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(Folk-Blues, Country Blues, Jazz) [CD] Mike Cooper - Places I Know + The Machine Gun Company (2014 remastered and recombined edition) - 2017 (1971 & 1972), FLAC (tracks+.cue), lossless

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Mike Cooper / Places I Know + The Machine Gun Company (2014 remastered and recombined edition)
Жанр: Folk-Blues, Country Blues, Jazz
Носитель: CD
Страна-производитель диска (релиза): USA
Год издания: 2017 (1971 & 1972)
Издатель (лейбл): Paradise of Bachelors
Номер по каталогу: PoB-14
Страна исполнителя (группы): UK / Spain
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 01:19:57
Источник: собственный рип
Наличие сканов в содержимом раздачи: да

PLACES I KNOW
01. Country Water 03:04
02. Three Forty-Eight (Blues For Or Against Andalusia) 03:49
03. Night Journey 05:09
04. Time to Time 08:27
05. Paper and Smoke 03:55
06. Broken Bridges 04:38
07. Now I Know 04:57
08. Goodbye Blues, Goodbye 04:53
09. Places I Know 02:25
THE MACHINE GUN COMPANY
10. Song for Abigail 09:02
11. The Singing Tree 05:36
12. Midnight Words 03:28
13. So Glad (That I Found You) 15:19
14. Lady Anne 05:15
All songs written by Mike Cooper

Код:

Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 17. March 2019, 19:41
Mike Cooper / Places I Know + The Machine Gun Company
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Код:

REM GENRE Rock
REM DATE 2014
REM DISCID A912BC0E
REM COMMENT "ExactAudioCopy v1.3"
PERFORMER "Mike Cooper"
TITLE "Places I Know + The Machine Gun Company"
REM COMPOSER "Mike Cooper"
FILE "01. Country Water.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Country Water"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "02. Three - Forty Eight.wav" WAVE
  TRACK 02 AUDIO
    TITLE "Three - Forty Eight"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "03. Night Journey.wav" WAVE
  TRACK 03 AUDIO
    TITLE "Night Journey"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "04. Time to Time.wav" WAVE
  TRACK 04 AUDIO
    TITLE "Time to Time"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "05. Paper and Smoke.wav" WAVE
  TRACK 05 AUDIO
    TITLE "Paper and Smoke"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "06. Broken Bridges.wav" WAVE
  TRACK 06 AUDIO
    TITLE "Broken Bridges"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "07. Now I Know.wav" WAVE
  TRACK 07 AUDIO
    TITLE "Now I Know"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "08. Goodbye Blues, Goodbye.wav" WAVE
  TRACK 08 AUDIO
    TITLE "Goodbye Blues, Goodbye"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "09. Places I Know.wav" WAVE
  TRACK 09 AUDIO
    TITLE "Places I Know"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "10. Song for Abigail.wav" WAVE
  TRACK 10 AUDIO
    TITLE "Song for Abigail"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "11. The Singing Tree.wav" WAVE
  TRACK 11 AUDIO
    TITLE "The Singing Tree"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "12. Midnight Words.wav" WAVE
  TRACK 12 AUDIO
    TITLE "Midnight Words"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "13. So Glad (That I Found You).wav" WAVE
  TRACK 13 AUDIO
    TITLE "So Glad (That I Found You)"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "14. Lady Anne.wav" WAVE
  TRACK 14 AUDIO
    TITLE "Lady Anne"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00

