Track listing
Show track credits
- A1 Cristo Redentor 3:45
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piano
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organ, piano
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harp
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Jacqueline May Allensoprano vocals
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voices
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voices
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voices
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songwriter
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- A2 Before Six 6:25
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tenor saxophone
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conga
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songwriter
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- A3 The Lark 4:39
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organ, electric piano
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songwriter
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songwriter
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- A4 Snake 3:45
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rhythm guitar
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songwriter
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- A5 Long Wait 2:48
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organ, electric piano, songwriter
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songwriter
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- B1 Wade in the Water 7:48
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organ, piano
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conga
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- B2 Lights Out 4:48
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organ, piano
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songwriter
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- B3 Bradley's Barn 3:17
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rhythm guitar
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blues harp
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songwriter
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- B4 You Can't Tell Me 4:20
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piano
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songwriter
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songwriter
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- B5 Nashville 1 A.M. 3:39
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blues harp
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songwriter
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songwriter
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- Total length: 45:14
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8 Issues
- Release view [combined information for all issues]
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Cristo Redentor [p] 33 rpm
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Cristo Redentor 33 rpm
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Cristo Redentor 33 rpm, Promo
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Cristo Redentor 120 gram, 33 rpm
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7 Reviews
Man, this is a really good instrumental long play by acid blues rock guitarist Harvey Mandel. Rarely do all instrumental platters keep my attention for 45 minutes, but this one most certainly does. Psychedelic jamming by a terrific guitar player is what you get on this vinyl.
My advice, mellow out, get comfortable, get a mental adjustment, sip your favorite brew, and listen to some really cool acid blues guitar.
RIP Pete Drake RIP Steve Miller RIP Eddie Hoh
RIP Kenny Bettery RIP Graham Bond
RIP Nick DiCaro RIP Armando Peraza
RIP Cath Gotthoffer
My advice, mellow out, get comfortable, get a mental adjustment, sip your favorite brew, and listen to some really cool acid blues guitar.
RIP Pete Drake RIP Steve Miller RIP Eddie Hoh
RIP Kenny Bettery RIP Graham Bond
RIP Nick DiCaro RIP Armando Peraza
RIP Cath Gotthoffer
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I believe this is what one would call groovy. That's good groovy. Not the other kind.
Published
Unless you’re able to find “Cristo Redentor” [which means Christ The Redeemer in Portuguese] with the bonus material, this album is for all intent and purposes an instrumental bit of wanderlust from a far overlooked artist, a session and sideman of the first caliber, a man who’s played with the likes of John Mayall, Canned Heat, Charlie Musselwhite, and with the departure of Mick Taylor, auditioned for the Rolling Stones.
Mandel’s sound is all his own, with John Mayall once describing it as “Harvey’s wall of sound,” then going to say that while brilliant and all encompassing, that Harvey’s vision would have changed the course and structure of Mayall’s vision ... so he took his Gibson 355 and set out to see what doors he could open with his mastery of controlled feedback, delay, and penchant for blues and jazz infused psychedelia. People often wave off psychedelia as nothing more than a brief moment in time, belonging mainly to Jimi Hendrix. But listening to Mandrel’s arrangements, arrangements that are tight, restrained, controlled, well constructed, fluid, and adventurous without moving into the world of progressive music, it’s easy to hear that this is a man with a vision ... equal to anything The Paul Butterfield Blues Band did on their hypnotic outing “East West.”
This is a late night adventure, and there’s a reason this album lends itself to a wee hours of the morning listening, where Mandrel gathered together a host of talent ... Kenny Buttry and Bob Moore, who would soon bring Dylan’s “Nashville Skyline” to life, the Wrecking Crew rhythm section of Eddie Hoh and Art Stavro, along with Stalwarts, who would be a guiding force for nearly all of the early Monkees’ sessions, Pete Drake, a Nashville genius on pedal steel, and finally, his long time friend and collaborator Barry Goldberg, who’s responsible for the funkier sides. There’s no magic here, no accidents, it’s because of this grouping of talent, that “Cristo Redentor” flowers with such variety and intensity, never sounding dated, styled, or locked into a theme.
This is one of those brilliant albums that cries for a full bodied stereo, one that can deliver and channel the dream. Listening to “Cristo Redentor” is not a step back in time, nor is it a step forward, it rather seems always to be in the moment ... and that moment is a pure delight.
Mandel’s sound is all his own, with John Mayall once describing it as “Harvey’s wall of sound,” then going to say that while brilliant and all encompassing, that Harvey’s vision would have changed the course and structure of Mayall’s vision ... so he took his Gibson 355 and set out to see what doors he could open with his mastery of controlled feedback, delay, and penchant for blues and jazz infused psychedelia. People often wave off psychedelia as nothing more than a brief moment in time, belonging mainly to Jimi Hendrix. But listening to Mandrel’s arrangements, arrangements that are tight, restrained, controlled, well constructed, fluid, and adventurous without moving into the world of progressive music, it’s easy to hear that this is a man with a vision ... equal to anything The Paul Butterfield Blues Band did on their hypnotic outing “East West.”
This is a late night adventure, and there’s a reason this album lends itself to a wee hours of the morning listening, where Mandrel gathered together a host of talent ... Kenny Buttry and Bob Moore, who would soon bring Dylan’s “Nashville Skyline” to life, the Wrecking Crew rhythm section of Eddie Hoh and Art Stavro, along with Stalwarts, who would be a guiding force for nearly all of the early Monkees’ sessions, Pete Drake, a Nashville genius on pedal steel, and finally, his long time friend and collaborator Barry Goldberg, who’s responsible for the funkier sides. There’s no magic here, no accidents, it’s because of this grouping of talent, that “Cristo Redentor” flowers with such variety and intensity, never sounding dated, styled, or locked into a theme.
This is one of those brilliant albums that cries for a full bodied stereo, one that can deliver and channel the dream. Listening to “Cristo Redentor” is not a step back in time, nor is it a step forward, it rather seems always to be in the moment ... and that moment is a pure delight.
Published
The Truth
Very solid instrumental blues rock jamming that kind of has a "soul-jazz" feel throughout with some great guitar work due to Harvey Mandel. If that sounds even remotely good to you this is worth seeking out. Very good font to back....And hip hop heads will get an unexpected surprise as soon as the title track begins.
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Catalog
23 Apr 2024
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26 Mar 2024
5 Feb 2024
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22 Jan 2024
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30 Nov 2023
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