BRIAN AUGER

In 1971 Auger helped with the production and appeared in the sole release of Mogul Thrash, while at the same time he entered again the Advision Studios with his supporting group to record Oblivion Express' second album ''A better land''.The same year the sophomore release of the group saw the light on RCA.

What a huge dissapointment to see this great band after a nice debut turning the sound into more Pop, Psych Rock and R'n'B sounds.Generally ''A better land'' can be considered as a melodic Psychedelic/Pop Rock album with no connections to the early Jazz/Fusion style of Oblivion Express.Full of delicate vocals, smooth piano lines, melodic guitar work with jazzy touches and a laid-back drum/bass support, the album is an easy-going travel with tendency towards more emotional songwriting and no signs of technical or virtuosic passages.The music is very mellow, the tracks are simplistic and the atmosphere remains soft all the way.Auger's monster organ sounds are totally absent except for a couple notable solos, his Hammond now plays the secondary role of filling the sound in most of the tracks and the lack of his energetic runs are more than evident.

Unimpressive jazzy melodic Psych Rock.Questions about this sudden turn in sound remain until today.Only for archivists, collectors and die-hard fans of Psychedelic/Jazz Rock.

The master of Hammond organ Brian Auger was born in London in 1939, where he would produce some of his best music.His first band was Steampacket along with Julie Driscoll, with whom he would form Brian Auger & the Trinity in 1968 (featuring Gary Boyle of Isotope).With Trinity Auger produced two albums mixing Jazz, Blues and R'n'B, before founding his most prolific band Brian Auger's Oblivion Express in 1970.With Jim Mullen on guitars, Barry Dean on bass and Robbie McIntosh on drums Auger would record Oblivion Express'es eponymous debut at Advision Studios in London in November 1970, released the following year on RCA.

Side A contains some of the best early-70's Jazz-Rock to be heard, both the short ''Dragon Song'' and the long ''Total eclipse'' are pure Jazz-Rock/Fusion delights with some powerful, dominant bass lines by Dean, Auger performing incredibly on organ and some fine jazzy guitar soloing by Mullen.''The light'' on the other hand is closer to the sound of Trinity, groovy organ- based Fusion/R'n'B with plenty of vocals by Auger with a positive taste at the end.On the flipside ''On the road'' kicks off with more of the same style, pleasant Fusion with good jazzy guitar soloing and Auger rather performing on the background this time than delivering any virtuosic notes except the middle solo.With ''Sword'' the band seems to lack inspiration, another long organ/guitar-led rockin' Fusion cut, very similar to the previous to the point you can't set them musically apart.The last track ''Oblivion Express'' has a certain DEEP PURPLE vibe on its groove, being a good blend of organ-based Heavy Rock and guitar-based Jazz-Fusion with Mullen in pure orgasm by the middle and some fiery almost EMERSON-ian organ offerings by Auger later.

It's a pitty tha the album did not maintain the high inspiration of the first pair of compositions.But again the rest of it is played with some great passion and energy, so Brian Auger's Oblivion Express'es entry in discography can be listened easily even today.Strongly recommended...3.5 stars.

Brian Auger is one of the best interpreters Hammond organ, and a great jazz musician. Despite all the 60 has got to be appreciated and judged fabulously, until 1969 was able to release the album that launched him as a star. This "Open" is the debut album of Trinity, a sort of backing band of same Auger and Julie Driscoll, secretary of Giorgio Gomelsky in 60's and ex Steampacket (with the same Auger). Recorded in 1967 in five hours at London's Chappel studio "open" is not a Prog album in the strict sense but, at the same time, Open is not a Proto Prog album. Due to the greater maturity than other contemporary Prog albums "Open" already plays Prog, remaining, however, a simple example of jazz rock, although very eclectic. Sure there are times now almost ridiculous songs ("Lament For Miss Baker, for me) but it is hard to miss that "Open" is a good example of Jazzy Prog POP.

