY/AMG
Richie Unterberger
One of the most electrifying one-shot artists of the '60s, British singer Arthur Brown briefly set the charts alight in 1968, as well as thrilling audiences with his theatrical performances, which saw him wearing helmets of fire and outlandish costumes. His debut album was surely one of the most left-field commercial successes of the late '60s, if not of rock history. In addition to topping the British charts (and reaching number two in the U.S.) with his brilliantly demonic single "Fire," the self-proclaimed god of hellfire actually scored a Top Ten LP with his 1968 debut. Unveiling Brown's demented, fire-obsessed lyrical visions and swooping, theatrical vocals, it showcased his band's manic, agitated psychedelic sound, which was anchored by incendiary drumming, Pete Townshend's production, and an organist who could be best described as Jimmy Smith on acid. Brown's original band broke up in early 1969; in the early '70s he released several albums with Kingdom Come, which saw him pursuing a maddeningly obscure and less exciting brand of art rock. He recorded off and on after, with an additional flash of fame springing from his role as a priest in the film Tommy.
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WEBSITE
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TO THE TOP
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11237 - THE AMAZING WORLD OF ARTHUR BROWN - THE VOICE OF LOVE (2007) (REPOST)

THE AMAZING WORLD OF ARTHUR BROWN
''THE VOICE OF LOVE''
MAY 8 2007
61:46
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1 Love is the Spirit 05:55 (Paul Brown)
2 Gypsies 05:52 (Brown, Namaan)
3 Kites 04:41 (Pockriss, Hackaday)
4 I Believe in You 04:43 (Brown)
5 That's How Strong My Love Is 04:17 (Jamison)
6 The Voice of Love 05:16 (Arthur Brown)
7 All the Bells 04:39 (Arthur Brown)
8 Shining Bright 02:19 (Brown, R. Patten)
9 Brids of A Feather 04:11 (Arthur Brown)
10 Devil's Grip 07:05 (Arthur Brown)
11 Safe Now &... 12:43 (Brown, Patten)
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Arthur Brown/Lead Vocals, Acoustic Guitar
Nick Pynn/Every Stringed Instrument Known To Man, Some Glockenspiel & Some Vocals, Deep, Deep Bass Pedals
Rick Patten/All Guitars & Some Vocals On 8, 11 & Great Love And Support
Scarlet Wrench/Vocals On 2 With Beauty, Truth & Youth
Dick Taylor/Electric Guitar On 5
Mark St. John/All Drums And Percussion, Glockenspiel & Harmony Vocals
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BIOGRAPHY/AMG
Rovi
This UK band was formed in 1971 by the eccentric Arthur Brown (b. Arthur Wilton-Brown, 24 June 1944, Whitby, Yorkshire, England), a vocalist who had achieved momentary commercial fame three years earlier with his memorable single, "Fire". This new venture was completed by Andrew Dalby (b. Gainsborough, England; guitar), Julian Paul Brown (b. Liverpool, England; synthesizer), Michael Harris (keyboards), Desmond Fisher (bass) and Martin Steer (drums), a line-up immortalized in the film Glastonbury Fayre. Their debut album, Galactic Zoo Dossier, was a radical, experimental set, and featured an extended version of "Space Plucks", a piece the singer had written for his previous band with organist Vincent Crane. This high standard was sadly not maintained on its follow-up, Kingdom Come, which relied on contemporary progressive styles and featured new bass player Phil Shutt. Harris and Steer were dropped from the band for Journey, on which Brown, Dalby and Shutt were joined by keyboardist Victor Peraino and a drum machine. Kingdom Come broke up completely when their founder embarked on an erratic solo career.
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BIOGRAPHY/AMG
Richie Unterberger
One of the most electrifying one-shot artists of the '60s, British singer Arthur Brown briefly set the charts alight in 1968, as well as thrilling audiences with his theatrical performances, which saw him wearing helmets of fire and outlandish costumes. His debut album was surely one of the most left-field commercial successes of the late '60s, if not of rock history. In addition to topping the British charts (and reaching number two in the U.S.) with his brilliantly demonic single "Fire," the self-proclaimed god of hellfire actually scored a Top Ten LP with his 1968 debut. Unveiling Brown's demented, fire-obsessed lyrical visions and swooping, theatrical vocals, it showcased his band's manic, agitated psychedelic sound, which was anchored by incendiary drumming, Pete Townshend's production, and an organist who could be best described as Jimmy Smith on acid. Brown's original band broke up in early 1969; in the early '70s he released several albums with Kingdom Come, which saw him pursuing a maddeningly obscure and less exciting brand of art rock. He recorded off and on after, with an additional flash of fame springing from his role as a priest in the film Tommy.
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WEBSITE
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TO THE TOP
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11236 - THE CRAZY WORLD OF ARTHUR BROWN - VAMPIRE SUITE (2003)

THE CRAZY WORLD OF ARTHUR BROWN
''VAMPIRE SUITE''
2003
59:40
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1 Introsuction 00:47
2 Vampire Club 03:44
3 SAS 07:13
4 Africa 06:04 (Dennis Brown)
5 Maybe My Soul 05:18
6 All Forms And Distinctions 05:41
7 In This Love 04:35
8 Confession 02:52
9 Vampire Love 05:56
10 Completion 00:25
11 Divers 03:43
12 Re Vamp Your Soul 04:03
13 Isness Is My Business 02:30
14 Stay 06:43 (M. Brown)
Tracks By Arthur Brown, Except As Indicated
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Richard Studholme/Bass Guitar
Mark Brzezicki/Drums, Percussion
Roger Manning/Guitar
Josh Phillips/Organ Hammond C3, Piano, Synthesizer
Nick Pentelow/Tenor & Alto Saxophones
Pete Thoms/Trombone
Sid Gauld/Trumpet
Arthur Brown/Vocals
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BIOGRAPHY/AMG
Rovi
This UK band was formed in 1971 by the eccentric Arthur Brown (b. Arthur Wilton-Brown, 24 June 1944, Whitby, Yorkshire, England), a vocalist who had achieved momentary commercial fame three years earlier with his memorable single, "Fire". This new venture was completed by Andrew Dalby (b. Gainsborough, England; guitar), Julian Paul Brown (b. Liverpool, England; synthesizer), Michael Harris (keyboards), Desmond Fisher (bass) and Martin Steer (drums), a line-up immortalized in the film Glastonbury Fayre. Their debut album, Galactic Zoo Dossier, was a radical, experimental set, and featured an extended version of "Space Plucks", a piece the singer had written for his previous band with organist Vincent Crane. This high standard was sadly not maintained on its follow-up, Kingdom Come, which relied on contemporary progressive styles and featured new bass player Phil Shutt. Harris and Steer were dropped from the band for Journey, on which Brown, Dalby and Shutt were joined by keyboardist Victor Peraino and a drum machine. Kingdom Come broke up completely when their founder embarked on an erratic solo career.
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BIOGRAPHY/AMG
Richie Unterberger
One of the most electrifying one-shot artists of the '60s, British singer Arthur Brown briefly set the charts alight in 1968, as well as thrilling audiences with his theatrical performances, which saw him wearing helmets of fire and outlandish costumes. His debut album was surely one of the most left-field commercial successes of the late '60s, if not of rock history. In addition to topping the British charts (and reaching number two in the U.S.) with his brilliantly demonic single "Fire," the self-proclaimed god of hellfire actually scored a Top Ten LP with his 1968 debut. Unveiling Brown's demented, fire-obsessed lyrical visions and swooping, theatrical vocals, it showcased his band's manic, agitated psychedelic sound, which was anchored by incendiary drumming, Pete Townshend's production, and an organist who could be best described as Jimmy Smith on acid. Brown's original band broke up in early 1969; in the early '70s he released several albums with Kingdom Come, which saw him pursuing a maddeningly obscure and less exciting brand of art rock. He recorded off and on after, with an additional flash of fame springing from his role as a priest in the film Tommy.
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WEBSITE
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TO THE TOP
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11235 - THE CRAZY WORLD OF ARTHUR BROWN - TANTRIC LOVE (2000)

