Released in June 1971 by RCA Victor, this completely instrumental Continuum's second album featured jazz influenced classical music played by two line-ups of highly proficient musicians. Side 1 was performed by the new, more 'progressive' band and included two amazing folk-jazz-classical long cuts with rock rhythm section and full of awesome Hammond organ, flute and saxophone parts. In contrast, the classically structured, 27-minutes long title suite (which occupied the entire Side 2 of the original vinyl) consisted of strings, cello, double bass, percussion and plenty of flute parts and was performed by the four members from the band's debut.
This is CD premiere of one of the best and also the most underrated UK folk-progressive albums ever! Released in June 1971 by RCA Victor, this completely instrumental Continuum's second album featured jazz influenced classical music played by two line-ups of highly proficient musicians. Side 1 was performed by the new, more 'progressive' band and included two amazing folk-jazz-classical long cuts with rock rhythm section and full of awesome Hammond organ, flute and saxophone parts. In contrast, the classically structured, 27-minutes long title suite (which occupied the entire Side 2 of the original vinyl) consisted of strings, cello, double bass, percussion and plenty of flute parts and was performed by the four members from the band's debut. This CD can't be missed!
Woodwind-player Seppo "Paroni" Paakkunainen has had a long career as a session musician, band leader and arranger, with a stylistic spectrum encompassing rock, pop, jazz, folk and classical. On the progressive front he has been the driving force behind the progressive folk group Karelia, while his horns have graced the albums of, among others, Wigwam, Jukka Tolonen and Pekka Pohjola. His first bonafide solo album, "Plastic Maailma", is a kind of sweep through those many styles, progressive in the sense that styles are juxtaposed and explored with little prejudice…
Producer, composer and musician from Hamburg (Germany), Achim Reichel is a key figure in the explosion of krautrock. Reichel was first a founder member of "The Rattles" at the beginning of the 60's. In 1968 he formed the "Wonderland band" with the drummer Frank Dostal. Late 60's he launched his first solo musical project called A. R. & Machines. Musically it provides a supreme sonic musical voyage turned to cycled psychedelic guitar playing with lot of echoes and delay. The first album was published in 1971 in collaboration with Frank Dostal. The album presents an ambitious collection of spacey rock jams featuring a lot of electronic effects and arrangements. This album prefigures "acid" trips of krautrock guitar / minimal electronic explorers like Manuel Gottsching.
Since Crazy Horse first came to public attention as the backing band for Neil Young in concert and on his albums Everybody Knows This Is Nowhere and After the Gold Rush, it makes sense to expect that the band on its own would play something similar to the hard guitar rock and country-rock heard on those albums, albeit without Young's distinctively quirky singing and songwriting, and that is what one hears to a large extent on the debut album Crazy Horse. (Although this is their first recording under that name, core members Danny Whitten, Billy Talbot, and Ralph Molina have appeared previously on record as part of the doo wop group Danny & the Memories and the rock band the Rockets.) But there is more going on than that. Also joining in, as singers and songwriters as well as sidemen, are veteran arranger/producer Jack Nitzsche and guitarist Nils Lofgren, while Ry Cooder adds slide guitar to a number of tracks. The result is a varied group of songs that range in style from rock and country to blues and folk.
French pseudo-beatnik Dashiell Hedayat persuaded the psychedelic, prog-rocking Gong to back him up on Obsolete, his second (and final) album project. This is the Continental Circus-era Gong, and the song structures here resemble that album's stripped-down sound. Propelled by Allen's spacy guitar and Malherbe's spicy sax, the tunes on Obsolete, though at times experimental, aren't as involving or full-blown as those on Gong's Camembert Electrique, recorded on the heels of Hedayat's album. Hedayat sings, or rather talks, in French on each piece. He wrote/composed all the "songs" in the autumn of 1969; the compositions were then recorded in May 1971…
This is another great, but completely underrated album by obscure UK rock band (from Liverpool) which wasn't issued in their homeland (in contrast to some of their singles). The same fate met the other British groups from early 70's like Light Of Darkness, Diabolus, lronbridge or Grail. This LP was recorded in London and released in 1971 in USA (by Cadet Concept) and in Italy (by Music Records). The highlight is very moving anti-war anthem ‘Six Days War‘ and the beautiful progressive ballad Lord High Human Being. This fascinating, quasi-progressive and very melodic album contained an eclectic mix of styles, ranging from atmospheric psychedelia, through guitar based soft-progressive to folky ballads - not far away from late 60's The Beatles combined with early 70's The Strawbs and The Moody Blues.
The sole album from this British progressive quartet was released only in Germany (in 1971) on Bellaphon label - home of the other little known UK bands, like Diabolus, Crazy Mabel and Little Big Horn. The sound of Sunday was a superb combination of a quite intensive and powerful Hammond organ-driven parts linked (in the background) with some piano notes, spontaneous electric guitar leads and powerful rhythm section - with more than a trace of blues and psychedelia. It can be compared to the Jody Grind (their member, Pete Gavin, was a drummer here…), Atomic Rooster, early Argent, Procol Harum (at their heaviest) and late 60' s Pink Floyd. This CD edition was carefully remastered from the original, analogue source and sounds really great!
Don't be fooled by that average-looking front cover (with some additional, eco-messages saved on), please… Released as early as in 1970 (and still relatively unknown) the only Lost Nation LP included a powerfull dose of the very British influenced progressive rock, reminiscent of… still non-existent Beggars Opera (also in vocal department) - with strong influences of early Deep Purple. This very underrated but truly great album was dominated by fairly extensive, 6-7-minute compositions based on the sound of Hammond organ, some tasteful Blackmore-ish guitar parts and very busy drumming. In a sense it's quite unique record because in 1970 not so many US bands played uncompromising and freshly sounding progressive rock!
Tony Joe White's self-titled third album, Tony Joe White, finds the self-proclaimed swamp fox tempering his bluesy swamp rockers with a handful of introspective, soul-dripping ballads and introducing horn and string arrangements for the first time. The album – White's 1971 debut for Warner Bros. – was recorded over a two-week period in December 1970, in two different Memphis studios (one was Ardent Studios, where Big Star later recorded their influential power pop albums). His producer was none other than London-born Peter Asher, who had just produced James Taylor's early hits for the label (he would continue to produce hits for Taylor and Linda Ronstadt on his way to becoming one of the most successful producers of the '70s). One can surmise that Warner Bros. may have put White and Asher together as a way for the producer to work his magic with an artist who had much promise.