The opening track is "In and Out" (Montgomery), a fantastic composition of POP Jazz with a delicious big band arrangements, melodic guitar and hammond in a sort of musical duel. Hammond soli are great. "Isola Natale" (Brian Auger) is another great track, example of West Coast Jazz with a fantastic echo of "She's Not There" of Zombies as in "Isola Natale" is more than a veiled reference to it in the beautiful Hammond riffs. "Black Cat" (Brian Auger) is a powerful savage Rhythm'n'Blues with big band arrangements, great Hammond and Auger voice. "Lament For Miss Baker" is just a lament with a savage feel and good piano intro a la Nina Simone. "Tramp" (Fulson Mc Cracklin) is the debut song by Julie Driscoll in Open. "Tramp" is a good Soul Funky song (and previously a hit for Otis Redding and Carla Tomas) that is perfect for Julie's strident voice. Good in this song the riff of horns and good is also Hammond solo by Auger. "Why (Am I treated So Bad)" (Staples) is another good song for Julie and is perfect for the gentle atmosphere of the B side of "Open",presenting more or less the same style as the previous song but with a slower Soul rhythm and without a big band arrangement, despite the presence of horns. "A Kind Of Love In" (Auger, Driscoll) is another Rhythm'n'Blues song with great power and magic (and feeling). "Break It Up" (Usher) is another Rhythm'n'Blues, today not perfect but with good power, good piano and Funky Soul vocal parts (male chorus, female soloist). "Season Of The Witch" (Leitch) is yet another cover of Donovan's hits, here expanded enormously (but without becoming psychedelic). "Season Of The Witch" is a perfect song for Julie's voice, powerful, strident and magic. This is the last song of Original "Open" Lp but 2004 Sanctuary remastered version present also 4 bonus tracks."I've Gotta Go Now" (Pappalardi) is a perfect Rhythm'n'Blues/ Rock'n'Roll song but with POP atmosphere, although powerful and engaging, as well as a little wild and previously unreleased. "Save Me" (Ousley, Franklin, Franklin) is a great Funky Soul, perfect for Julie's voice with good horns and great power. "Save Me" was the second Trinity single, first with Julie. "The Road To Cairo" (Ackles) is a great song out in a sinle, a great relaxing power ballad with great strings and julie interpretation. Probably "Road To Cairo" is my preferred song in this edition of "Open" but at that time it was normal so magical songs as "road To Cairo" were not included in an LP. "This Wheel's on Fire" (Danko, Dylan) is another song for a single release (with "Black Cat"!), that present a good contortion of the atmospheres original, thanks to a Bluesy Beat arrangements. Too bad that the tape in the archives was not totally perfect, because it presents a slight distortion.

What I understand from listening to "Open" is that they are in front of a really nice album. Regardless of whether we want to consider "open" Prog or Jazz (not that it changes a lot) this should be stated. One side of the album is anything to Auger, the other is all for Julie. And the atmosphere change. Of course, many songs are similar. But Julie is the presence of changing things. A natural talent (probably greater than that of Brian Auger) made ​​ available to the Trinity and dosed carefully, so that, once the album is to me a little sad and I have to start tp listen to "open".

Today "Open" can not be called a masterpiece. Maybe it was not even in 1968. Nonetheless, "Open" is a little gem in the ocean of Jazz and Rock.

Brian Auger is a master of the keyboards, especially synthesizers. Yet his music so engaging with Trinity has become a very interesting sort of fusion, but in this album, a little too commercial. It is a serious fault, because it's really well written and arranged. But it forces me to not be fully satisfied.

"Search Party" is an album that contains songs recorded in 1977, 1980 and 1981 (with a bonus track on CD recorded in 1980), recorded with various musicians. I can say without a shadow of a doubt that the compositions on this album will not have points of excellence, but, nevertheless, these songs are in possess of some degree of intricacies typical of Jazz and Fusion. If, as I search the music. I'm going to look feeling and magic... I find much feeling and magic in "Search Party". Unfortunately, to my ear, "Search Party" is an album without those virtuosity that I would expect from Brian Auger and for this fact a little flat.