THE CRAZY WORLD OF ARTHUR BROWN
''TANTRIC LOVE''
2000
68:56
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1 All The Bells 03:27
2 Tantric Lover 04:49
3 Paradise 04:58
4 The Bridge 03:48
5 Circle Dance 04:35
6 Pool Of Tears 02:36
7 Soul Sensation 05:15
8 Swimfish 03:26
9 Voice Of Love 05:18
10 Love Is A Spirit 04:50
11 Gabriel 06:06
12 Healing Sound 06:38
13 Heartaches 05:12
14 Miranda 04:02
15 Welcome 03:47
All Tracks By Brown
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Stan Adler/Cello, Bass
Malcolm Mortimore/Drums
Arthur Brown/Lead Vocals, Acoustic Guitar
Derek Austin/Organ
Chris Kenny, Rick Patten/Organ, Guitar
John Claydon/Saxophone
Gordon Campbell/Trombone
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REVIEW/AMG
François Couture
So Arthur Brown's name remains irremediably attached to the late-'60s freakout hit "Fire." So his numerous subsequent albums and projects never eclipsed that one fulgurous shot at stardom. Yet the man kept on going, re-emerging periodically with a new serving of songs. And in all of them remains one element: the voice. That unusually powerful, charismatic voice upon which aging seems to have no hold is what gives Tantric Lover its soul. Beyond the battered-up Summer of Love lyrics and the acoustic guitars, the voice is still a strange attractor and enough reason to turn your ear to this album. That is not to say that Brown's writing doesn't deserve your attention. On the contrary, his songs are sharp and listener-friendly. Backed by an acoustic bassist doubling as cellist (Stan Adler), a drummer versed in ethnic percussion, and multi-instrumentalist Rik Patten (who handles guitars and Hammond organ), the singer tells his stories as if to a group of his close friends. "Paradise" pairs a whispered narrative with a soaring chorus line in pure Crazy World fashion. "Circle Dance" has a delightful acoustic folk-rock feel. In "Gabriel," Brown displays his vocal range, reaching impossible lows as he explains how the Virgin Mary may have been enamored of the archangel. All the tracks are not that good: The ballads "Welcome" and "Swimfish" along with the musical theater love song "Heartaches" remain too syrupy to really catch the attention. But Tantric Lover is an honest effort, true to Brown's persona.
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BIOGRAPHY/AMG
Rovi
This UK band was formed in 1971 by the eccentric Arthur Brown (b. Arthur Wilton-Brown, 24 June 1944, Whitby, Yorkshire, England), a vocalist who had achieved momentary commercial fame three years earlier with his memorable single, "Fire". This new venture was completed by Andrew Dalby (b. Gainsborough, England; guitar), Julian Paul Brown (b. Liverpool, England; synthesizer), Michael Harris (keyboards), Desmond Fisher (bass) and Martin Steer (drums), a line-up immortalized in the film Glastonbury Fayre. Their debut album, Galactic Zoo Dossier, was a radical, experimental set, and featured an extended version of "Space Plucks", a piece the singer had written for his previous band with organist Vincent Crane. This high standard was sadly not maintained on its follow-up, Kingdom Come, which relied on contemporary progressive styles and featured new bass player Phil Shutt. Harris and Steer were dropped from the band for Journey, on which Brown, Dalby and Shutt were joined by keyboardist Victor Peraino and a drum machine. Kingdom Come broke up completely when their founder embarked on an erratic solo career.
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BIOGRAPHY/AMG
Richie Unterberger
One of the most electrifying one-shot artists of the '60s, British singer Arthur Brown briefly set the charts alight in 1968, as well as thrilling audiences with his theatrical performances, which saw him wearing helmets of fire and outlandish costumes. His debut album was surely one of the most left-field commercial successes of the late '60s, if not of rock history. In addition to topping the British charts (and reaching number two in the U.S.) with his brilliantly demonic single "Fire," the self-proclaimed god of hellfire actually scored a Top Ten LP with his 1968 debut. Unveiling Brown's demented, fire-obsessed lyrical visions and swooping, theatrical vocals, it showcased his band's manic, agitated psychedelic sound, which was anchored by incendiary drumming, Pete Townshend's production, and an organist who could be best described as Jimmy Smith on acid. Brown's original band broke up in early 1969; in the early '70s he released several albums with Kingdom Come, which saw him pursuing a maddeningly obscure and less exciting brand of art rock. He recorded off and on after, with an additional flash of fame springing from his role as a priest in the film Tommy.
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WEBSITE
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TO THE TOP
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11223 - VINCENT CRANE FEATURING ARTHUR BROWN - TARO ROTA (1997) (REPOST)

VINCENT CRANE FEATURING ARTHUR BROWN
''TARO ROTA''
1997
48:26
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1 - Part 1/22:24
2 - Part 2/3:17
3 - Part 3/22:25
Music By Vincent Crane, Lyrics By Jeannie Crane
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ABOUT THE ALBUM/OFFICIAL
Vincent's Unfinished Project, Jeannie Crane, 1997

Vincent and I composed this piece way back in 1976, especially for Arthur Brown. There is a ten minute demo with Arthur on vocals, but unfortunately, due to contractual reasons, at the last minute it couldn't be included on the CD. At the moment the Taro Rota Suite is an impressive 23 minutes of Vincent doing the whole thing! Hopefully this will be amended later this year!

One day a charity bazaar was held in the grounds of a very large and beautiful house and Vincent and I went along to do Tarot Readings.Inside the conservatory, surrounded by lush hangings of grape vine, we spread the cards time and time again. We told story after story for an endless queue of people but the day was just was not long enough to be with everyone. So, when everyone else had left, the remaining books had been packed, the paintings put away and the money counted, we lay out a spread of cards for all the people we didn't see. It told us your story and it told you ours. We called it Taro Rota...
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REVIEW/AMG
Dave Thompson
Properly termed a Vincent Crane solo album, but so dominated by Arthur Brown's preternatural vocals that the billing has been totally flipped, the oft misspelled Taro Rota album was originally conceived around 1975, when Crane and wife-to be Jeannie Crane found their shared interest in Tarot cards spilling over into their songwriting. (The pair used to offer Tarot readings at fetes and fairs.) A 22-minute opus arranged for orchestra and more, Taro it was a fascinating piece of work, but far too ambitious to ever be realized. Even Crane's otherwise-enthusiastic publishers were willing only to fund a ten-minute demo, which was recorded later in 1975 with Arthur Brown and a full band -- it is this piece which leads off the 1997 Voiceprint CD, alongside Crane's own piano demo of the full work. The original Taro Rota did not remain entirely unheard. Atomic Rooster's valedictory Headline News album lifted elements for the songs "Time" and "Machine," although little more than the melody will prepare the listener for the full Taro Rota experience. Nor, of course, does the music presented here. Despite a spellbinding Brown recital, the band performance is just a shade too clunky to capture the full dynamic of the Cranes' vision, while the piano rendition is by necessity too Spartan. But both allow one to dream of what could have been -- and it is a wonderful dream.
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BIOGRAPHY/WIKIPEDIA/VINCENT CRANE
Vincent Crane (21 May 1943 – 14 February 1989) was a self-taught pianist, who studied theory and composition at Trinity College of Music, and graduated in 1964. He was best known as the organist for The Crazy World of Arthur Brown and Atomic Rooster.

