LP AL SIMONES Enchanted Forest GREEN VINYL Krauted Mind Records KMR 034/1 - MINT

	€		23
	$		27

LP AL SIMONES

Enchanted Forest

 Limited Edition of 500 copies in GREEN MARBLED VINYL

Country of release: Germany, 2017

Original released: 1994

Label: Krauted Mind Records

Catalogue Number: KMR 034/1

Barcode: -

Klappcover/Gatefold Sleeve: Ja/Yes

Condition Record: Mint (Unplayed)

Condition Cover: Mint

  LP ist noch verschweißt / LP IS STILL SEALED !!!

(Photo von meiner eigenen LP / Photo taken from my own copy)

Tracks Side 1:

1. The Bee Song (4:23)

2. Special Place (4:43)

3. When We Were Children (3:12)

4. Sunday's Flight (5:26)

5. Soundhole (0:44)

6. Today's Song (2:47)

Tracks Side 2:

1. Average Joe (3:03)

2. Liquid Sound (5:22)

3. Sunday's Flight (Part Two) (2:26)

4. Window (2:00)

5. Enchanted Forest (8:29)

Listen At YouTube:

https://www.youtube.com/watch?v=P8xTiwc1cMU

https://www.youtube.com/watch?v=kAItUpSRRuM

https://www.youtube.com/watch?v=FWfJZPjA0LQ

https://www.youtube.com/watch?v=zj3Kvu-LTtY

"Excerpts of an interwiew with Al Simones made by Klemen Breznikar/2015/psychedelicbabymag.com":

Enchanted Forest is your second album, which came a couple of years later. What took so long to record this one? It's a bit different then your first one. How do you like it compared to the first album? Enchanted Forest seems to have more conceptual material on it. What's the story behind it?

I would absolutely love to be able to move song writing, and recording into my primary focus, but have so many other things to attend to. There are stretches of time when I could work on writing and recording nightly.. then other things would come up that would demand my time, so I would be away from it for a while. During the early 1990s when "Enchanted Forest" was recorded, I had far more free time than I do even these days. However, writing the songs, and usually playing all the instruments, while also being the recording engineer makes an already very time consuming process even longer. But I really love it just the same, and will continue to do it that way as time allows.

Even so, I thought two years was fairly reasonable. Consider successful artists who have no worries regarding paying the bills due their success, and who's primary responsibility is to create music. It's common even with them that years pass between albums.

In my view "Enchanted Forest" is a continuation, progression and expansion of the first album. On "Corridor of Dreams" I did this, that.. and the other thing.. until I had enough material for an album. Once a new album was started.. I had room for more ideas to experiment with. Additionally, I think my abilities in playing, and recording improved a little as well.. which would come into play. However, there was no preconceived differences between the two albums. There are things on both albums that I would do differently if I were to do them now, but there are other things on the albums that I'm quite pleased with. I couldn't favor one over the other.

Your guitar work is what I would call a guitar heaven for a fuzz psych head like I am. What gear did you use and maybe what guitarists you enjoy listening to?

That's very kind, thank you for that. Well, for the first album I had very little gear to work with. I used a 70's Gibson SG, and a 60's Gretsch Corvette (which I had found as a basket case fixer-upper at a local flea market, and restored myself). As well I had an off-brand acoustic 12-string which I would also use a 6-string.

During the time I was working on the second album "Enchanted Forest", The collection began to grow. I was bitten by the gear-bug.. and started buying and selling used guitars, amps, and effects at the record shop.

Eventually I was attending trade shows as a dealer with this vintage gear at the Columbus, Cleveland and Pittsburgh guitar shows. Getting in early to set up as a dealer allowed for early shopping & swapping. My collection of vintage guitars, amps and interesting vintage obscure effect pedals continued to grow.. and added a new dimension to the pleasure to recording these albums.

My "gear-head" focus at the time was more for guitars, amps.. and vintage effects. I hadn't put much money into the recording equipment itself. As well, I hadn't invested much time into the technical aspects of recording. I simply did my best to get tones that I liked onto tape. While I make it a point to avoid a slick shiny modern type of production.. I would like to improve on the production of future projects. While I've been silent in the past years, I have been researching and tracking down particular pieces of vintage analog gear for my home studio.. and I really enjoy that as well. I think the future productions will be improved, but will still be raw, and honest. I have no intentions of making modern sounding sparkly slick records.

As for guitarists that I enjoy.. it's really such a long list, and it's sure many will be left out. However, I think it's no secret that I'm a very big Jimi Hendrix fan. I also grew up seeing Glass Harp & Phil Keaggy.. and have always had great admiration and respect for his guitar playing as well. I've also had great respect and admiration for Robin Trower ever since picking up his first album when it was new. I love his tone, the moody atmospheres he creates, and the soulful vocals of his bassist James Dewar.

A few others that I can think of at the moment that are more contemporary would be.. Audley Freed, Michael Gurley, Ty Tabor, Joe Bonamassa and Eric Gales.

(Interview made by Klemen Breznikar/2015/psychedelicbabymag.com)

　Al Simones - All Instrumentation

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