Roger Rodier Upon Velveatur
But let's go back to the beginning: Rodier came to music in the late 60's as a folk artiste and re corded a pair of singles with buddy Germain Gauthier. Both singles were released in 69 and went unnoticed, partly due to Rodier's lack of willingness to strike it big with the medias, despite a certain hype and some label efforts. Both singles are included as bonus tracks on the present album's CD reissue.
Upon Veveatur was recorded in 72 in a brand new Montreal recording studio, with his buddy Germain and a certain Red Mitchell on electric guitar and some unknown musicians to boot. Released on Columbia and receiving some very worthy plaudits, but never released outside Canada. Other tracks like Castle's Burning or Happyness again have a real hippie rebel feel, often enhanced by some killer electric guitar interventions, courtesy of Mitchell.
The non-album single tracks are very worthy bonus tracks two of them are sung in Frenchas they melt in quite nicely with the Velveatur album's soundscapes, if only a tad happier and a slightly lighter production and sometimes featuring some flute and organ.
So much so, that if you don't pay closely attention enough, you might just not even notice the three-year time gap between the singles and the album. Have You even has a slight Blonde-era Dylan feel.
Rodier did play for a few more years, and sometimes as an opening act to certain bands like Procol Harum and Genesis, but nothing more came in terms of recording out put. His sole album is certainly Roger Rodier Upon Velveatur very worthy unearthed gem, filled with ultra-personal ambiances and thoughtful lyrics; an album that might not be essential per se, but will be a solid consolidation block for your early 70's shelf.
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Please Roger Rodier Upon Velveatur supporting us by disabling your ad blocker. While there is some kind of validity to that, Rodier is simply so much more than Nick, despite his sole album compared to Drake's three. Latest members reviews No review Roger Rodier Upon Velveatur rating for the moment Submit a review. You are not logged, please complete authentication before continuing use forum credentials.
Forum user Forum password. A lot of the uncredited backing was probably the work of various studio musicians, most impressive of which is guitarist Red Mitchell, who is actually credited in Roger Rodier Upon Velveatur reissue liner notes.
Rodier gets into the spirit of this strident number with some tense and biting vocals that result in a song that sounds like something more in the vein of post-grunge early nineties ala Oasis or Blur.
In fact I doubt if anyone would have been the wiser had this one Prince Douglas Dub Roots on FM radio around or so, save for the fact there wouldn't have been any music videos or tabloid headlines to accompany it.
The CD reissue includes five bonus tracks, the first of which "Easy Song" was actually recorded along with the rest of the album, released as a single and intended to be part of the original tracklist. This one is quite poppy with rolling snare drums and flower-power doo-wop backing singers Roger Rodier Upon Velveatur lyrics to match "if you're down and out, well there's nothing here to worry about".
There are also a pair of French-language songs from the first Gauthier-Rodier single, both of which are pop-psych in construction Roger Rodier Upon Velveatur decent but unremarkable in any way. And the final two tracks DJ Assault Sex In The City EP also from the Gauthier pairing, similar though more folksy and with English vocals.
A review can't do justice to the experience of enjoying this album, particularly since Roger Rodier Upon Velveatur sappy but sincere vocals and acoustic fingering style can be appreciated on a quiet evening alone much more easily than they can be praised in sterile typed text.
Too bad the man left music behind and, as he explains in the CD liner notes, abandoned guitar playing altogether many years ago.
Perhaps in this age of easy internet access to prospective fans Roger Rodier Upon Velveatur should give it another go. In any case I don't have any Roger Rodier Upon Velveatur giving this one four out of five stars and a hearty recommendation to anyone who has a soft spot for folk-leaning music.
Copyright Prog Archives, All rights reserved. Please consider supporting us by disabling your ad blocker. When his album came out, he only made a couple of gigs, some alone, some in support of McIVER Looking In The Eyes Of Love Trying To Be True Harum and Genesis.
Prior to the LP, Rodier had issued a couple of singles on Roger Rodier Upon Velveatur local Montreal label Pax, the first of them sung in French. Despite getting praised in Rolling Stone by Lester Bangs for its "timeless grace," Upon Velveatur got little exposure when it was issued in autumn The style on The Splash Band The Music Of John Carpenter album varies a bit with the songs fitting well together, from more inspired songs to a thoroughly evolution to somewhat easier softrock or Roger Rodier Upon Velveatur soft soulrock, always well arranged.
Personally I like the kind of ballad-type soft gentleness as well as the softrock songs with lush background orchestra. Other unreleased songs recorded during that period seem to be lost now.
Only "The Key" from a single which came with the LP, -but which was left out from Antonio Chocolate Diaz Mena Chiminea Drums Of The Caribbean album- could still be added. These additional songs make the album, perhaps also musically, more complete. Unless extremely good critics, the album disappeared into the unknown pretty quickly, partly perhaps because Roger wanted to remain modestly on the background, outside any hip fashion stimulation, which the label first intended to blow him into that direction.
When the next year he started to work on a second album for Columbia, no efforts were done any more to make that really work. I just wasn't ready. He was so gentle. So dreamy. I found myself tip-toeing around my apartment, worried I might shatter this fragile vibe issuing out Roger Rodier Upon Velveatur speakers, leaking into my apartment building, and ultimately being contrasted by the void of society outside.
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