Born Vincent Rodney Cheesman in Reading, Berkshire, he taught himself boogie woogie piano as a teenager before attending Trinity College of Music between 1961 and 1964. Influenced by Graham Bond, he took up Hammond organ and in 1967 teamed up with Arthur Brown in The Crazy World of Arthur Brown. Their eponymous debut album, The Crazy World of Arthur Brown (1968) contained the song "Fire", a chart-topping hit single in the United Kingdom, Canada and the United States, with Crane's organ and brass arrangement to the fore.

During their first tour of the USA in 1968, Crane suffered a nervous breakdown and returned to the UK where he spent 3 or 4 months in the mental hospital at Banstead. Crane rejoined the band but on a subsequent tour of the USA, the band disintegrated in June 1969 when Arthur Brown temporarily disappeared to a commune and Crane and drummer Carl Palmer (later of Emerson, Lake & Palmer) left to form Atomic Rooster, playing their first concert at the Lyceum in London on 29 August headlining over Deep Purple. Atomic Rooster enjoyed success in 1971 with two hit singles, "Tomorrow Night", and "Devil's Answer". Crane was the one constant member of the band through their almost constantly changing lineups, and wrote a slim majority of their material.

Crane suffered from bipolar disorder from at least 1968 onwards, periodically necessitating treatment at both out- and inpatient mental health treatment facilities.

He collaborated with other musicians on a number of albums, including Rory Gallagher (Rory Gallagher, 1971), Arthur Brown (Faster Than The Speed Of Light, 1979), Peter Green, Richard Wahnfried and Dexys Midnight Runners (Don't Stand Me Down, 1985). In 1983 he was part of the one-off blues outfit, Katmandu, with Ray Dorset, Len Surtees and Peter Green, who recorded the album A Case for the Blues.

Crane died of a deliberate overdose of Anadin tablets in 1989 at the age of 45.
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MORE ABOUT VINCENT CRANE
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BIOGRAPHY/AMG/ARTHUR BROWN
Richie Unterberger
One of the most electrifying one-shot artists of the '60s, British singer Arthur Brown briefly set the charts alight in 1968, as well as thrilling audiences with his theatrical performances, which saw him wearing helmets of fire and outlandish costumes. His debut album was surely one of the most left-field commercial successes of the late '60s, if not of rock history. In addition to topping the British charts (and reaching number two in the U.S.) with his brilliantly demonic single "Fire," the self-proclaimed god of hellfire actually scored a Top Ten LP with his 1968 debut. Unveiling Brown's demented, fire-obsessed lyrical visions and swooping, theatrical vocals, it showcased his band's manic, agitated psychedelic sound, which was anchored by incendiary drumming, Pete Townshend's production, and an organist who could be best described as Jimmy Smith on acid. Brown's original band broke up in early 1969; in the early '70s he released several albums with Kingdom Come, which saw him pursuing a maddeningly obscure and less exciting brand of art rock. He recorded off and on after, with an additional flash of fame springing from his role as a priest in the film Tommy.
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WEBSITE
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TO THE TOP
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11222 - ARTHUR BROWNS KINGDOM COME - JAM (1994)

ARTHUR BROWNS KINGDOM COME
''JAM''
1995
RECORDED IN 1970
45:26
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1 Jungle drums 06:20
2 Inconstant wisdom 02:51
3 Water 06:06
4 The finger 06:27
5 Early morning 04:50
6 Waterfall 04:04
7 Beholdin' 09:04
8 Water is my friend 02:33
9 Elementallity 03:06
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Rob Tait/Drums
''Goodge'' Harris/Keyboards
Mystery Man/Keyboards, Guitars
Bob Ellwood/Guitars
Dave Ambrose/Bass Guitar
Pete Bailey/Percussion
Arthur Brown/Vocals & Recorder
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ABOUT THE ALBUM
DISCOGS
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BIOGRAPHY/AMG
Rovi
This UK band was formed in 1971 by the eccentric Arthur Brown (b. Arthur Wilton-Brown, 24 June 1944, Whitby, Yorkshire, England), a vocalist who had achieved momentary commercial fame three years earlier with his memorable single, "Fire". This new venture was completed by Andrew Dalby (b. Gainsborough, England; guitar), Julian Paul Brown (b. Liverpool, England; synthesizer), Michael Harris (keyboards), Desmond Fisher (bass) and Martin Steer (drums), a line-up immortalized in the film Glastonbury Fayre. Their debut album, Galactic Zoo Dossier, was a radical, experimental set, and featured an extended version of "Space Plucks", a piece the singer had written for his previous band with organist Vincent Crane. This high standard was sadly not maintained on its follow-up, Kingdom Come, which relied on contemporary progressive styles and featured new bass player Phil Shutt. Harris and Steer were dropped from the band for Journey, on which Brown, Dalby and Shutt were joined by keyboardist Victor Peraino and a drum machine. Kingdom Come broke up completely when their founder embarked on an erratic solo career.
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BIOGRAPHY/AMG
Richie Unterberger
One of the most electrifying one-shot artists of the '60s, British singer Arthur Brown briefly set the charts alight in 1968, as well as thrilling audiences with his theatrical performances, which saw him wearing helmets of fire and outlandish costumes. His debut album was surely one of the most left-field commercial successes of the late '60s, if not of rock history. In addition to topping the British charts (and reaching number two in the U.S.) with his brilliantly demonic single "Fire," the self-proclaimed god of hellfire actually scored a Top Ten LP with his 1968 debut. Unveiling Brown's demented, fire-obsessed lyrical visions and swooping, theatrical vocals, it showcased his band's manic, agitated psychedelic sound, which was anchored by incendiary drumming, Pete Townshend's production, and an organist who could be best described as Jimmy Smith on acid. Brown's original band broke up in early 1969; in the early '70s he released several albums with Kingdom Come, which saw him pursuing a maddeningly obscure and less exciting brand of art rock. He recorded off and on after, with an additional flash of fame springing from his role as a priest in the film Tommy.
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WEBSITE
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TO THE TOP
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11221 - ARTHUR BROWN - ORDER FROM CHAOS - LIVE 1993 (1993)