But apart from that I noticed, "Search Party" is a good example of Fusion, maybe a little flat and commercial. But really honest.

Brian Auger is a name many may have heard about, especially when it comes to significant keyboardists of the 70's. I've only known of his psych hit with Julie Driscoll, 'This Wheel's on Fire' (with some tasteful Mellotron use). Having come across an LP of this 'Straight Ahead' release of his a while back, I was very impressed initially, and listening to it now, dozens of times later, still blown away. The recipe is fairly standard for the softer jazz-rock he composes (or chooses to cover) - drums and percussion/bass/keys/guitar and also vocals. This album is an absolute joy for me, each and every time I listen to it. The album features 2 cuts on side 1, and three on side 2. The first half is pure bliss. This is competent light fusion with impressive talent, though I noticed a 'fluff' in track 1, the 9 min+ 'Beginning Again', an Auger original which has a pleasant groove, lots of percussion and uplifting lyrics with a feel-good chord pattern. Auger's voice is quite polite without detracting from the music, nor offensive. The electric piano solo is excellent, but at one point, is a touch sloppy. Minor flaw aside, quite a memorable opening piece. Track 2 clocks in at almost 11 minutes, and is a phenomenally mellow groove called 'Bumpin' on Sunset', credited to a Montgomery (Wes maybe ??). This is where perfection lies - the Hammond organ playing is fantastic, the atmospheric guitaring, that laid-back rhythm, everything absolutely in the right place. We even get some Moog and String synths to symphonise the piece up to the next level. This is the sort of choice thing to listen to on a balmy, summer evening with no interuptions. Or anytime, really. The title song is quite funky, more tasteful e- piano and vocals, and did I say e-piano ?.... Reminds me of a jazzier ARGENT (circa 'Circus'). The over 8 min 'Change' is again percussion-heavy, groovy, funky and features some cool guitar solos, vocals and psych sounding Hammond soloing that's reminiscent of the late, great Vincent Crane (ATOMIC ROOSTER). The album closes with a ballad, 'You'll Stay In My Heart' - which is again mellow and jazzy with plenty of e-piano. This is 1974, and the closest thing to it maybe some of Santana's early 70's classics, minus the overtly Latin touches. 4 stars.

From my first chidlhood glimpse of Steadman's groovily gruesome cover art I knew I was going to adore this album and nowhere did it disappoint. Here the ideals of the 60s were given a 240V jolt of the funk. This is no flower-waving bliss out - all the rage, fear, disappointment, paranoia and hope of the age are encapsulated in some really excellent jazz-rock. Ambrose & Thacker lay a solid foundation over which Driscoll's vocals swoop and soar while Auger's Hammond hollers and screams in a manner matched only by Hendrix. Richie Haven's "Indian Rope Man" gets a spooked, fusion re-vamp with a scorching Hammond solo, The Doors "Light My Fire" is as slinky and sensual as the lyrics infer - not weighed down by the turgid machismo of the original - and the album climaxes in a rollicking version of the great Laura Nyro's "Save the Country". Of the band's contributions "Ellis Island" is lovely and Jollz "Czechoslovakia" is haunted and heartfelt. There's only one thing to do when this album finishes - play the thing again. Louder. And then play the BA & The Trininty masterpiece "Befour". I'm not sure that "Streetnoise" counts as Prog but it is a true classic of the 60s whose message resonates into the present day.

