The sole album by this quintet from Cheltenham, England, came and went in May 1972. Fronted by husband-and-wife duo Michael and Barbara Wainwright, they played a deft blend of prog, folk-rock, and singer-songwriter material, but failed to connect with an audience at the time. The original LP has sold for over $500, and makes its long-overdue return to CD here, complete with background notes and rare images. ( http://www.forcedexposure.com/Catalog/9-30-fly-cd/PT.8043CD.html )
French act STEP AHEAD was active in the early 80's. Their only release prior to breaking up, 1982's "Step Ahead" has seen lots of praise coming it's way, which has led to the album being reissued two times so far. In many ways the band, dominated by the contributions of Christain Robin (guitars), Claudie Truchi (keyboards) and Danny Brown (vocals) were a precursor of things to come. Symphonic rock of late 70's Yes is a clear influence, but mixed with classical influences and 80's keyboards the resulting sound was quite similar to what was to be coined Neo Progressive in England a couple of years later. Other musicians participating on the only album made by this talented group are Gerard Macia (guitars), Antoine Ferrera (bass), Jean-Yves Dufournier (drums), Alain Lejeune (keyboards), Philippe Recht (bass), Emmanuel Riquier (drums).
Symphonic Slam was mainly about Timo Laine (born in Finland, and moved to America as a child), and his polyphonic guitar synthesizer. The rest of the band was filled out by drummer John Lowery, and keyboardist David Stone. Timo had been playing the club circuit for a while, but it wasn't until he relocated to Canada that things began to happen. It was there that Symphonic Slam was discovered by A&M Records. What set them apart was the $10,000 360 systems guitar synthesizer prototype. This led to the release of their 1976 self-titled album. They toured, and played gigs with some of the big names of the time (Rush, The Rolling Stones, and the Village People). Soon they were asked to go to L.A. to work on a new album. Not being interested in this tack, Stone took the opportunity to defect to Rainbow. After the album was completed, A&M wasn't pleased (they wanted disco). Timo took it to Canada, and created his own label on which to release it. It had some modest success, but Laine wasn't interested in going back to L.A. to fight disco once again. Musea's 2001 re-release of the first album inspired Timo to get back on the horse. Apparently he had been working on another album for many years. "Her Fire" is supposed to be released some time in the future. He is also working on an instrumental solo project. You can hear some influences of Styx, Kansas, Wakeman, Emerson, a bit of E.L.O., and even some funk. However, this is not like most of what we consider to be the classic '70s progressive sound. Some of those qualities are woven in, and there are some lovely moments. But make no mistake, this is mid 70's rock and roll at the core. The main point of interest here is really the fact that Laine basically pioneered the synth guitar. It was a very new thing at the time.
Pazop were an early-'70s progressive rock group with some jazz-fusion tendencies from Belgium. Though their music was beyond the ordinary, they were never able to release an album during their short lifetime. Pazop was formed at the end of 1971 by vocalist and flautist Dirk Bogaert, keyboardist Frank Wuyts, violinist Kuba Szczepansky, bassist Patrick Cogneaux, and drummer Jacky Mauer. Wuyts and Szczepanski had just left progressive rock band Wallace Collection, Wuyts had previously been involved with Bogaert, Cogneaux, and Mauer had been in another short-lived prog band, Waterloo. Cogneaux had also been a member of Arkham, a group that included future members of Magma and Univers Zero, while Sczcepansky, a classically trained musician born in Poland, played in the Brussels Opera Philharmonic Orchestra for a couple years before turning to rock with Wallace Collection in 1970. Even before they had decided on a name, the new group approached Wallace Collection's label, EMI, and though the record company did not sign the group, they offered them a two-day studio session to record a better demo. The four-song demo was in a style far more commercial than their normal sound, which had influences as diverse as Miles Davis, 20th century classical music, progressive rock groups like King Crimson and Caravan, and Frank Zappa. With the new demo Szczepanski and Mauer headed to Paris to hit up every record label there for a contract, but they had no success. They also finally came up with a name for themselves, Pas Op, Flemish for "Warning" but the spelling was soon changed to Pazop.
Psychillis of a Lunatic Genius They finally got a contract with producer Luigi Oglival in March of 1972, who was able to get them signed to CBS and the Barclay label. The band went into the Herouville Studio in France in July 1972 to record the album Psychillis of a Lunatic Genius. The group also played several gigs at the Gibus-Club in Paris, which brought them some excellent press, as well as other shows in France and Belgium. Meanwhile, near the end of that year, Barclay rejected their album as being too non-commercial, and chose to release one of the earlier demos as a single instead, much to the group's chagrin. Oglival, who realized he wouldn't recoup the studio costs, dropped the band as well, reneging on his contract and even keeping the master tapes. In 1973, the group was hired by pop musician Sylvain Van Holme to provide modern rock adaptations of various classical pieces by Tchaikovsky, Dvorák, Mozart and Verdi. Van Holme decided to co-produce a new record by Pazop, and booked them at the Start Studio in Belgium in the late summer of 1973. Van Holme contacted several record companies, but again the album was not commercial enough. The group continued touring Belgium and France until July of 1974 before calling it quits. Their inability to get enough gigs and to release either of their LPs had left them financially and emotionally strapped, and they split up for more successful groups. Their master tapes sat in a desk drawer for years. Pazop's two albums, minus the four commercial demos, were finally released on CD by Musea in 1996. (http://www.allmusic.com/artist/pazop-mn0001976155/biography).