ARTHUR BROWN
''ORDER FROM CHAOS - LIVE 1993''
1993
76:02
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1 When You Open The Door 06:56 (Arthur Brown, Jeff Danford, Randall Ward)
2 When You Open The Door Pt 2 03:58 (Arthur Brown, Jeff Danford, Randall Ward)
3 King Of England 07:54 (Arthur Brown, Craig Leon)
4 Juices Of Love 05:36 (Arthur Brown)
5 Nightmare 04:24 (Arthur Brown)
6 Fire Poem 03:16 (Mike Finesilver, Peter Ker, Vincent Crane, Arthur Brown)
7 Fire 04:02 (Mike Finesilver, Peter Ker, Vincent Crane, Arthur Brown)
8 Come And Buy 08:02 (Arthur Brown, Vincent Crane)
9 Pick It Up (Instrumental) 05:49 (Randall Ward)
10 Mandela 09:40 (Arthur Brown, Morgan)
11 Time Captives 11:09 (Arthur Brown, Kingdom Come)
12 I Put A Spell On You 05:10 (Screaming Jay Hawkins)
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Jeff Mays/Bass Guitar
Stuart Millsapps/Drums
Randall Ward/Guitar
Jeff Danford/Keyboards
Arthur Brown/Vocals
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ABOUT THE ALBUM
DISCOGS
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BIOGRAPHY/AMG
Rovi
This UK band was formed in 1971 by the eccentric Arthur Brown (b. Arthur Wilton-Brown, 24 June 1944, Whitby, Yorkshire, England), a vocalist who had achieved momentary commercial fame three years earlier with his memorable single, "Fire". This new venture was completed by Andrew Dalby (b. Gainsborough, England; guitar), Julian Paul Brown (b. Liverpool, England; synthesizer), Michael Harris (keyboards), Desmond Fisher (bass) and Martin Steer (drums), a line-up immortalized in the film Glastonbury Fayre. Their debut album, Galactic Zoo Dossier, was a radical, experimental set, and featured an extended version of "Space Plucks", a piece the singer had written for his previous band with organist Vincent Crane. This high standard was sadly not maintained on its follow-up, Kingdom Come, which relied on contemporary progressive styles and featured new bass player Phil Shutt. Harris and Steer were dropped from the band for Journey, on which Brown, Dalby and Shutt were joined by keyboardist Victor Peraino and a drum machine. Kingdom Come broke up completely when their founder embarked on an erratic solo career.
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BIOGRAPHY/AMG
Richie Unterberger
One of the most electrifying one-shot artists of the '60s, British singer Arthur Brown briefly set the charts alight in 1968, as well as thrilling audiences with his theatrical performances, which saw him wearing helmets of fire and outlandish costumes. His debut album was surely one of the most left-field commercial successes of the late '60s, if not of rock history. In addition to topping the British charts (and reaching number two in the U.S.) with his brilliantly demonic single "Fire," the self-proclaimed god of hellfire actually scored a Top Ten LP with his 1968 debut. Unveiling Brown's demented, fire-obsessed lyrical visions and swooping, theatrical vocals, it showcased his band's manic, agitated psychedelic sound, which was anchored by incendiary drumming, Pete Townshend's production, and an organist who could be best described as Jimmy Smith on acid. Brown's original band broke up in early 1969; in the early '70s he released several albums with Kingdom Come, which saw him pursuing a maddeningly obscure and less exciting brand of art rock. He recorded off and on after, with an additional flash of fame springing from his role as a priest in the film Tommy.
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WEBSITE
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TO THE TOP
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11220 - ARTHUR BROWN - REQUIEM (1982)

ARTHUR BROWN
''REQUIEM''
1982
59:25
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1 Chant - Shades 04:31
2 Animal People 05:58
3 Spirits Take Flight 04:32
4 Gabriel 05:32
5 Requiem 06:10
6 Machanicla Masseur 03:44
7 Busha-Busha 03:51
8 The Fire Ant And The Cockroaches 05:34
9 Tear Down The Wall 04:02
10 Santa Put A Spell On Me 02:59
11 Pale Stars 05:40
12 Chromatic Alley 02:49
13 Falling Up 03:56
********************
Sterling Smith / keyboards
Arthur Barrow / synth
Darrel Johansen / synth
Scott Morgan / drum programming
Will Alexander / synth
Arthur Brown / vocals
********************
ABOUT THE ALBUM
DISCOGS
********************
BIOGRAPHY/AMG
Rovi
This UK band was formed in 1971 by the eccentric Arthur Brown (b. Arthur Wilton-Brown, 24 June 1944, Whitby, Yorkshire, England), a vocalist who had achieved momentary commercial fame three years earlier with his memorable single, "Fire". This new venture was completed by Andrew Dalby (b. Gainsborough, England; guitar), Julian Paul Brown (b. Liverpool, England; synthesizer), Michael Harris (keyboards), Desmond Fisher (bass) and Martin Steer (drums), a line-up immortalized in the film Glastonbury Fayre. Their debut album, Galactic Zoo Dossier, was a radical, experimental set, and featured an extended version of "Space Plucks", a piece the singer had written for his previous band with organist Vincent Crane. This high standard was sadly not maintained on its follow-up, Kingdom Come, which relied on contemporary progressive styles and featured new bass player Phil Shutt. Harris and Steer were dropped from the band for Journey, on which Brown, Dalby and Shutt were joined by keyboardist Victor Peraino and a drum machine. Kingdom Come broke up completely when their founder embarked on an erratic solo career.
********************
BIOGRAPHY/AMG
Richie Unterberger
One of the most electrifying one-shot artists of the '60s, British singer Arthur Brown briefly set the charts alight in 1968, as well as thrilling audiences with his theatrical performances, which saw him wearing helmets of fire and outlandish costumes. His debut album was surely one of the most left-field commercial successes of the late '60s, if not of rock history. In addition to topping the British charts (and reaching number two in the U.S.) with his brilliantly demonic single "Fire," the self-proclaimed god of hellfire actually scored a Top Ten LP with his 1968 debut. Unveiling Brown's demented, fire-obsessed lyrical visions and swooping, theatrical vocals, it showcased his band's manic, agitated psychedelic sound, which was anchored by incendiary drumming, Pete Townshend's production, and an organist who could be best described as Jimmy Smith on acid. Brown's original band broke up in early 1969; in the early '70s he released several albums with Kingdom Come, which saw him pursuing a maddeningly obscure and less exciting brand of art rock. He recorded off and on after, with an additional flash of fame springing from his role as a priest in the film Tommy.
********************
WEBSITE
********************
TO THE TOP
********************

11219 - ARTHUR BROWN - SPEAK NO TECH (1981)

ARTHUR BROWN
''SPEAK NO TECH (BONUS TRACKS)''
1997
1981
64:51
********************
1 King Of England 04:22
2 Conversations 04:30
3 Strange Romance 02:53
4 Not Fade Away 03:30
5 The Morning Was Cold 04:38
6 Speak No Tech 05:15
7 Names Are Names 04:01
8 Love Lady 03:24
9 Big Guns Don't Die 04:51
10 Take A Picture 02:42
BONUS TRACKS:
11 You Don't Know 03:36
12 Old Friends My Colleague 04:49
13 Lost My Soul In London 03:12
14 Joined Forever 05:19
15 Mandala 03:28
16 Desert Floor 04:12
********************
ABOUT THE ALBUM
DISCOGS
********************
BIOGRAPHY/AMG
Rovi
This UK band was formed in 1971 by the eccentric Arthur Brown (b. Arthur Wilton-Brown, 24 June 1944, Whitby, Yorkshire, England), a vocalist who had achieved momentary commercial fame three years earlier with his memorable single, "Fire". This new venture was completed by Andrew Dalby (b. Gainsborough, England; guitar), Julian Paul Brown (b. Liverpool, England; synthesizer), Michael Harris (keyboards), Desmond Fisher (bass) and Martin Steer (drums), a line-up immortalized in the film Glastonbury Fayre. Their debut album, Galactic Zoo Dossier, was a radical, experimental set, and featured an extended version of "Space Plucks", a piece the singer had written for his previous band with organist Vincent Crane. This high standard was sadly not maintained on its follow-up, Kingdom Come, which relied on contemporary progressive styles and featured new bass player Phil Shutt. Harris and Steer were dropped from the band for Journey, on which Brown, Dalby and Shutt were joined by keyboardist Victor Peraino and a drum machine. Kingdom Come broke up completely when their founder embarked on an erratic solo career.
********************
BIOGRAPHY/AMG
Richie Unterberger
One of the most electrifying one-shot artists of the '60s, British singer Arthur Brown briefly set the charts alight in 1968, as well as thrilling audiences with his theatrical performances, which saw him wearing helmets of fire and outlandish costumes. His debut album was surely one of the most left-field commercial successes of the late '60s, if not of rock history. In addition to topping the British charts (and reaching number two in the U.S.) with his brilliantly demonic single "Fire," the self-proclaimed god of hellfire actually scored a Top Ten LP with his 1968 debut. Unveiling Brown's demented, fire-obsessed lyrical visions and swooping, theatrical vocals, it showcased his band's manic, agitated psychedelic sound, which was anchored by incendiary drumming, Pete Townshend's production, and an organist who could be best described as Jimmy Smith on acid. Brown's original band broke up in early 1969; in the early '70s he released several albums with Kingdom Come, which saw him pursuing a maddeningly obscure and less exciting brand of art rock. He recorded off and on after, with an additional flash of fame springing from his role as a priest in the film Tommy.
********************
WEBSITE
********************
TO THE TOP
********************