Brian Auger Oblivion Express fifth album under this name named Straight ahes, is to many listners his last good album, after this one he will enter on another teritory living some mixed up reviews. To me this is a good album, maybe and for sure not so strong as the debute under this name Oblivion express, but the album delivers some quite fun and entertaing to listen. Brian Auger nick named "the godfather of acid jazz", did a good job some of his keyboard parts are truly great like on opening track Beginning Again or Bumpin' On Sunset , my fav track on this album with excellent guiatr and keybords arrangements. The music is jazzy upbeat combined with slower moments, never boring, maybe not some spectacular moments, but pleasent all the way. I also like a lot Brian Auger voice, fits very well in this context, warm voice and well sung. So, a full 4 stars, some parts are great, some are only good, in the end a pleasent album for sure, at least for me, his unique keybords arrangements make him a legend in this field for more than 40 years in this zone.

To make them correspond to the item of Prog Rock, Brian Auger that dissolves "Trinity" forms "Oblivion Express". At that time, at the time of having been formed the band did not obtain a too good reaction compared with "Trinity". The flow of the band that the market makes Yes and ELP a first on the list as a popular part at that time and the flow of Hard Rock , for example, Deep Purple will have been main currents as the result. A few in might have been necessary for the understanding level concerning the music character at which Brian Auger had aimed as a result at this time.

The make offered a good quality for the content of 1st album and "A Better Land" that had approached Prog Rock most in the work of Oblivion Express. However, it is said it is not necessarily good if it considers it from respect of sales of the album.

The activity as the band also had the period that stagnated because sales of the album were a little in a slump. However, it will have been from time of "Second Wind" that had been announced in 1972 that the situation was gradually improved. After greatly replacing the member, the band to which the activity and the situation began to be steady gradually starts the activity of music. In addition, part of refined Groove and part of Funk. These were introduced and announced "Closer To It" told the music character in the field of the fan and Jazz Rock of Rock. And, a lot of fans that exceed the genre by "Straight Ahead" announced in 1974 continuing are acquired.

Some the points accompanied for the music character of the band at this time can be enumerated. The spectator's reaction by the tour done along with the announcement of the album appeared indeed remarkably. It is said that the mobilization of the spectator who exceeds race's frame especially became clear by the tour in the United States. This respect might be proof that the listener purely exactly accepted to the music character of the band.

And, the existence of Alex Ligertwood appointed by the tour of the band at this time might be also important. It is said that Brian Auger requested to contact Alex Ligertwood that existed in Paris at that time and to participate in the band. Enough Vocal was necessary for the tour dared along with the album that sold in the United States. Brian Auger needed Alex Ligertwood along with the tour.

Or, the existence of Stephen Ferrone that supports the band for the music character of the band at this time and the tour might be also important. Construction and Groove of the rhythm that merges in the performance of the band are already overwhelming. The performance of the band has combined exactly.

Brian Auger is convinced that the band received Peak at this time. The album following "Straight Ahead" was determined to be announced as a live album. It is announced as a separate, as result live album because of the dissension with RCA though live done in Los Angeles of three times scheduled to be put on the market at first as a record of seeing by 2 piece sets. It is said that Brian Auger dared to put the title of "Vol.1" and "Vol.2" to show off the existence of the band strongly.

Especially, the music character of the band that gradually acquired the fan from Britain through the United States might have indeed received one the top according to the content of the album at this time. The music character to establish as a band has the music character that unites the element of Funk and R&B well from the part where Jazz Rock was exactly made a nucleus.

The progress of Chord with the rhythm and the anacatesthesia with complete Groove of "Beginning Again" is splendid. The shape of good Jazz Rock is here. Part of song and chorus who gets on progress of complete Chord. Development advanced as the dash feeling is maintained is exactly suitable for the sense of live. Maintenance of Solo and Groove in electric piano. Or, the spirit of Alex Ligertwood that pushes own song out to previous completely tells the listener the appearance of live. Solo of the guitar is also good in the tune each other.

