Quantum Jump Barracuda 1977 [Remastered]

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Artist: Quantum Jump
Title Of Album: Barracuda
Year Of Release: 1999
Label: Voiceprint MPVP 013
Genre: Progressive Rock, Funk, Fusion
Quality: MP3 | FLAC
Bitrate: VBR 0 | 16Bit/44kHz
Total Time: 61:08
Total Size: 129 MB | 367 MB
Website: Discogs

01. Don't Look Now 4:13
02. The Seance 3:45
03. Barracuda 6:05
04. Starbright Park 5:46
05. Love Crossed (like vines in our eyes) 6:26
06. Blue Mountain 3:46
07. Europe on a Dollar a Day 3:44
08. Neighbours 6:40
09. Don't Look Now ('Mixing' version) 3:29
10. Blue Mountain ('Mixing' version) 5:57
11. Barracuda ('Mixing' version) 3:38
12. Take Me to the Void Again (incomplete work-in-progress mix) 3:42
13. Summer in the City ('abandoned Lovin' Spoonful cover') 4:03

Paul Keogh: Guitar
Geoffrey Richardson: Guitar, Viola, Kentish Wheeze Flute, Ilkley Brain Flute
Rupert Hine: Keyboards, Vocals
Elkie Brooks: Vocals
Performer - Penguin Cafe String Ensemble, The, Tower Of Lowther Horn Section, The
Gavyn Wright, Helen Liebmann: The Penguin Cafe String Ensemble
Henry Lowther, Jeff Daly: The Tower Of Lowther Horn Section
John G. Perry: Bass, Vocals
Trevor Morais: Drums, Percussion
Ray Cooper: Percussion

Review from Allmusic:

By the time Quantum Jump came to record their second album a full three years had elapsed, during which time guitarist Mark Warner had jumped ship and leader Rupert Hine had exorcised his passion for jazz-rock and funk. Warner was never fully replaced, although violist and guitarist Geoffrey Richardson joined his old ex-Caravan colleague John G. Perry as an auxiliary member, while Simon Jeffes added some characteristically wry arrangements for his Penguin Cafe String Ensemble (as they were credited on the sleeve). In every way, Barracuda is a superior album to the band's debut. No longer is there the sense of a band building songs around borrowed styles. And perhaps most striking of all is Hine's newly discovered sense of how the recording studio could be used as an instrument in itself, thus launching himself on what would prove to be a highly lucrative career as a producer. Barracuda is a sumptuously layered and beautifully recorded album that - a superabundance of clavichord apart - gives few clues as to its age. Everything comes together on the majestic "Love Crossed (Like Vines in Her Eyes)." If Quantum Jump could have mustered a few more songs that fused melody, surging momentum, and lushly detailed arrangements as well as this, they might have become a force to be reckoned with. Songs like "Blue Mountain" and "Europe on a Dollar a Day" (with vocal interjections by Elkie Brooks), while less ambitious, also boast a breezy charm far removed from the participants' art rock grounding. Unfortunately, the album ends weakly with the interminable talking blues of "Neighbours," with Hine essaying a frankly comic Deep South accent ("Well, we dressed up so fahn") and getting all hot under the collar about "limbo ladies." Lyrics throughout err on the side of quirkiness, but it's worth remarking that Barracuda marked the first full collaboration between Hine and Jeannette Obstoj, with whom he would continue to write for the next two decades. The only non-Obstoj track, "Starbright Park," is credited to Martin Hall, who also contributed lyrics to Peter Gabriel's first solo album.

Biography from Allmusic:

By 1975, Rupert Hine was already beginning to gain credibility as a producer and session musician, but he had also released two of that era's most cryptic solo albums in Pick Up a Bone and Unfinished Picture. The latter in particular demonstrated that Hine had few peers when it came to shaping elaborate instrumental textures and atmospheres without departing from a song-based format. Most listeners' overriding feeling on hearing them, however, was one of perplexity, and sales were correspondingly minuscule. But throughout his career, Hine has shown himself perfectly willing to rein in his more experimental tendencies for the sake of shifting a few more units. In the '80s, for instance, he largely subsumed the complexities of his three solo albums for Island beneath the hard and shiny surface of his faux band, Thinkman. And that's pretty much what he did in 1975 when he formed Quantum Jump, which is not to say that the band represented a blatant bid for chart success - far from it. But in stark contrast to the somewhat austere Unfinished Picture, Quantum Jump's first album wasn't afraid to get funky.
The band formed after Hine became a regular visitor to a countryside studio owned by drummer Trevor Morais. The two became the nucleus of Quantum Jump and were soon joined by bassist John G. Perry, recently a member of Caravan and a regular contributor to Hine's solo work and his early productions of albums by Kevin Ayers and Yvonne Elliman. Auditions for a guitarist followed, during which Andy Summers was among those passed over, but the job eventually went to the Washington, D.C.-born Mark Warner. The final ingredient was provided by lyricist David MacIver, with whom Hine had made his first recordings in 1966 as Rupert & David. One song, however ("Starbright Park"), had lyrics by Jeanette Obstoj, marking the beginning of a working relationship that continued long after Quantum Jump's demise, and which would one day find them writing for Tina Turner.
Inspired by Warner's formidable technique and by their love of the Mahavishnu Orchestra, the bandmembers wanted to see if it were possible to combine jazz-rock arrangements with a pop sensibility. Things looked promising when their first single - the untypically whimsical "The Lone Ranger" (which hinted that the Masked Man had a crush on Tonto) - became a minor hit in the U.K. The album, though, steadfastly refused to follow suit, and for the band's follow-up, Barracuda, a more polished style closer in spirit to progressive rock was adopted. Needless to say, 1976 was not the year to be launching a new prog rock band, and Quantum Jump folded soon after.

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Tags: Remastered, Barracuda, Quantum
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