Influential British guitarist Mike Cooper is primarily regarded as a folk-blues guitarist and singer/songwriter, though his wide range of work cannot be so easily defined. He is also a celebrated improviser and electronic musician. In addition, he creates sound installations and radio art; he’s a videographer, journalist, and music historian; and he performs scores for silent films.
Cooper was born in Reading, England in 1942. He began playing guitar at the age of 16. Initially inspired by New Orleans and Dixieland jazz, he played in skiffle groups during the late ’50s. His life changed drastically in 1961 when he saw Sonny Terry & Brownie McGhee at Reading’s town hall and later witnessed James Cotton playing with Chris Barber at a local music festival. Naturally, he began to play harmonica as well as guitar.
Cooper co-founded the band the [bBlues Committee, an R&B group based on the heady example set by Alexis Korner. Simultaneously, he was playing folk-blues as a solo artist in folk clubs. His first formal recording date was an independently released four-track EP with guitarist Derek Hall, Out of the Shades, titled for an important Reading folk club. Other peers who played the venue included John Renbourn, Bert Jansch, Al Stewart, and Davy Graham. Cooper began opening for a host of traveling American bluesmen as well as British stars of the era. He met fellow folk-blues musician Ian A. Anderson in 1967. Between them, the pair recorded three four-track EPs for the SayDisc label. They released a full album of these tracks as well as new pieces entitled [iThe Inverted World. Though assembled in early 1968, it wasn’t released until 1970. His playing had developed exponentially, incorporating a wide variety of Delta and country styles in his technique. He also employed bottleneck slide and lap steel. Cooper traveled England and met many other British musicians, including Michael Chapman, John Martyn, Ralph McTell, and Roy Harper, and wandering American players such as Stefan Grossman, Dave Van Ronk, and “Spider” John Koerner.
With a burgeoning national reputation, he was signed to Pye Records in 1969, and that year recorded Oh Really!?, the first of five influential recordings for the label and its imprints Dawn and Fresh Air. It was released in November. Interestingly, while there were still solid audiences for folk-blues, Cooper and many of his peers had moved on and broadened their own horizons without forsaking the roots music that had nourished them. His 1970 offering, Do I Know You?, appeared on Dawn in 1970, and remains unique for its use of field recordings and the jazz bass playing of South African ex-pat Harry Miller. That experience opened Cooper up to an entire range of ideas about improvisation, which were put to use first on Trout Steel, one of his most enduring and influential recordings. Recorded and released in 1970, the other personnel included Miller, Grossman, and a host of players from Mike Westbrook’s band. Pianist John Taylor also contributed to a track. Cooper’s jazz explorations didn’t mean he gave up blues entirely; he simply moved mercurially between the lines of genres and often combined them.
His third effort for Pye/Dawn was to have been a double album entitled Places I Know. The idea was that one recording would feature his folk side and the other his improv jazz-rock side. Dawn issued it as a single album in 1971 credited to Mike Cooper & the Machine Gun Co. (so-called after Peter Brötzmann’s group) plus Michael Gibbs. The second album, released as The Machine Gun Company with Mike Cooper, didn’t appear until a year and a half later. His final recording for the label group, this time under the Fresh Air imprint, was Life & Death in Paradise, issued in 1974. This date featured another South African expatriate, Louis Moholo, on drums. Other than the live Country Blues Guitar Festival as part of an offering that featured Cooper, Grossman, Son House, and Sam Mitchell, it was his final recording of that decade. Cooper was busy, though, playing live, improvising in bands, collaborating with other artists, and touring Europe. His ’Ave They Started Yet is a live album compiled from a continuous four-and-a-half-hour performance with dancer Joanna Pyne; it was released by Matchless in 1981, and was indicative of the entire period, which found him alternating between country blues records and more vanguard jazz recordings, including the sets Johnny Rondo Duo Plus Mike Cooper, which placed him in the free jazz company of Lol Coxhill and Dave Holland, and The Continuous Preaching Blues with Anderson. The most important recording from the era was the 1987 10" LP Aveklei Uptowns Hawaiians, with French slide guitarist Cyrille Lefebvre. Their sidemen for the session included Coxhill, Steve Beresford, and Max Eastley. It showcased Cooper’s growing obsession with Polynesian music, which would inform his playing for decades to come and be chronicled in his writing, particularly about the many slack key guitar styles.
In the ’90s, Cooper delved deeply into Hawaiian music. Avant Roots, a duo album with Viv Dogan Corringham, was issued in 1993, followed by the large-group effort Island Songs in 1996. The integration of Polynesian sounds, blues, and avant music put Cooper in a league of his own. It culminated in a genre he called ambient electronic exotica—displayed by the acclaimed Rayon Hula released in 2004—which musically translated the patterned flora of aloha shirts (his signature garment) into looped samples of famed Hawaiian vibraphone player Arthur Lyman for a lively avant form of exotica—and on subsequent recordings, like the large-band Beach Crossings / Pacific Footprints in 2006 and Oceanic Feeling-Like in 2008 with Chris Abrahams.
Improvisations and songs (some blues-related) were showcased on 2011’s limited-edition Radio Paradise: Mike Cooper in Beirut and 2013’s CD-R release Right (H)ear Side by Side, which put his electronics and slide guitar work in juxtaposition to Yan-Chiu Leung’s traditional sheng playing. The same year, White Shadows in the South Seas (on Lawrence English’s Room40 label) brought a completely solo take on his ambient electronic exotica, followed by the global and electronic experimentalism of New Globe Notes in 2014 (with liner notes by David Toop). In June, Paradise of Bachelors issued deluxe, remastered—and the only artist-sanctioned—versions of Trout Steel and the recombined Places I Know / The Machine Gun Co. as originally intended. They were followed a week later by Cantos de Lisboa, a duet recording between Cooper and guitarist Steve Gunn cut in Lisbon at Rafael Toral’s studio. It appeared on RVNG Intl. as part of its Frkwys series. In 2015, Italian label Backwards issued Light on a Wall, a limited-LP release of a live session Cooper recorded for Radio Beirut in Lebanon. He returned to Room40 that year with Fratello Mare, another album of experimental exotica, and the following year saw the Discrepant label issue a vinyl LP edition of Kiribati, originally released by Hipshot on CD-R in 1999. Cooper issued a vinyl version of 2010’s limited-edition CD-R release Blue Guitar in 2017, the same year that Discrepant reissued the Hipshot CD-R Reluctant Swimmer / Virtual Surfer on vinyl LP as well. (Thom Jurek, AllMusic)