11205 - ARTHUR BROWN/VINCENT CRANE - FASTER THAN THE SPEED OF LIGHT (1979)

ARTHUR BROWN VINCENT CRANE
''FASTER THAN THE SPEED OF LIGHT''
1979
44:50
********************
1 Storm Clouds 01:04
2 Nothing We Can Do 05:12
3 No 02:29
4 Bright Gateway 01:22
5 Timeship 06:11
6 Come And Joint The Fun 05:39
7 Storm Wind 00:28
8 Storm 05:43
9 This Is It 03:17
10 Lightrope 03:53 (Brown, Crane, Mike Finesilver)
11 Balance 01:33
12 Faster Than The Speed Of Light 07:54
Tracks By Brown & Crane, Except 10
********************
Arthur Brown/Vocals
Vincent Crane/Hammond Organ, Piano, Clavinet, Minimoog
Clifford Venner/Drums, Percussion
Derek Damon/Vocal Harmonies Arrangements
The Members Of The Frankfurt Symphony Orchestra
********************
ABOUT THE ALBUM
DISCOGS
********************
REVIEW/AMG
Stewart Mason
Faster Than the Speed of Light got in just under the deadline of the new decade, a spectacle of grand progressive rock excess in a style that just wouldn't be possible in the '80s. The instrumentation on this album consists of Arthur Brown on vocals, Atomic Rooster's Vincent Crane (who had co-written Brown's signature track, "Fire," in 1968) on organ and piano, and drummer Clifford Venner, plus the entirety of the Frankfurt Symphony Orchestra. The resulting prog rock symphonics mesh somewhat uneasily with Crane's forward-looking synth rock experiments on songs like "Nothing We Can Do," but as a whole, this apocalyptic concept album makes a virtue of its own overblown pomposity. Arthur Brown always had a knack for deflating his occasionally pretentious lyrics with a refreshing modicum of dry wit, which holds him in good stead on the opening "Storm Clouds." On the centerpiece track, "Storm," Brown sings in an unexpected falsetto over a synth-dominated backing track reminiscent of some of Frank Zappa's mid-'70s work. Of course, all the various elements come together on the climactic title track, featuring some of Brown's most enjoyably overwrought vocals, a keyboard solo that Keith Emerson himself might find excessive, and some of the biggest orchestral swells to be found in the entire symphonic rock genre. It's all a bit over the top, naturally, but somehow it doesn't seem pretentious or annoying.
********************
BIOGRAPHY/AMG
Rovi
This UK band was formed in 1971 by the eccentric Arthur Brown (b. Arthur Wilton-Brown, 24 June 1944, Whitby, Yorkshire, England), a vocalist who had achieved momentary commercial fame three years earlier with his memorable single, "Fire". This new venture was completed by Andrew Dalby (b. Gainsborough, England; guitar), Julian Paul Brown (b. Liverpool, England; synthesizer), Michael Harris (keyboards), Desmond Fisher (bass) and Martin Steer (drums), a line-up immortalized in the film Glastonbury Fayre. Their debut album, Galactic Zoo Dossier, was a radical, experimental set, and featured an extended version of "Space Plucks", a piece the singer had written for his previous band with organist Vincent Crane. This high standard was sadly not maintained on its follow-up, Kingdom Come, which relied on contemporary progressive styles and featured new bass player Phil Shutt. Harris and Steer were dropped from the band for Journey, on which Brown, Dalby and Shutt were joined by keyboardist Victor Peraino and a drum machine. Kingdom Come broke up completely when their founder embarked on an erratic solo career.
********************
BIOGRAPHY/AMG
Richie Unterberger
One of the most electrifying one-shot artists of the '60s, British singer Arthur Brown briefly set the charts alight in 1968, as well as thrilling audiences with his theatrical performances, which saw him wearing helmets of fire and outlandish costumes. His debut album was surely one of the most left-field commercial successes of the late '60s, if not of rock history. In addition to topping the British charts (and reaching number two in the U.S.) with his brilliantly demonic single "Fire," the self-proclaimed god of hellfire actually scored a Top Ten LP with his 1968 debut. Unveiling Brown's demented, fire-obsessed lyrical visions and swooping, theatrical vocals, it showcased his band's manic, agitated psychedelic sound, which was anchored by incendiary drumming, Pete Townshend's production, and an organist who could be best described as Jimmy Smith on acid. Brown's original band broke up in early 1969; in the early '70s he released several albums with Kingdom Come, which saw him pursuing a maddeningly obscure and less exciting brand of art rock. He recorded off and on after, with an additional flash of fame springing from his role as a priest in the film Tommy.
********************
WEBSITE
********************
TO THE TOP
********************

11204 - ARTHUR BROWN - CHISHOLM IN MY BOSOM (1977) (REPOST)

ARTHUR BROWN
''CHISHOLM IN MY BOSOM''
1977
44:01
********************
1. Need To Know/3:42 (Andy Dalby)
2. Monkey Walk/4:45
3. Let A Little Sunshine (Into Your Life)/4:41
4. I Put A Spell On You/4:15 (Screamin' Jay Hawkins)
5. She's On My Mind/3:28
6. The Lord Is My Saviour/3:41
7. Chisholm In My Bosom/19:29
Tracks By Brown, Except 1, 4
********************
Arthur Brown /Vocals
Charlie Charles /Drums
Vincent Crane /Keyboards
Phil Cranham /Guitar (Bass)
Chas Cronk /Guitar (Bass)
Phil Curtis /Guitar (Bass)
Andy Dalby /Guitar
Eugene Dilibero /Guitar
D. Harper /Guitar (Bass)
Goodge Harris /Keyboards
Steve Holly /Drums
Robin James /Percussion
Robert Kirby /Keyboards
Rick Kulack /Guitar
R.J. Lange /Percussion, Vocals (Background)
John Lingwood /Drums
John McBurnie /Guitar
Bobbie McGhee /Percussion, Vocals (Background)
Morris Pert /Percussion
Mike Storey /Keyboards
Jacquie Sullivan /Percussion, Vocals (Background)
Tony Uter /Percussion
Norman Watt-Roy /Guitar (Bass)
********************
BIOGRAPHY/AMG
Rovi
This UK band was formed in 1971 by the eccentric Arthur Brown (b. Arthur Wilton-Brown, 24 June 1944, Whitby, Yorkshire, England), a vocalist who had achieved momentary commercial fame three years earlier with his memorable single, "Fire". This new venture was completed by Andrew Dalby (b. Gainsborough, England; guitar), Julian Paul Brown (b. Liverpool, England; synthesizer), Michael Harris (keyboards), Desmond Fisher (bass) and Martin Steer (drums), a line-up immortalized in the film Glastonbury Fayre. Their debut album, Galactic Zoo Dossier, was a radical, experimental set, and featured an extended version of "Space Plucks", a piece the singer had written for his previous band with organist Vincent Crane. This high standard was sadly not maintained on its follow-up, Kingdom Come, which relied on contemporary progressive styles and featured new bass player Phil Shutt. Harris and Steer were dropped from the band for Journey, on which Brown, Dalby and Shutt were joined by keyboardist Victor Peraino and a drum machine. Kingdom Come broke up completely when their founder embarked on an erratic solo career.
********************
BIOGRAPHY/AMG
Richie Unterberger
One of the most electrifying one-shot artists of the '60s, British singer Arthur Brown briefly set the charts alight in 1968, as well as thrilling audiences with his theatrical performances, which saw him wearing helmets of fire and outlandish costumes. His debut album was surely one of the most left-field commercial successes of the late '60s, if not of rock history. In addition to topping the British charts (and reaching number two in the U.S.) with his brilliantly demonic single "Fire," the self-proclaimed god of hellfire actually scored a Top Ten LP with his 1968 debut. Unveiling Brown's demented, fire-obsessed lyrical visions and swooping, theatrical vocals, it showcased his band's manic, agitated psychedelic sound, which was anchored by incendiary drumming, Pete Townshend's production, and an organist who could be best described as Jimmy Smith on acid. Brown's original band broke up in early 1969; in the early '70s he released several albums with Kingdom Come, which saw him pursuing a maddeningly obscure and less exciting brand of art rock. He recorded off and on after, with an additional flash of fame springing from his role as a priest in the film Tommy.
********************
WEBSITE
********************

