you will like the voice of this lady..honestly i could not reach the info for this album on net..most of the links just show ratings for this vinyl..and the other links in japanese..i am even not sure the release date of the album..but i always believe something..instead of reviews..let you taste it by listening :)
One of the early psych in time of turkish music history..they cover some known anonymous traditional songs with the rock style..This site is for turkish vinyls, for people who he/she digging his/her way on vinyls may look at for light but helpful informations: www.recordturk.com Keep Listening!
Hello Friends :) this post and next posts will be from 60's rare good stuff..Unfortunately i have very little info for the bands i post..let we start with Desmond de silva from Sri Lanka..oh i love the 60's style funk..This album is for who he/she want to hear some good vinyl sounds from the past..Keep Listening and have a nice & easy day!!
George Romanos began his career singing songs composed by Manos Hadjidakis inside the traditions of folk greek music.
This had a direct influence on their music and their third record As A Keepsake was inspired by BJH, less rock and more symphonic influenced pop.Keep Listening!!!!
(note the mixed bitrate in the title. Desert Places is 160 on the first track, 192 & 224 for the rest.)
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Stuart Nicholson's excellent book "Jazz Rock: A History", has only a few faults, one of which is its too abbrieviated history and analysis of the European jazz rock scene. One or two clues to what has been omitted, will be found from listening to this record. Tasavallan Presidentti are one of those seemingly obscure bands who contributed to jazz rock's development. Even so, they were briefly popular in the UK because of "Lambertland".
Well, here we go again. Another show. Another podcast. This one might be considered the birth of Prog Not Frog Radio as I believe we have reached a turning point here and I do hope that we’ll have in the future several webcasts from our team or some similar way to spread music to the general public. Time will tell.
His name is Bill Holt, today on 2006 he’s 63 years old, but 33 years ago, on 1973 he decided to end his work for a “Fortune 500’s” company, bought a Moog synthesizer and having little experience in music, improvised himself a recording studio in his basement… that’s the beginning of Dreamies.This album got everything, as the review at Aquarius Records points: “the Dreamies album is a venture into psych-pop meets musique concrete territory, an elaborate tapestry of samples -- and this is from long before anyone called them samples, and before there was such a thing as samplers and sequencers, which means Holt used the old fashioned, labor intensive tape n' razor blade splicing method, working at home on his beloved TEAC Model 3340 reel-to-reel four-track recorder. Densely woven into his otherwise highly laid back and melodic mix, you'll hear clocks ticking, chattering machine guns in Vietnam combat, JFK speeches, crickets, frogs, NASA transmissions, and ominous but unidentifiable minimalist pulses of electronic/industrial white noise. Or even samples of the Beatles themselves! (Bits of "All You Need Is Love" and others are buried in Holt's sonic collage.) It's both unsettling and soothing at the same time, like surfing through shortwave transmissions from the late '60s psyche. And along with all the sound bites/effects, he also weaves together what must have originally been several different, distinct, enchanting songs he'd written for his voice and acoustic guitar. It's one man and his melodies alone amidst the chaos of the times.”
Sadly, Bill return to his regular work routine, but hey, for me it’s more than enough, I hope someday I can create a similar beautiful artifact… Thanks Bill!!!!!
Keep Listening!
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Those who are only familiar with the recent three-piece version of Miriodor may be unaware that the band began in Quebec City in the early eighties as a full six-piece, a perfect marriage between the more chamber-oriented sound of bands like Univers Zero and (later) Henry Cow, and the more symphonic woodwind-oriented sound of bands like Happy The Man and VDGG. Rencontres is a most welcome reissue of their very first LP, long out of print and unfortunately so, because until their 1996 release Jongleries Élastiques this one was hands down their best effort. Added for good measure are four tracks from the band's 1986 cassette-only release Tôt ou Tard (a four-piece by that time, the other five tracks ended up on the reissue of the band's self-titled album from `88). In these early days the band featured flute, clarinet and violin, as well as the saxes that survived to the three-piece incarnation, two keyboardists (covering electric piano, synthesizers and organ), a full time guitarist/bassist/stick player, and of course drums, all of which made possible some very lush and organic arrangements within their very angular chamber rock style. The liberal use of dissonance and (what seems to be) improvisation offer a solid connection to the RIO school, while the lengthy multi-sectional tracks, strong melodies, the rich and varied arrangements, and the occasional touch of bombast have more in common with symphonic rock and the Canterbury school. The result is positively unique. Also unheard of on any other Miriodor release, this one features vocals, albeit only on two tracks La Maison-Dieu and Egrégore (surprisingly with English lyrics, given their French titles). In all, the Miriodor of 1984 was a meeting ground of many of the best elements progressive rock has to offer.