As for "Don't Look Away", the theme of complete Groove and repeated Funk might be comfortable. The tune has the element of Jazz Funk as much as possible. The tune continues a little tension and shifts to Solo of the guitar. Solo of the guitar that Jack Mills does might have elements of a few Blues. The performance of the band that flows quietly will shift to Solo of the electric piano before long. The atmosphere of the tune is continued enough as much as possible.

"Bumpin'On The Sunset" is a tune with the atmosphere of mellow Blues. The sound of the organ completely decides the impression of the tune. The obbligati of the guitar also contributes to the atmosphere of the tune. The song is matched as much as possible. Solo of the organ that can be listened on the way of the tune might recollect the music character of Canterbury a little. It has the flow from which the part of Coda of the tune is calculated well.

"Truth" is Jazz Funk that elements of a few Blues entered. Chord of the dash feeling continued as an impression of the tune and repeated Jazz Funk is impressive. The width of the tune has extended greatly because Solo of the guitar in close relation to there has the element of Blues.

"Freedom Jazz Dance" can enjoy the device of the rhythm. The element of Jazz Rock and R&B has basically gone out ahead. The development of a complex melody in close relation to there and progressing the performance to recollect the rhythm of a little Latin might be splendid. The obbligati of Solo and the guitar of the organ continues the atmosphere of Jazz Funk as much as possible. It advances with the flow that Solo of the guitar that appears after giving a few changes to the atmosphere of the tune is good. The idea of the band that boldly arranges this tune collected to "Miles Smiles" of Miles Davis is splendidly changed into their flavors.

It has the flow that the flavor of a little Latin joins Jazz Rock as much as possible as for "Happiness Is Just Around The Bend". The part of the melody and the song to emphasize Syncopation is devised well. Solo of organ to get on steady rhythm of eight rhythms and part of construction of melody. As for devised melody and rhythm, the flavor for them is produced well.

Oblivion Express at this time indeed acquired the listener of all genres and was good with the activity. The content of this live album might be a work as the work that remarkably tells the appearance that should be called one the top for the band.

Brian Auger changed his band's line-up again. But most important, he changed his music. Under heavy influence of Santana's Caravanserai, Brian Auger recorded album full of Latin fusion.

For good and for bad. I loved Auger's some earlier works with Trinity/Julie Driscoll and some early Oblivion Express heavy-organ based albums.

This one is different thing. Very professional in technique and up to time in moment of release, it contains excellent Latin fusion. The problem for me is it sounds more as back-up band in many moments. It will be almost impossible to differ this music from Santana's backing band of same time. But Santana has his excellent guitar and almost always vocal, which both are main soloing accents. In case of Auger most of the time we hear just great backing band without accents at all. Even in some songs with vocal Auger's voice there isn't enough to fill music till balanced point. Brian trying to fill music with his organ (instead of guitar as in Santana), but much lighter keyboard sound than usual for him can't do it properly.

So, in fact when listening album you hear good music, but step by step start to feel that something is missed in it. And in time compositions become too similar even if played perfectly. Still good album, for me it is placed a bit lower than Auger's best works.

The situation of the activity of the music after 1975 might have been continuous for Brian Auger of the misfortune. The fact that he had had to give the period to the activity of Oblivion Express as a result might have been unwilling for Brian Auger at this time.

The situation at "Happiness Heartaches" that transfered the register from the flow of "Reinforcements" announced in RCA in 1975 to Warner Bros and was announced in 1977 was exactly every day of the misfortune and groping for him. Brian Auger spoke this situation at that time by the interview. An enough preparation was not ..".. complete by the mistake of ..schedule of large-scale promotion in the United States.. label. When it wanted you to return to L.A. as a result, the notice was received.

It is said that Brian Auger was also to the situation at this time and had upset one's health. He met the situation in which it tried to watch the activity of the music that had been done before again. And, it is thought that it will escape from the situation of the misfortune.