11203 - ARTHUR BROWN'S KINGDOM COME - 'THE LOST EARS', DISC TWO (1976)

ARTHUR BROWN'S KINGDOM COME
'''THE LOST EARS', DISC TWO''
1976
88:52
********************
DISC ONE (44:35)
1 Internal Messenger 04:21
2 Space Plucks 03:11
3 Trouble-Brains-Night Of The Pigs 03:59
4 Creep-Creation-Gypsy Escape 11:36
5 Love Is A Spirit 03:56
6 The Experiment 08:45
7 The Hymn 06:01
8 The Traffic Light Song 02:42
**********
DISC TWO (44:17)
1 Spirit Of Joy 02:47
2 Time Captives 07:10
3 Conception 02:04
4 Come Alive 08:24
5 Sunrise 06:33
6 Triangles 03:05
7 Metal Monster 01:48
8 Space Plucks-Dem Bones 05:53
9 So High Up Here 02:53
10 Through The Planets 03:35
********************
Arthur Brown/Vocals
John Marshall/Drums
McCullogh/Keyboards
Dennis Taylor/Bass Guitar
Drachen Theaker/Drums
Thunderthighs/Vocals
********************
ABOUT THE ALBUM
DISCOGS
********************
REVIEW/AMG
Joe Viglione
The Lost Ears compiles almost 90 minutes of Arthur Brown's Kingdom Come from the years 1968-1972. There is nothing of the perverse majesty that his "Fire" single boasted, save Arthur Brown's personality sprinkled over these four sides. There are three unreleased tracks by Brown's Puddletown Express band and extensive liner notes from Chris Welch of Melody Maker, dated 1976. Those notes remind listeners that Alice Cooper cites Arthur as an influence, and the story of a night this band opened for Alice adds to the intrigue as the heavy progressive music plays. Andy McCulloch of Greenslade and Carl Palmer of Emerson, Lake & Palmer went through the revolving door of Arthur Brown's musical ministry, and his influence on those groups -- at least musically -- is documented here. "Love Is a Spirit" is an almost a cappella opening to side two, with just the keyboards creating an eerie church-like feel before the band kicks in and gets heavier, a thick dirge that is the rule, not the exception, and maybe a reason why this extraordinary artist never fully caught on. "The Experiment" is Deep Purple during their Tetragrammaton phase, and maybe Arthur Brown would have been better off following their lead and reinventing Joe South material. That Vanilla Fudge formula launched Deep Purple while Goodge Harris does his best Jon Lord, but the music remains somewhat inaccessible. Brown shifts somewhere between Sylvester & the Hot Band to some Frank Zappa-inspired nightmare. "Time Captives" is excellent science fiction rock, and one gets the feeling that, had the Crazy World of Arthur Brown, Kingdom Come, and Puddletown Express had a Shep Gordon managing or an Andy Warhol endorsing him, this controlled insanity would have reached a wider audience. The concise and succinct power of his 1968 smash is missing on The Lost Ears, and despite the excellent musicianship, this lengthy collection becomes an ordeal. The two and a half minutes of "Conception" have Arthur Brown howling like some whacked-out witch doctor, and it's entertaining, but you aren't going to play it three times in a row, and Dr. John the Night Tripper learned how to bring that persona full circle. The Lost Ears is an important document of an innovative figure, a Screamin' Jay Hawkins from a far distant future. Missing are hit singles, and Alice Cooper could have repaid the musical debt by helping Arthur Brown out with that. The Puddletown Express material sounds like Syd Barrett escaped from the asylum to make another record, and who's to say that's a bad thing?
********************
BIOGRAPHY/AMG
Rovi
This UK band was formed in 1971 by the eccentric Arthur Brown (b. Arthur Wilton-Brown, 24 June 1944, Whitby, Yorkshire, England), a vocalist who had achieved momentary commercial fame three years earlier with his memorable single, "Fire". This new venture was completed by Andrew Dalby (b. Gainsborough, England; guitar), Julian Paul Brown (b. Liverpool, England; synthesizer), Michael Harris (keyboards), Desmond Fisher (bass) and Martin Steer (drums), a line-up immortalized in the film Glastonbury Fayre. Their debut album, Galactic Zoo Dossier, was a radical, experimental set, and featured an extended version of "Space Plucks", a piece the singer had written for his previous band with organist Vincent Crane. This high standard was sadly not maintained on its follow-up, Kingdom Come, which relied on contemporary progressive styles and featured new bass player Phil Shutt. Harris and Steer were dropped from the band for Journey, on which Brown, Dalby and Shutt were joined by keyboardist Victor Peraino and a drum machine. Kingdom Come broke up completely when their founder embarked on an erratic solo career.
********************
BIOGRAPHY/AMG
Richie Unterberger
One of the most electrifying one-shot artists of the '60s, British singer Arthur Brown briefly set the charts alight in 1968, as well as thrilling audiences with his theatrical performances, which saw him wearing helmets of fire and outlandish costumes. His debut album was surely one of the most left-field commercial successes of the late '60s, if not of rock history. In addition to topping the British charts (and reaching number two in the U.S.) with his brilliantly demonic single "Fire," the self-proclaimed god of hellfire actually scored a Top Ten LP with his 1968 debut. Unveiling Brown's demented, fire-obsessed lyrical visions and swooping, theatrical vocals, it showcased his band's manic, agitated psychedelic sound, which was anchored by incendiary drumming, Pete Townshend's production, and an organist who could be best described as Jimmy Smith on acid. Brown's original band broke up in early 1969; in the early '70s he released several albums with Kingdom Come, which saw him pursuing a maddeningly obscure and less exciting brand of art rock. He recorded off and on after, with an additional flash of fame springing from his role as a priest in the film Tommy.
********************
WEBSITE
********************
TO THE TOP
********************

11202 - ARTHUR BROWN'S KINGDOM COME - 'THE LOST EARS', DISC ONE (1976)

