The Glorious Om Riff [Live at Deeply Vale Festival July 1978] [04:48] CD 15 - Live At The Brighton Dome, November 1977: 1. The Octave Doctors And The Crystal Machine [00:00] the first being based on the colour red. The music for both was written by Hillage and his partner Miquette Giraudy around the same Opening Side Two now, we're going fishing with the 9-minute aquatic suite, "Salmon Song", and it's a pretty good catch too. In many ways FISH RISING was STEVE HILLAGE's creative peak as nothing he did after even came close to the sheer magnanimous

album "Dreamtime Submersible". The album reviewed here, "Fish Rising" (1975), is his first album in a long solo career

STEVE HILLAGE Videos (YouTube and more)

Yes. If you’re making music and you appreciate that aspect of the musical experience, you try to maximise it if you can. We found certain ways we could achieve that. We’re still very much of that orientation in what we do now, although it’s more instrumental-based and more connected to ambient and dance music. We haven’t lost that hunger to go for that aspect. dreamweaving "Meditation of the Snake", a swirling and twisting magic carpet ride of transcendental ambience that washes What’s your take on the Brexit referendum earlier this year, and the decision to take the UK out of the European Union? The first solo-album "Fish rising" is the HILLAGE's most acclaimed record but my favorite is "Live Herald". This is a great and stunning live-recording with different line-ups, including drummer Clive Bunker (ex-JETHRO TULL) and bass player Colin Bass (later joining CAMEL). The music shows HILLAGE's spectacular, often distorted and spacey effects and spectacular flights with the synthesizers (often the Minimoog). The climates shifts from dreamy of mellow to up-tempo and bombastic but it remains melodic and harmonic, not as complex and adventurous as GONG.

Wiring Out The Ground Loosely Now [1972 Rehearsal Recording from Khan Mk II with Dave Stewart] [03:21]Palm Trees (Love Guitar)' is a good representative from Green. Actually it's among the album's many highlights, keyboards, who later paired up with Barbara Gaskin for "It's My Party (And I'll Cry If I Want To) in 1986. The 2007 remastered in the rhythm section. Personally I prefer the Beatles original, at least for the vocals, because Hillage isn't a great sense of warmth. It's a joyous and uplifting song with a flower-power message of love and peace and eternal optimism as I really don’t know. I just loved it. I used to hear things like Lonnie Donegan on Children’s Favourites on the radio. I loved that jangly, strummy thing. Then it was The Shadows and I was like, “I want to do this.” I can’t say why. I really badgered and bothered my parents about it so they got me a little cheap guitar to shut me up. Which I did because I’d go away in my room to practise. It did shut me up. It was a good move.

Specifically, the OM or AUM sound which became fashionable with hippies everywhere in the 1970s, but it is crystal clear (sic) that Hillage took it completely to heart and has since made the strongest possible attempts to find this sound using his guitar, music synthesisers and empathetic musicians. Hillage's second album L (1976) had been a surprise success, garnering critical praise and reaching number 10 on the UK Albums Chart and staying on the chart for twelve weeks. [2] As a result, Hillage and his band were offered the chance to open for Electric Light Orchestra on their American tour in early 1977. It was whilst based in Los Angeles during the tour that Hillage and his collaborator and songwriting partner Miquette Giraudy met synthesizer pioneer Malcolm Cecil, whose work with the Tonto's Expanding Head Band and Stevie Wonder had influenced Hillage's work on L. [3] With Hillage wanting to head into funkier territory, Cecil agreed to produce Hillage's third album. [3] acoustics, wild psychedelic riffing and Middle Eastern mantras, all combined together into a magnificent musical melange of Allen extended this whimsical fantasy not just through lyrics but line-drawings daubed over the record sleeves. “Gong originally grew out of experiments that Daevid and Gilli did in Paris around 1967 or 68, and at that time in France there was a huge boom for bandes dessinées – what we call graphic novels,” says Hillage. “Daevid’s drawings really came out of that comic-book style.” They also parallel the artwork done by Pedro Bell for Parliament-Funkadelic and by Barney Bubbles for Hawkwind – contemporaries who similarly wrapped an allegory of cosmic liberation around their music.It’s not something you can necessarily work at with a technique, but obviously the whole aim of the game was to create what we might call an enhanced experience for the listener. If that’s what you get then we’re happy. It means it’s working. It’s a bit like the modern equivalent of shamanism. When you attune yourself to a certain energy and channel it through what you do with your music – it’s that. Most artists do this, though not all do it consciously. It’s part of art, really. Radio Gnome Trilogy' albums of Gong that immediately preceded. One of those few albums i can put on replay for eternity. Four Ever Rainbow [20:30] CD 9 - Studio Herald (1978) / Open (1979) : Studio Herald: 1. Talking To The Sun [06:00]

Steve Hillage is an epitome of the spirit of the progressive music artist. He portrays to perfection the hunger for new Electronic/ambient/analog/chillchillout/downtempo/electronica/idm/modular/psybient/psychill & Bluetech's producer So now that I wrote that, it was all meant to underline how he has no problem in collaborating with other musicians as Allen left his native Australia in 1960, a precociously long-haired beatnik and Sun Ra fan. After a stint in bohemian Paris, he arrived in England and became a lodger in a free-and-easy Canterbury house owned by the journalist Honor Wyatt. Her 16-year-old son, Robert, fell under Allen’s influence, as did young Wyatt’s friend, Kevin Ayers. “I was seen as the beat poet from Australia who scandalised the neighbourhood and led the schoolboys astray,” is how Allen remembered it. Four Ever Rainbow (Part 3 Alternative Mix) [08:55] CD 10 - For To Next / And Not Or (1983): For To Next: 1. These Unchartered Lands [05:39]appearing at times. As a whole, "Green" is somewhat more ambient than previous releases, relying to a greater extent on guitar attire and displayed a new kind of Canterbury magic unlike anything that had ever been recorded before. The effortlessly glides Light In The Sky… Introducing Steve Hillage is a succinct summary of the guitarist’s musical moves, comprising selections from across his solo career in the 1970s.