"Antique Dreams" is a set of some of the best unused material from Tangerine Dream's vaults. The recording dates are from 1971 through 1990, inclusive. That covers most of their stronger eras. The pieces from the early '70s have wild avant-garde and rock & roll timbres. The other tracks match their eras as well. This CD is lots of fun - it is more engaging than their best-of collections and it runs through the band's history. It is essential e-music.
Tyranny of Beauty is one of Tangerine Dream's best CDs of the early and mid-'90s. That's not saying a lot. The group's albums from that period - and even back into the late '80s - are relatively weak. And, to be sure, this disc has its weaknesses. However, they are overshadowed by its strengths, and the disc earns high praise. The TD lineup for this CD is Edgar Froese, Linda Spa, and Jerome Froese. Mark Horn and Gerald Gradwohl contribute various guitar performances. Those performances are the keys to this disc's merit. Gradwohl's lead guitar spots play off and to Edgar Froese's lead guitar. The sparring adds clout to the atmospheres…
Electronic music seems to have been all the rage, even back in the early '90s, but the Dream (aka Citrus Slumber) has been the innovative force behind much of the John Tesh like synth patterns played on new age stations during that time. You might think the band (comprised of keyboardist-guitarist Edgar Froese, his son Jerome Froese, and keyboardist Paul Haslinger) would choose to rest on its many laurels after so many years, but Melrose rocks as hard as synth created music can, picking up where their previous, very engaging disc, Lily on the Beach, left off. Los Angeles imagery abounds here, as on the rhythmic title cut (the only one to feature sax) and the hypnotic "Rolling Down Cahuenga"…
2017 release from the electronic music pioneers. Tangerine Dream have been a fundamental influence on electronic and progressive music since their formation in West Berlin, 1967. Inspiring genres, musicians and other art forms, from The Future Sound of London to Porcupine Tree, the widely popular TV show Stranger Things (for which their music also featured in) to seminal video game Grand Theft Auto V (for which they helped to write the soundtrack). The group have also received seven Grammy nominations, written over 100 studio albums and were led by Edgar Froese, who developed an instantly recognizable synth-based instrumental music based on a meditative musical experience that came to prominence in the '70s and '80s. Quantum Gate promises an updated, contemporary development of their trademark sound: sequencer-driven electronica covering a wide range of moods and atmospheres from ambient soundscapes to energetic, upbeat moments.
Alpha Centauri (1971) is an album by the German electronic music group Tangerine Dream. The music on this album is quite different from Tangerine Dream’s first album Electronic Meditation, due to a heavier reliance on keyboards and electronic technology, although they still mostly remain in the background: the dominant instruments on the album are organ and flute. The shift in instrumentation still resulted in an atmosphere dubbed by Edgar Froese himself as Kosmische musik.
Atem is an album by the German electronic music group Tangerine Dream. The music on Atem ranges from slow atmospheric pieces to more aggressive percussion and vocal experiments with dynamic Mellotron orchestrations. The release of the album in 1973 marked the end of the band's seminal "Pink Years" period, with future albums adopting a more structured (and commercially viable) sound.
Born to Nigerian parents brought to Algeria, percussionist Guem grew up playing traditional music and trance rhythms from an early age. His family soon initiated him into the secrets of the diwan–ceremonies where many of the participants enter a state of trance.
Another Night was a wholly unexpected album at the time of its release in February of 1975.
The Hollies’ 15th official album, it also marked the return of Allan Clarke to the lineup for the first time since Distant Light in 1971 — and it was, apart from one number, comprised entirely of group originals, a feat of songwriting acumen that the Hollies had not achieved since 1969’s Hollies Sing Hollies (which was sort of a “ringer” in that regard); and just as much to the point, all of the songs and recordings were pretty much first-rate, ranging widely from lyrical pop/rock to harder, edgier, album-oriented sides, with a couple of classic performances among them.
Special Feature / Bonus Track: 2 bonus tracks. After years of staying free of comparisons with Charlie Parker, Sonny Stitt steps confidently into a set of compositions by the late, great one – sounding really wonderful in his own interpretations of these classics! The album's got the same simple and focused still as Stitt's best work on Roost – and although the compositions are all by Bird, the overall sound is still very much Sonny's own – especially given the wonderful sense of space and timing brought to some of the performances! The group's an unusual one, especially for Stitt – and features John Lewis on piano, Jim Hall on guitar, Richard Davis on bass, and Connie Kay on drums – all offering a slightly more modern take on Bird than might be expected – especially through the angular lines on Hall's guitar.
Features 24 bit digital remastering. Comes with a description. Other than "Our Love" (a familiar classical theme adapted to American pop music by Larry Clinton), all six selections are originals by the pianist. Utilizing a nonet that includes trumpeter Johnny Coles (who does his best to be soulful on "Honeybuns"), trombonist Garnett Brown, flutist Les Spann, altoist James Spaulding, tenor saxophonist George Coleman, baritonist Pepper Adams, bassist Bob Cranshaw, and drummer Mickey Roker, Pearson performs music in a style that would have fit in quite well on Blue Note. Most memorable among his originals is "Is That So." This is not an essential date, but it is nice to have this rarity back in print again.