Essential: A masterpiece of Progressive-Folk music
The Young Tradition was formed on 18 April 1965 by Peter Bellamy (8 September 1944 – 19 September 1991), Royston Wood (born 1935 died 8 April 1990) and Heather Wood (born Arielle Heather Wood, 31 March 1945, Attercliffe, Sheffield, Yorkshire) (who was unrelated to Royston Wood). Most of their repertoire was traditional British folk music, sung without instrumental accompaniment, and was drawn especially from the music of the Copper Family from Sussex, who had a strong oral musical tradition. They augmented the pure folk music with some composed songs which were strongly rooted in the English folk tradition, such as sea shanties written by Cyril Tawney, of which “Chicken on a Raft” was the most notable.
Poco’s biggest-selling album of all time also presented the biggest personnel change at one time for the then-decade-old group, whose lineup had hardly been a model of stability up to that time. Co-founding drummer/singer George Grantham and longtime bassist/singer Timothy B. Schmit were both gone, the latter off to the Eagles. Listening to parts of this album, one gets the sense that, with the arrival of Charlie Harrison (bass, harmony vocals) and Steve Chapman (drums) in the group, Poco was deliberately adopting a change in sound similar to what the Eagles went through when Joe Walsh joined, into much harder rocking territory, at least part of the time.
Essential: a masterpiece of progressive rock music
“Aqualung” isn’t only a great album, it’s somehow a feel of live from the early 70’s. Maybe not as ambitious and essential in progressive rock terms as “Thick As A Brick”, but in terms of folk prog an absolute masterpiece concept record, too. I always feel like I am travelling back in the 70’s when I listen to classic tracks like “Locomotive Breath”, “Cross-Eyed Mary”, “Mother Gose” or the title track.
Pongo en tus manos abiertas… is the fourth studio album by the Chilean singer-songwriter Víctor Jara as a soloist, one of the most important representatives of the New Chilean Song. It was recorded during 1969, and published that same year by the record label Jota Jota (later DICAP). The album has been reissued several times and in different countries, changing its name in some versions to that of Te recuerdo Amanda.
Excellent addition to any Prog-Rock music collection
Really good follow up to Heavy Horses despite all the difficulty surrounding the band, and reminds us not only how prolific and accomplished Ian Anderson is, but the impact Jethro Tull’s music has had on everything from folk rock and pop to minstrel metal and symphonic cheese. It doesn’t chart much new territory, the songs resembling classic Anderson shanties more than something thematic, leaner than previous work and though not outstanding like Horses, it’s one of those albums that catches you off-guard with the quality of the material. Thanks, Ian, for being there in hard times and good.
THE BYRDS “BYRDS” (’73 REUNION)
The announcement of the reunion album featuring all five original Byrds raised expectations to the point where whatever emerged was almost bound to be an anticlimax. (Imagine the effect of the Beatles reforming around the same time, if you will.) Despite a general thumbs-down from the critics, fan loyalty and eager anticipation made the new long-player highly successful at the record store: in the States, the biggest-selling new-material Byrds album since Turn, Turn, Turn. Subsequent reviews expressed varying degrees of disappointment, but recent re-evaluation with almost forty years of hindsight portrays the project as fascinating historically and not without merit artistically. Interest in it has never waned and it’s been re-released on CD no fewer than four times. The Wikipedia article on it is almost a book.
Excellent addition to any Prog-Rock music collection
Now, it must be said, I’m inclined to love just about anything Gentle Giant ever released or even breathed on. Thus, with the following praise in mind, unprepared fans of the band’s earlier work may get to this album, and a song like “I’m Turning Around,” and laugh their pants off. This would be an unfortunate reaction. Okay, so there is definitely a shift in direction evident on this album — there are less overtly “proggy” songs, more purely rocking songs, and a general lifting of the intense burden of creating “yet another insane experimental masterpiece!!!” that every album preceding seemed to bear.
After the Buffalo Springfield imploded, Neil Young recorded his first, eponymous solo album, an elaborately overdubbed affair that cast him in the role of brooding singer-songwriter. But soon after that record was released, in January 1969, Young began jamming in Los Angeles with a band called the Rockets, redubbed Crazy Horse, and started a relationship that would change guitar rock forever and form the foundation of his career. If Neil Young had an aura of careful subtlety bordering on tentativeness, Everybody Knows This Is Nowhere felt raw, rushed, energized. Indeed, Young dashed off the album’s three central songs — “Cinnamon Girl,” “Down by the River” and “Cowgirl in the Sand” — in a single fever-addled afternoon, and Young and the band play with an almost reckless disregard for prettiness, precision, clarity.
Essential: A masterpiece of progressive rock music.
Yet another stupendous artwork sleeve depicting some nightmarish scene with creatures that Salvadore Dali imitating Jerome Bosch would’ve drawn slightly different, but the effect is there – I just wish that the full “picture” was presented once in its entirety. Although still strongly influenced by Flamenco music, this album draws more from symphonic rock and lacks a bit the dramatics present on El Patio, but also the inspiration. The remasters are impeccable, but be sure to get one of them because I found some rather poor earlier pressings still on the market.
Kaleidoscope Men is the third studio album of the psychedelic band Los Mac’s, released in December 1967 by RCA-Victor. It’s commonly known as the fundamental album of the latinoamerican psychedelia movement. It certainly has a very uncommon lyric and musical style, considering the release date. Thanks to lyrics dedicated to politics, drugs, poetry and a particular beat-style, Kaleidoscope Men became a very popular album at the time and it’s considered “legend” nowadays, still being an important collection piece for psychedelia and 60´s beat lovers.