1973, El Polen recorded their second lp, "Fuera de la Ciudad" ,continuing with their pioneering style... read more here .This album equals to 10 kisses of a sweet darling+ taking a nap near riverside+ 1 cup of aromatic coffee :)
Pell Mell were formed in Marburg in 1971 by Thomas Schmitt (violin, guitar, vocals), Otto Pusch (organ, piano), Rudolf Schon (vocals, recorder, guitar), Jorg Gotzfried (bass) and Mitch Kniesmeijer (drums). Their home city also gave the name for their debut album, recorded during 1972 at the Dierks Studio, Stommeln, produced by Peter Hauke. This contained an inspired form of symphonic rock comparable to Nice and particularly Emerson, Lake and Palmer. Like these, Pell Mell often borrowed classical themes. Pell Mell's sound was characterised by colourful, swirling Hammond organ, a violin (which Thomas Schmitt played with great virtuosity), mellotron, recorder and... read more here
When you start up a discussion about the most influential albums in progressive rock history, you expect the conversation to center around such albums like Close to the Edge, Brain Salad Surgery, Octopus, Foxtrot, or In the Court of the Crimson King. However, for many bands who have gotten their start in the last ten years, they drew a wealth of inspiration from the Swedish legends Anglagard, a band who grew up on the albums listed above and then churned out two of the most impressive prog albums of the 90’s, Hybris and Epilog. While much has been said about the near perfect debut Hybris, let’s take a close look at the equally impressive follow-up, which turned out to be the band’s last studio album.
Drummers Alphonse Mouzon and Billy Cobham led almost parallel careers during the 1970s and helped to raise the bar by which all subsequent drummers were to be judged. They were both in legendary fusion bands (Mouzon in Weather Report and Larry Coryell's Eleventh House and Cobham in Dreams and the Mahavishnu Orchestra), both led their own successful bands, both reinvented jazz-rock drumming, and both released one classic, genre-defining recording. Cobham's classic was Spectrum, a recording that is regularly considered as one of the genre's best. This, Mind Transplant, is Mouzon's classic recording that is often hailed as "Spectrum II." The common thread, besides the aggressive drumming, is guitarist Tommy Bolin. Where Cobham used Bolin's aggressive playing as a counterpoint to Jan Hammer, Mouzon features the guitarist as the primary attraction. The tunes themselves may not be as memorable as, say, "Red Baron" or "Stratus," but the playing is no less inspired. Mouzon and Bolin are a natural fit and push themselves to levels of creativity and skill that few can attain. Raw and powerful, the music herein is what made fusion such a viable musical style. This recording has never been as popular as Spectrum, but was finally released on CD in 1993 with the addition of the 15-minute jam session "The Real Thing." Easily one of the best fusion recordings of all time.
Hi all. Again I find myself filling a request here. I am not a big fan of Amon Düül II, or krautrock in general. I figured, a fan of the blog asked for it specifically, why not try to track it down... It was pretty hard to find any info about this album as it seems to be a rarity. Enjoy!!
Perhaps the finest release of Italian progressive rock there ever was. For some on rec.music.progressive this is their favorite album period; I won't go that far, but I will certainly sing its praises.
Track 1 - Volte un Istante Di Quiete......
Keep Listening!!!!
I did it again. Another Podcast. This is much better than the first one, I think. I bought a better microphone (cheap!) and had more time to think about the music. I also fixed some sound glitches in the teasers and intro. It is still far from what I want to do in podcasting and I need further practice on my english flux and rythm, but it is an improvement, that I dedicate to you all.
It is said usually that Iskander is less listenable album of Supersister than early albums of this band. As though, Iskander is “avant-garde”. I do not think so. Yes, this album is more difficult for perception and understanding. Yes, this album is closer to “avant-prog” or “RIO” than early Supersister works (Present from Nancy and To The Highest Bidder). But the same situation took place with music of the other leading prog-bands of those years. In other words, Iskander was natural, organic product of the musical evolution of Supersister, and this evolution was, to some extent, similar to the evolution of some British prog-bands in this period. Iskander is the concept album which is devoted to Alexander the Great. Please do not forget that 1973 is the year of the prog concept albums. Music continuously develops, and this album is the most monolithic, coherent work by the band. Moreover, this development is symphonic by its nature. Therefore reviewed album is not “avant- garde” like Frank Zappa, Henry Cow or Soft Machine (although the general features can be found). Yes, we face with a lot of “avantish” dissonances, breaks and changes in tempos, rhythms and measures, but symphonic component matters. Another important thing is the presence of Arabian “motives”. Arabian elements in the progressive rock are the extraordinary rarity. Iskander is opened by brass wind solo which creates “Near-Eastern” mood from the beginning of the album. And further Arabian “motives” are intertwined with many themes and “pieces” of this album. It is almost impossible to mark out the best tracks, it is breathtaking from the beginning till the end. But it is necessary to mention marvellous and wonderful melodies in “Roxane” and “Looking Back”, and also really progressive development of themes in “Alexander” and “The Battle”. Iskander is indeed an innovative album which has surpassed time. Iskander is a must know for any lover of prog.
The man behind the many excellent Passport albums was Klaus Doldinger and on this their first release, he names the album after himself. The band, in various guises went onto to make about 20 albums before being disbanded in 1996.
singing. While the group’s willingness to tamper with their formula is praiseworthy, most would agree that the album’s return to that formula on the side-long “Madrigal Meridian” is the real highlight here. On this piece, Christopher Franke’s sequencers have an urgency heretofore only hinted at, while Krieger’s drums serve to pull the rug out from the under the rhythm in a delightful way. The result is space music that runs like a well-oiled machine, more fluid and engaging than past experiments with sequencer-based epics. Although it has a reputation as an agitated exception in a very mellow catalog, Cyclone belongs with TD’s better albums from the ‘70s. Despite his considerable contributions, Jolliffe left after only one album with the band, and began a prolific (though less visible) solo career.
The second album by the band best known for being guitarist Roine Stolt's first professional band. This was originally released in 1976 by Decca, and this fine Musea reissue features six bonus tracks. "Kaipa were Sweden's best known symphonic rock band. They formed in Uppsala in 1973. Originally a keyboard-fronted trio, Kaipa added the young guitar player Roine Stolt in 1974. Kaipa showcased a technically very competent group fronted by Hans Lundin's impressive range of keyboards, often favoring lush string ensembles, organ and electric piano. Inget Nytt Under Solen was a more complex & pompous album including possibly their finest moment 'Skenet Bedrar' - a large scale suite lasting for 22 minutes...their style was now closer to what Genesis, Camel, Greenslade and Yes had done in recent years..." (Scented Gardens of the Mind: A Comprehensive Guide to the Golden Era of Progressive Rock)