Mike Cooper’s third album for Dawn / Pye was to have been a double album, one which revealed his country-folk side, and the other was his rock-jazz / freak-out side. Management decided to issue Places I Know first, and withheld the release of its second half (and the original title for the entire project), The Machine Gun Co., for two years. Fans of early- to mid-’70s West Coast Americana—Randy Newman, Jackson Browne, Neil Young, Tim Buckley, Gram Parsons and the Flying Burrito Brothers, and Bob Dylan—circa 1965-1969—will have little trouble finding the majority of this album thoroughly enjoyable. Tracks such as “Night Journey” are almost apes of “Just Like Tom Thumb’s Blues”—the only time in Dylan’s recording career that he ever directly copped from another songwriter; we could argue all day about where Dylan ripped the melody off from, but it’s pointless. Cooper here apes the lyrical style and even the tone of the piano. However, it’s of little consequence since the rest of the disc is a gorgeous blend of acoustic and electric guitars (with wah-wah pedals pumping), bleating R&B saxes, and psychedelic British country music. Notable tracks—and based on the above you already know what they sound like—are “Goodbye Blues, Goodbye,” the title track, and the amazingly heart-rending country blues “Paper and Smoke.” Places I Know stands alone as a wonderful collection of songs, but listened to along with The Machine Gun Co., it is an introduction to another dimension of Mike Cooper. While the album is different from his previous Dawn / Pye recordings, it’s not that much of a stretch musically from there to here. From Places I Know to The Machine Gun Co. is a huge leap within the same recording session. Places I Know is a tender, moving, and frightfully solid set—it’s a goodbye, in a way, because Cooper would never make a record remotely like this again.
Mike Cooper’s final release for Pye was an acrimonious one. The Machine Gun Co. was originally to be a double album, with Places I Know being the first disc. That album was released a full two years earlier, with The Machine Gun Co. being held in abeyance all the while. The delay put a huge burden on a touring band with no new record to support; they split before the release of The Machine Gun Co. Cooper waited out the final two years of his contract and didn’t record again until 1975 for the Fresh Air label. It’s too bad that Pye didn’t have the foresight to issue both albums as one package (some reissues began placing them both in one package by the 1990s) to reveal the true breadth and dimension of Cooper’s musical ability and ambition. There are only five songs on The Machine Gun Co. They range from the pastoral traditional folk of “The Singing Tree” to the avant-country-reggae lilt of “Song for Abigail,” which was as ambitious (at nine-plus minutes)—if more overtly melodic—as anything on Tim Buckley’s Lorca; to the 15-minute Velvet Underground-meets-Sun Ra rock / free jazz workout that is “So Glad (That I Found You).” And while these references are largely useless in trying to describe this music, they are significant mapping points for Cooper, who was deeply influenced by all of the aforementioned artists. The album has a rough, raw, organic feel to it that none of his other recordings have; they exist starkly in contrast to the nine songs on the first half (previously known as Places I Know). The free-for-all quality of these recordings; their loose yet defined song structures; and their compositional frameworks, represent for Cooper the opening of a musical world so wide that all boundaries between the music in his subsequent recordings would be erased completely. The Machine Gun Co. was not simply an experiment that worked; it was a work of art that experimented with the idea of music being one vast universe with song being its poetic and foundational heart. This disc is easily Cooper’s greatest musical achievement. (Thom Jurek, AllMusic)
This two-CD set reissues British artist Mike Cooper’s two excellent albums, originally released in 1970 and 1971, respectively; his departure from folk-blues is evident on these two documents. His diversity is one of the most striking traits of his work, considering that Cooper has worked in free improvisation, avant-garde, Hawaiian guitar music, and—much later in the ’90s— even drum’n’bass-inflected electronica. As a British folk-blues artist of the ’60s, obvious comparisons to Bert Jansch and John Renbourn abound. Like many of his contemporaries of that movement, he progressed to a folk-rock singer-songwriter mode by 1971 and gave listeners Places I Know, which is rooted in the tradition of Tim Buckley, Jackson Browne, and Randy Newman’s sophistication with the form. While underrated as a songwriter—mainly because Cooper would seemingly switch genres before receiving deserved recognition—his cross-pollination can be explained in his statements that avant-garde classical composers Olivier Messiaen and Györgi Ligeti were also inspirations for this dense and complex collection of songs. The second album in this set, The Machine Gun Co., had to be named knowing full well that Peter Brötzmann (Machine Gun) and Jimi Hendrix (“Machine Gun”) were sharing the title, but Cooper was never afraid of blatantly displaying his influences. On this artful semi-improvised set, the guitarist stretches out into more avant-garde territory, leaving any songwriter whims behind. He approaches a jazz-inflected group sound, with Geoff Hawkins on sax, Alan Cook on electric piano, and the rhythm section of Les Calvert and Tim Richardson on bass and drums, respectively. His songs are still there, only the form is loosened up a lot—approaching the sort of post-jazz-folk that Buckley defined with Starsailor and, if that seems like too-high praise, it is only an indication of the startling quality of this often overlooked genius. (Dean McFarlane, AllMusic)

Mike Cooper: vocals, acoustic guitar, electric guitar, and bottleneck guitar
Geoff Hawkins: tenor sax, melodica, reed pipe
Alan Cook: electric piano
Tim Richardson: all percussion
Les Calvert: bass
For backing vocalists, please see the inner sleeve.
Produced by Peter Eden

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