Creative Source's 1973 debut, plus 5 bonus tracks - a unique blend of jazzy vocal harmonies, funk stylings and classic breaks, such as the oft-sampled, clavinet-and-flute groove of "You Can't Hide Love" later covered by Earth, Wind and Fire.
I have a collection of 135 titles (142 CDs) issued by Goldmine/Soul Supply record company. This is not a box set but rather it is a collection of albums that are similar in that they all are rare soul compilations by the same company. There are some tracks that are on more than one album but considering the scope and magnitude of this collection, the number of duplicated tracks is small. Some CDs have good artwork, some have none, most have some artwork of varying quality. All are 320 CBR MP3 and are fully tagged. Original post now has added CDs.
Essential: a masterpiece of progressive rock music
One thing is quite certain: ou can love this album to death or loathe it with every fiber of your being, but you can’t really ignore it. From the gorgeusly disturbing gatefold sleeve, displaying a masterpiece of Gothic artwork by Swiss cult artist R.H. Giger (of “Alien” fame), down to the unabashed self-indulgence of its musical content, “Brain Salad Surgery” is a compendium of everything progressive rock is all about, the good, the bad and the ugly. It is loud, metallic, and harsh, undeniably bombastic, though it can also be melodic and soothing – a true rollercoaster ride of an album, swinging from the beautiful, English choirboy vocals of “Jerusalem” (with wonderful lyrics courtesy of one Mr William Blake) to the all-out progressive orgy that is “Karn Evil 9”.
In this live 1973 performance from Japan, Scotto is parthnered by one of the great tenors of our time, José Carreras, then at the start of his international career. The distinguished baritone Sesto Bruscantini is a formidable Germont who sings an exceptionally moving rendition of the famous aria "Di Provenza il mar".
Kenny Barron could easily go unidentified if some of the selections on this LP were played for a listener during a "blindfold test" – he sounds quite unrecognizable on the three numbers on which he plays electric piano. Barron, who is joined by electric bassist Bob Cranshaw, drummer Freddie Waits, and the colorful percussion of both Richard Landrum and Warren Smith on his five originals and one by Waits, utilizes electricity with intelligence and creativity. His songs are moody and complex yet somewhat accessible and this underrated set would certainly surprise some of his current fans. Barron is the main soloist on every selection while Landrum and Smith's versatile colors add a lot to the unusual session's value.