ARTHUR BROWN'S KINGDOM COME
'''THE LOST EARS', DISC ONE''
1976
88:52
********************
DISC ONE (44:35)
1 Internal Messenger 04:21
2 Space Plucks 03:11
3 Trouble-Brains-Night Of The Pigs 03:59
4 Creep-Creation-Gypsy Escape 11:36
5 Love Is A Spirit 03:56
6 The Experiment 08:45
7 The Hymn 06:01
8 The Traffic Light Song 02:42
**********
DISC TWO (44:17)
1 Spirit Of Joy 02:47
2 Time Captives 07:10
3 Conception 02:04
4 Come Alive 08:24
5 Sunrise 06:33
6 Triangles 03:05
7 Metal Monster 01:48
8 Space Plucks-Dem Bones 05:53
9 So High Up Here 02:53
10 Through The Planets 03:35
********************
Arthur Brown/Vocals
John Marshall/Drums
McCullogh/Keyboards
Dennis Taylor/Bass Guitar
Drachen Theaker/Drums
Thunderthighs/Vocals
********************
ABOUT THE ALBUM
DISCOGS
********************
REVIEW/AMG
Joe Viglione
The Lost Ears compiles almost 90 minutes of Arthur Brown's Kingdom Come from the years 1968-1972. There is nothing of the perverse majesty that his "Fire" single boasted, save Arthur Brown's personality sprinkled over these four sides. There are three unreleased tracks by Brown's Puddletown Express band and extensive liner notes from Chris Welch of Melody Maker, dated 1976. Those notes remind listeners that Alice Cooper cites Arthur as an influence, and the story of a night this band opened for Alice adds to the intrigue as the heavy progressive music plays. Andy McCulloch of Greenslade and Carl Palmer of Emerson, Lake & Palmer went through the revolving door of Arthur Brown's musical ministry, and his influence on those groups -- at least musically -- is documented here. "Love Is a Spirit" is an almost a cappella opening to side two, with just the keyboards creating an eerie church-like feel before the band kicks in and gets heavier, a thick dirge that is the rule, not the exception, and maybe a reason why this extraordinary artist never fully caught on. "The Experiment" is Deep Purple during their Tetragrammaton phase, and maybe Arthur Brown would have been better off following their lead and reinventing Joe South material. That Vanilla Fudge formula launched Deep Purple while Goodge Harris does his best Jon Lord, but the music remains somewhat inaccessible. Brown shifts somewhere between Sylvester & the Hot Band to some Frank Zappa-inspired nightmare. "Time Captives" is excellent science fiction rock, and one gets the feeling that, had the Crazy World of Arthur Brown, Kingdom Come, and Puddletown Express had a Shep Gordon managing or an Andy Warhol endorsing him, this controlled insanity would have reached a wider audience. The concise and succinct power of his 1968 smash is missing on The Lost Ears, and despite the excellent musicianship, this lengthy collection becomes an ordeal. The two and a half minutes of "Conception" have Arthur Brown howling like some whacked-out witch doctor, and it's entertaining, but you aren't going to play it three times in a row, and Dr. John the Night Tripper learned how to bring that persona full circle. The Lost Ears is an important document of an innovative figure, a Screamin' Jay Hawkins from a far distant future. Missing are hit singles, and Alice Cooper could have repaid the musical debt by helping Arthur Brown out with that. The Puddletown Express material sounds like Syd Barrett escaped from the asylum to make another record, and who's to say that's a bad thing?
********************
BIOGRAPHY/AMG
Rovi
This UK band was formed in 1971 by the eccentric Arthur Brown (b. Arthur Wilton-Brown, 24 June 1944, Whitby, Yorkshire, England), a vocalist who had achieved momentary commercial fame three years earlier with his memorable single, "Fire". This new venture was completed by Andrew Dalby (b. Gainsborough, England; guitar), Julian Paul Brown (b. Liverpool, England; synthesizer), Michael Harris (keyboards), Desmond Fisher (bass) and Martin Steer (drums), a line-up immortalized in the film Glastonbury Fayre. Their debut album, Galactic Zoo Dossier, was a radical, experimental set, and featured an extended version of "Space Plucks", a piece the singer had written for his previous band with organist Vincent Crane. This high standard was sadly not maintained on its follow-up, Kingdom Come, which relied on contemporary progressive styles and featured new bass player Phil Shutt. Harris and Steer were dropped from the band for Journey, on which Brown, Dalby and Shutt were joined by keyboardist Victor Peraino and a drum machine. Kingdom Come broke up completely when their founder embarked on an erratic solo career.
********************
BIOGRAPHY/AMG
Richie Unterberger
One of the most electrifying one-shot artists of the '60s, British singer Arthur Brown briefly set the charts alight in 1968, as well as thrilling audiences with his theatrical performances, which saw him wearing helmets of fire and outlandish costumes. His debut album was surely one of the most left-field commercial successes of the late '60s, if not of rock history. In addition to topping the British charts (and reaching number two in the U.S.) with his brilliantly demonic single "Fire," the self-proclaimed god of hellfire actually scored a Top Ten LP with his 1968 debut. Unveiling Brown's demented, fire-obsessed lyrical visions and swooping, theatrical vocals, it showcased his band's manic, agitated psychedelic sound, which was anchored by incendiary drumming, Pete Townshend's production, and an organist who could be best described as Jimmy Smith on acid. Brown's original band broke up in early 1969; in the early '70s he released several albums with Kingdom Come, which saw him pursuing a maddeningly obscure and less exciting brand of art rock. He recorded off and on after, with an additional flash of fame springing from his role as a priest in the film Tommy.
********************
WEBSITE
********************
TO THE TOP
********************

11201 - DANCE WITH ARTHUR BROWN (1975)