High Voltage is a double live album by British progressive rock band Emerson, Lake & Palmer, released in 2010. On 25 July 2010, Emerson, Lake and Palmer played a one-off 40th anniversary concert, headlining the High Voltage Festival event in Victoria Park, London. The entire concert was later released as the double-CD live album "High Voltage".
Disc 1
"Karn Evil 9: 1st Impression - Part 2"
"The Barbarian"
"Bitches Crystal"
"Knife-Edge"
"From The Beginning"
"Touch and Go"
"Take a Pebble"
"Tarkus (Eruption/Stones Of Years/Iconoclast/Mass/Battlefield/Aquatarkus)."
The A Time and a Place box set brings together a select body of live performances by Emerson, Lake & Palmer captured before worldwide audiences during the band's career and tenure at the sharp end of the Progressive rock genre. It features high-quality soundboard recordings on the first three discs and audience recordings on the fourth. The collection has been praised by fans and in album reviews for the quality of the soundboard recordings, as well as the vast diversity of tracks featured on the discs. This collection is a part of a series of “official” bootleg releases by Shout! Factory and producer David Skye, with the blessing and participation of artists to provide fans with only the best performances, highest quality recordings, superior packaging and with original cover artwork designed by illustrator William Stout, internationally renowned as one of the first rock “n” roll bootleg cover artists. Other releases in the series include Iggy Pop’s Roadkill Rising and Todd Rundgren’s For Lack of Honest Work.
It was only a question of time. It had to happen. After all, didn't the Orb's Alex Paterson and a host of ecstasy-addled dance music producers take the music of Pink Floyd into the mixologist's lab? Emerson, Lake & Palmer, whose very name is synonymous with rock excess and the curse of prog rock, has now been given the same treatment by producer Mike Bennett on this (shudder) three-CD box set from Burning Airlines. Oh yes, and it was done with the cooperation and participation of Keith Emerson. Discs one and two each begin with remixes of "Fanfare for the Common Man," which was already a reinterpretation of Aaron Copland's canonical classical work. Jungle, ambient, techno, and even hard house are used by Bennett to restring the piece, and Emerson re-recorded bits and bites for texture. The rest of discs one and two are reworkings of ELP "classics" such as "I Believe in Father Christmas," "Brain Salad Surgery," "Take a Pebble," etc., and a deconstruction of Carl Palmer's aggressive drumming style on "Palmstone" at the end of disc two. Disc three consists of various remixes of -- guess what? It's "Fanfare for the Common Man" once again, by such luminaries as Digger, Clive Mead, Simon Guilfoyle, Graham Pilgrim, and Bennett himself. This is not for everybody, but ELP fans, wherever they may be, will be tempted to realize this box of electronic plunder for all of its dubious glory.
DR. Z. is an obscure early 70's English trio whose LP version of their only album now fetches in the 3-digit price range (only 80 copies were sold at the time, the rest of the pressings were trashed by their record company). A cd version of the album, released by Vertigo in 1991, features a couple of extra tracks. The dominant mood of the album ("Three Parts to my Soul") is set by a percussive harpsichord that is alternately majestic and militaristic - imagine the sound of a Keith EMERSON harpsichord concerto if Carl PALMER matched him note for note on a kettle drum. The lyrics, dealing with occultism and the evil of man, are far better written than the music, which sounds rather clumsy and awkward to our modern ears. At its most inventive and textured, the album is a fine example of early 70's prog at its darkest. It has simple rhythms and the music is peculiarly obsessive, with very long piano and organ solos, baroque melodies and satanic lyrics.
Strictly for serious collectors of dark, early 70's curios willing to overlook a highly mangled production.
This little known group was formed in 1968 in Cleveland, United States, first under a name SUNRISE. Later in 1969 they changes as DRAGONWYCK, and their musical style moved towards progressive rock. Their first album was released in 1970 for only 85 copies, as a demo LP. Musically they combine the elements of both British and American psychedelic sound with heavy metal tones. The mood of their music is dark and mystical, and their sound is dominated by guitar and Hammonds, Moogs and Mellotrons. The band did lots of touring in the early 70's and they also managed to release an album with bigger amount of copies. Their line-ups varied, but keymembers on all albums are Tom Brehm playing guitars and Bill Pettijohn singing. Today their original releases are also remastered, and their stuff can be recommended for anybody interested of obscure psych rock bands.
Band leader Tom Brehm reformed DRAGONWYCK with a new and younger lineup in 2006 and embarked on a short European tour before fading once again into obscurity.
"Já foi dito que o tempo cura todas as feridas. Não concordo. A ferida continua. Com o tempo, a mente se protege da insanidade cobrindo a ferida com cicatrizes, e a dor diminui, mas nunca desaparece." Rose Kennedy
Aninha
"guerreira amada...!!!!"
Mel
....number one....
Alita de Aponcho
..tomara goste de Chet Baker...
Ao Mestre "Manito"
Cara sinto uma puta saudade de vc que chega a doer!!!!
"Rock Fly - é só clicar....."
Não se odeia quando pouco se preza, odeia-se só o que está à nossa altura ou é superior a nós.