It is said that he spent it without touching musical instruments for about one year. However, his zeal and idea were never lost. He plays a musical instrument again to come back and gropes for the direction and the idea of own music character. It is also true in the experience to have given the part of groping and freedom in the situation of his activity after 1977 from 1975 though the discord with label surely deprived him of zeal. He kept performing freely without contracting to the majors label in live and the session with other musicians.

Theme of this album and united part. Or, it was said that processing and the idea of the sound in which the age was absorbed had already been created in 1978. It might be also true that the allowance of music extended further in the flow that the age rushes into in the 1980's. There might have been a flow of changing some music in the latter half of the 70's where the flow of the music of the Disco music and New Wave existed. It was time when musical instruments such as synthesizers were greatly introduced for machine parts and musical instruments. Brian Auger might also have caught such a situation of course surely staring.

"Search" exists as a theme in this album. It is said that Brian Auger that received the report from the recording label questioned on the content of the music being requested by oneself. It was said that he may freely produce the album from label. The idea and the methodology that he had exactly cultivated before developed the music character from Oblivion Express further and poured the creation, the search, and the zeal of the music that along in the age into this album.

"Planet Earth Calling" advances with a complete dash feeling. The sound of the synthesizer that glitters in the sound of a variegated keyboard twines. The progress of complex Chord has the flow of good Jazz/Fusion. Solo of the organ will have an excellent form like declaring Brian Auger. Next, Solo to which the guitar explodes twines. The progress of Chord is perfect. It might be a tune that the directionality of music that surely catches the age is exactly united with the sense that Brian Auger creates.

"Red Alert" is a tune collected to "Believe It" of the album of Tony Williams. It is reproduced almost faithfully in the condition similar to the original. The color of the keyboard might go out a little strongly as an arrangement. The flow to which Solo of the keyboard shifts from Solo of the guitar has finished well. It might be a search and be a respect to music.

"Sea Of Tranquility" was made remarks that Brian Auger was favorite in the tune of this album. It might be a tune that draws the flow of gentle Fusion. The anacatesthesia twines round a piano melody with the sense. The continuousness of the theme that multiuses syncopation will not stay only by simple Fusion. The progress of Chord has the flow of very good Jazz/Fusion. The guitar and the piano raise the quality of ensemble. A beautiful melody continues. Next, the transposition of consecutive Chord twines and the tune continues a good flow.

The organ that there is a tension in a steady rhythm twines round "Voyager 3". The sound of the keyboard and the synthesizer that makes a variegated sound might be friendly. The progress of Chord creates one space with the element of the chromatic scale progress. Solo of the guitar that takes the part of Blues into a steady rhythm a little expands the width of the tune. The impression of the tune to create the Spacey part while continuing Groove might succeed. Groove shifts to Solo of the keyboard with another sound while repeating the rhythm of 8 and 7.

"I'm Gone" is a tune with the element of Blues that appoints the rhythm of the shuffle. The song merges well in the tune and progresses. Making the sound might be suitable though the sound of the keyboard feels the age as unite of albums. Solo of the organ is also splendid.

"Golden Gate" is a tune with the flow of Jazz/Fusion that accompanies a gentle piano sound. Performance and Solo of guitar that performs octave. And, the impression of the tune is decided to a piano obbligati. And, it has development to which a beautiful piano melody also drew the flow of Jazz. The impression with good part of syncopation and usage of the keyboard is received. The tune shifts to the rhythm of Latin in the part of Solo of the keyboard. The rhythm of the drum twines as it is and it reaches the peak.

It is said that Brian Auger had the chance to perform with two people (familiar, because of compete with Herbie Hancock deep Paul Jackson and Mike Clark) after all the recordings of this album end. B? of this album"Black Octopus" collected as eggplant Track is a tune recorded in the garage of Brian Auger. The impression becomes finished that puts out the part of Funk to previous though the tune has the flow of the session.

The music character of Brian Auger that never rooted out zeal as the age of the misfortune came poured everything into this Solo album at beginning of event of the 80's.