ARTHUR BROWN
''DANCE''
1975
46:42
********************
01 We've Got To Get Out Of This Place 03:29
02 Helen With The Sun 07:32
03 Take A Chance 05:03
04 Crazy 02:15
05 Hearts And Minds 03:13
06 Dance 05:32
07 Out Of Time 03:37
08 Quietly With Tact 04:28
09 Soul Garden 04:43
10 The Lord Will Find A Way 04:16
11 Is There Nothing Beyond God 02:26
********************
Arranged By Andy Dalby
Arranged By Strings Don Gould (tracks 1, 7)
Backing Vocals - Fuzzy (tracks 3, 4, 5, 6, 8), Mutt (tracks 3, 4, 5, 6, 8), Philip Bradley (track 11), Stevie (tracks 3, 4, 5, 6, 8), Thunderthighs (tracks 1, 7)
Bass - James Morgan (track 11), Lee Robinson (tracks 2, 3, 4, 5, 8, 10), Lloyd Parks
(track 9), Steve Yorke (tracks 1, 6, 7)
Bells - Q Modo (track 6)
Castanets - Enrico Smith (track 5)
Choir - The Gospelayres (track 10)
Clavinet - Ken Elliott (track3)
Congas - Drachen Theaker (tracks 3, 6), Malcolm Flynn (track 11), Pat Lewis (track 9)
Drums - Charlie Charles (tracks 1, 2, 3, 4, 5, 6, 7, 8, 10, 11), Charley Dunbar (track 9)
Drums (Plank) - Drachen Theaker (tracks 6)
Electric Piano - Ken Elliott (track 6)
Gamelan (Anglong) - Les Adey (track 2), Lindsay Kidd (track 2)
Guitar - Andy Dalby (tracks 1, 2, 3, 4, 5, 6, 7, 8, 10, 11), Ranche McLean (track 9)
Keyboards - Pete Solley (tracks 1, 7, 10)
Organ - Errol Nelson (track 9)
Percussion - Cynthia Richards (track 9)
Piano - Errol Nelson (track 9), Keith Tippet (tracks 2, 5)
Saxophone - George Khan (tracks 3, 4, 9)
Synthesizer (Moog) - Ken Elliott (track 3), Pete Solley (tracks 2, 11)
Tabla - Drachen Theaker (track 3)
Violin - Stuart Gordon (track 9)
Vocals - Arthur Brown (tracks 1 To 11)
Written By Andy Dalby (tracks 2, 8), Arthur Brown (tracks 3, 4, 5, 6, 9, 11), Mick Jagger / Keith Richards (tracks 7), Lee Robinson (track 10), Leslie Adey (tracks 2, 8). Barry Mann /
Cynthia Weil (track 1)
Notes:
Thanks To Dave For The Missing Chord "On Hearts And Minds"
Skin Flesh & Bones Are Featured On Track 9 And Appear Courtsey Of Trojan Records
********************
REVIEW/AMG
Dave Thompson
By the mid-1970s, Arthur Brown had spent some six years operating so far below the radar that many people who remembered his "Fire" chart-topper could easily be excused for thinking he'd vanished altogether. Of course, aficionados knew he'd been busy elsewhere, scouring the progressive underground with Journey and Kingdom Come, and fans of those projects were non-plussed indeed when Brown suddenly reappeared in the mainstream, turning up on the Saturday morning British TV pop program, Supersonic, to plug his latest single. Resplendent in gold wellies, Brown drew the Animals' "We Gotta Get Out of This Place" to new heights of dementia -- the single itself was ultimately a flop, but the performance was killer, and all ears were open for the album that followed, Dance. Unfortunately, they quickly closed back up again, as the LP was revealed not as the long-awaited second coming of the "God of Hell Fire", but as a lackluster mingling of, indeed, dancey rhythms and dirgey ditties, a dry, dull collection that swept every last iota of Brown's past reputation aside, in search of an elusive commercialism. Brown himself had promised beforehand that he intended what would today be considered a "World Music" album, absorbing dance rhythms from around the world, but that plan appears to have dissipated once he got into the studio, and only one further track demanded the listener's attention, as Brown linked with Toots and the Maytals for the tumultuous "Soul Garden." Elsewhere, however, there are few highlights and even fewer tracks you might return to later. Quite simply, alongside its equally ill-conceived follow-up, Chisholm in My Bosom, it is the sound of desperation grinding against redundancy.
********************
BIOGRAPHY
by Rovi
This UK band was formed in 1971 by the eccentric Arthur Brown (b. Arthur Wilton-Brown, 24 June 1944, Whitby, Yorkshire, England), a vocalist who had achieved momentary commercial fame three years earlier with his memorable single, "Fire". This new venture was completed by Andrew Dalby (b. Gainsborough, England; guitar), Julian Paul Brown (b. Liverpool, England; synthesizer), Michael Harris (keyboards), Desmond Fisher (bass) and Martin Steer (drums), a line-up immortalized in the film Glastonbury Fayre. Their debut album, Galactic Zoo Dossier, was a radical, experimental set, and featured an extended version of "Space Plucks", a piece the singer had written for his previous band with organist Vincent Crane. This high standard was sadly not maintained on its follow-up, Kingdom Come, which relied on contemporary progressive styles and featured new bass player Phil Shutt. Harris and Steer were dropped from the band for Journey, on which Brown, Dalby and Shutt were joined by keyboardist Victor Peraino and a drum machine. Kingdom Come broke up completely when their founder embarked on an erratic solo career.
********************
BIOGRAPHY/AMG
Richie Unterberger
One of the most electrifying one-shot artists of the '60s, British singer Arthur Brown briefly set the charts alight in 1968, as well as thrilling audiences with his theatrical performances, which saw him wearing helmets of fire and outlandish costumes. His debut album was surely one of the most left-field commercial successes of the late '60s, if not of rock history. In addition to topping the British charts (and reaching number two in the U.S.) with his brilliantly demonic single "Fire," the self-proclaimed god of hellfire actually scored a Top Ten LP with his 1968 debut. Unveiling Brown's demented, fire-obsessed lyrical visions and swooping, theatrical vocals, it showcased his band's manic, agitated psychedelic sound, which was anchored by incendiary drumming, Pete Townshend's production, and an organist who could be best described as Jimmy Smith on acid. Brown's original band broke up in early 1969; in the early '70s he released several albums with Kingdom Come, which saw him pursuing a maddeningly obscure and less exciting brand of art rock. He recorded off and on after, with an additional flash of fame springing from his role as a priest in the film Tommy.
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11177 - ARTHUR BROWN'S KINGDOM COME - KINGDOM COME (1973) (REPOST)

ARTHUR BROWN'S KINGDOM COME
''KINGDOM COME''
1973
61:07
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1. The Teacher/1:55
2. A Scientific Experiment Featuring "Lower Colonic Irrigation"/7:25
3. The Whirlpool/4:17
4. The Hymn/8:44
5. Water/8:10
6. Love Is (The Spirit That Will Never Die)/4:20
7. City Melody/6:10
8. Traffic Light Song/2:43
9. Traffic Light Song (Alternative Version)/2:42
10. The Hymn (Alternative Version)/5:58
11. A Scientific Experiment Featuring "Lower Colonic Irrigation" (Alternative Version)/8:43
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Arthur Brown /Vibraphone, Vocals
Phil Curtis /Bass
Andy Dalby /Guitar, Strings, Vocals
Goodge Harris /Keyboards, Vocals
Michael Harris /Keyboards
Phil Shutt /Bass, Vocals
Martin Steer /Drums
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BIOGRAPHY/AMG
Rovi
This UK band was formed in 1971 by the eccentric Arthur Brown (b. Arthur Wilton-Brown, 24 June 1944, Whitby, Yorkshire, England), a vocalist who had achieved momentary commercial fame three years earlier with his memorable single, "Fire". This new venture was completed by Andrew Dalby (b. Gainsborough, England; guitar), Julian Paul Brown (b. Liverpool, England; synthesizer), Michael Harris (keyboards), Desmond Fisher (bass) and Martin Steer (drums), a line-up immortalized in the film Glastonbury Fayre. Their debut album, Galactic Zoo Dossier, was a radical, experimental set, and featured an extended version of "Space Plucks", a piece the singer had written for his previous band with organist Vincent Crane. This high standard was sadly not maintained on its follow-up, Kingdom Come, which relied on contemporary progressive styles and featured new bass player Phil Shutt. Harris and Steer were dropped from the band for Journey, on which Brown, Dalby and Shutt were joined by keyboardist Victor Peraino and a drum machine. Kingdom Come broke up completely when their founder embarked on an erratic solo career.
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BIOGRAPHY/AMG
Richie Unterberger
One of the most electrifying one-shot artists of the '60s, British singer Arthur Brown briefly set the charts alight in 1968, as well as thrilling audiences with his theatrical performances, which saw him wearing helmets of fire and outlandish costumes. His debut album was surely one of the most left-field commercial successes of the late '60s, if not of rock history. In addition to topping the British charts (and reaching number two in the U.S.) with his brilliantly demonic single "Fire," the self-proclaimed god of hellfire actually scored a Top Ten LP with his 1968 debut. Unveiling Brown's demented, fire-obsessed lyrical visions and swooping, theatrical vocals, it showcased his band's manic, agitated psychedelic sound, which was anchored by incendiary drumming, Pete Townshend's production, and an organist who could be best described as Jimmy Smith on acid. Brown's original band broke up in early 1969; in the early '70s he released several albums with Kingdom Come, which saw him pursuing a maddeningly obscure and less exciting brand of art rock. He recorded off and on after, with an additional flash of fame springing from his role as a priest in the film Tommy.
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WEBSITE
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TO THE TOP
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