Fourteen tracks cover the period between 1967-1972. The 15th track, La Nella Casa Dell'Angelo is actually from 1981.
Unique in the history of Italian progressive music, New Trolls were leaders and were for a time the top band in Italy. In 1973, New Trolls split into two camps, the hard-rocking Ibis and the symphonic-oriented New Trolls Atomic System. They crossed many different permutations of line-up changes, many musical stylings… and great hits, passing through beat, pop ballads, progressive rock works, hard rock, and melodic pop followed groups like Genesis and PFM.
Longtime fans of venerated progressive rock ensemble Uriah Heep will be rattling cages for this two-disc, 43-track collection of singles from Sanctuary. Hard rocking Heep standards like "Look at Yourself," "Gypsy," "Stealin'," and "The Wizard" (most of which are presented in their 45 rpm versions) are paired with copious amounts of B-sides, resulting in the next step in collector evolution from 1998's Mercury released Classic Heep: An Anthology.
Five Men in a Hut is basically the final roundup for Gomez's Hut/Virgin years, but it's a positive boon for fans, especially in the U.S. In the U.K., each Gomez album had at least a few associated singles, but they never got the same treatment stateside. Since each album had a certain specific "sound" to it, one can see how some of these songs wouldn't have fit with the album they were recorded with, but the B-sides were hardly throwaways. In fact, the B-sides were often excellent and allowed the band to try different things and stretch out a bit. Abandoned Shopping Trolley Hotline gathered a few of these tracks, but more than half of Five Men in a Hut is comprised of B-sides (and two previously unreleased tunes) so ultimately all the A's and B's of many of these singles are now readily available.
With this subtly provocative solo recital, Ted Rosenthal merges three very different streams of piano history, putting his personal stamp on all of them. He pays homage to Bill Evans with "I Loves You Porgy," "Turn out the Stars," and "Waltz for Debby," playing the last in 5/4 but reverting to 4/4 only on his second solo chorus. The Bud Powell portion is more extensive, consisting of "Tempus Fugit," "Wail," "I'll Keep Loving You," "Celia," "Parisian Thoroughfare," and, in another 5/4 interpretation, the closing "Tea for Two." Last but not least, Rosenthal unveils his improvisational approach to Beethoven with the latter two movements of the "Pathetique" sonata, as well as the third movement of "Opus 109," which inspires a full nine minutes of spirited invention. In Rosenthal's hands all this music sounds as though it sprang from the same muse, and that's the sign of a skilled, imaginative artist.