Freedom Hawk's third official release, 2011's Holding On, alights upon planet stoner rock with abnormally tall expectations, and justifiably so, since even the praise singling out the band as "the East Coast's answer to Fu Manchu" doesn't do full justice to the diversity of their songwriting gifts…
Originally released in 1974, Hawk's "Live & Well" is the band’s third and final release rounding off a trilogy of phenomenal Afro rock albums. This officially sanctioned reissue includes all the original songs plus 4 bonus tracks taken from the SA vinyl version of "Africa, she too can cry" and a rare live song from 1971. With updated liner notes, including the final days of Hawk as told by singer Dave Ornellas, plus never-before-seen photos and poster artwork, “Live and Well” is a must for fans of '70s progressive rock.
This album has actually been released in 3 different versions; the first was in 1972 a year or so after the phenomenal 'African Day' album. In 1973 'Africa She Too Was Cry' was released in the UK (and Europe) by the Charisma label (home of Genesis at the time) with a revised track listing and credited to JoBurg Hawk. In the late 90's an unofficial CD with the same title was released by the Japanese Never Land label. Despite the fact that this was a pirate CD, it was also more of a compilation than a re-issue, as it featured tracks from all 3 Hawk albums. After much deliberation and discussion (and lack of master recordings) Benjy Mudie of Fresh Music decided to release the UK version of 'Africa She Too Can Cry' with bonus tracks culled from some singles-only releases and the elusive 'Live And Well' album, which was not actually a "live" recording, despite its title.
No matter the lack of critical popular acclaim for director Akiva Goldsman's adaptation of Mark Helprin's novel Winter's Tale, the Hans Zimmer/ Rupert Gregson-Williams score is utterly worthy of the film, and also the novel itself. Full of classical and electronic textures, ambiences, and melodies that wed both the lyric themes of 19th century folk and classical music to the early 20th, these 14 cues are, by turns, delicate and dramatic, melancholy and romantic, spare and elegant. As a piece of music it stands on its own. The final track here is singer/songwriter K.T. Tunstall's "Miracle," written with A.R. Rahman specifically for the film. While it is dramatically different from the rest of the score, since it is the final track, it sums up the transcendent nature of the narrative.