Lesley Duncan’s debut album was a modestly engaging slice of early-’70s singer/songwriter rock, though not distinctive enough amidst a rapidly crowding field to command attention. Somewhat like Elton John, she blended parts of folk-rock, the emerging singer/songwriter movement, pop (though less pop than John), and bits of the Band’s gospel-rock flavor. Indeed, the record is best known for Duncan’s own version of her composition “Love Song,” covered by Elton John on Tumbleweed Connection (and way back in 1969 by a pre-“Space Oddity” David Bowie on a home demo that’s since been bootlegged).
Essential: a masterpiece of progressive rock music.
I got acquainted by this band a very long time ago. A friend of mine lend me once a CBS compilation called Fill Your Head With Rock in 1971. One song of theirs was featured (I guess that you all can imagine which one).
The opening track In Ancient Days is a mix of psychedelia combined with heavy keys. Invading brass can be heard as well. Such a song might sound outdated but it is always a pleasure to listen to. It is very much in the style available during that period. I quite like the song.
In 1973 Neil Diamond recorded the soundtrack to the film Jonathan Livingston Seagull on Columbia Records. The album grossed more than the film itself. It was his first album after his successful 1972 release Hot August Night.
This is a genuine oddity in the career output of Andrew Lloyd Webber, growing out of a personal/familial vignette. The piece, a set of variations on Niccolo Paganini’s “Caprice No. 24” (which had previously inspired adaptations by Franz Liszt, Johannes Brahms, Sergei Rachmaninov, and Boris Blacher, among others), came about because Andrew Lloyd Webber lost a bet with his cellist brother Julian Lloyd Webber, and was obliged to compose a work for cello and rock band for him, which was premiered in August of 1977 at a music festival, and subsequently recorded and released on an LP (later transferred to CD) by MCA. At the time, progressive rock was still hanging on to some semblance of commercial viability, and in fairness, MCA had made a fortune off of Lloyd Webber’s work on Jesus Christ Superstar, etc.
The Final Cut is the twelfth studio album by English progressive rock group Pink Floyd. It was released on 21 March 1983 by Harvest Records in the United Kingdom, and several weeks later by Columbia Records in the United States. The Final Cut is Pink Floyd's last studio album to include founding member, bassist and songwriter Roger Waters, and their only album on which he alone is credited for writing and composition. It is also the only Pink Floyd album that does not feature keyboardist Richard Wright. Waters originally planned The Final Cut as a soundtrack album for the 1982 film Pink Floyd – The Wall. With the onset of the Falklands War, he rewrote it as a concept album, exploring what he considered the betrayal of his father, who died serving in the Second World War. Most of its lyrics are sung by Waters; lead guitarist David Gilmour provides vocals on only one track. The packaging, also designed by Waters, reflects the album's war theme…
Judas Priest was one of the most influential heavy metal bands of the '70s, spearheading the New Wave of British Heavy Metal late in the decade. Decked out in leather and chains, the band fused the gothic doom of Black Sabbath with the riffs and speed of Led Zeppelin, as well as adding a vicious two-lead guitar attack; in doing so, they set the pace for much popular heavy metal from 1975 until 1985, as well as laying the groundwork for the speed and death metal of the '80s….