Originally recorded in 1973, Green Desert did not see the light of day until it was remixed and released as part of the In the Beginning box set in 1986, then as its own album later the same year. It is difficult to ascertain how radical this release is from the original recording, but as it stands, it is a logical step between the rawer-produced Atem to the ambient/sequencer-driven style of Phaedra. A key element of this is attributable to Edgar Froese's guitar playing on the title track, an unhurried solo that lasts only about five minutes in the nearly 20-minute piece, yet is easily the most memorable part of the entire song. None of the three shorter songs are as dynamic as the first, each containing a keyboard melody played over synthesized noises and the rhythms of drums, sequencers, or a series of chords.
GDigitally remastered and expanded edition of this legendary 1967 collaboration from Rock 'N' Roll and R&B pioneer Larry Williams and Johnny Guitar Watson, who took his R&B roots into pimp-friendly Funk in the '70s. The album is a Northern Soul classic with three bonafide stompers in the title track, the legendary 'Too Late' and 'A Quitter Never Wins'. Also features the even rarer 45 'Nobody', which the duo recorded with US Psychedelic outfit Kaleidoscope. The package is expanded even more with six tracks from Watson's OKeh album the Fantastic Piano And Guitar of Johnny Watson - BAD! And two tracks from the OKeh album in a Fats Bag - the Johnny Guitar Watson Trio Plays Fats Waller.
A band with a revolving cast fronted by Iraklis Triantafyllidis between 1972 and 1995, Iraklis played a blend of traditional Greek folk with psychedelic rock and classical aspects. They released 3 albums from 1976-1984, the most acclaimed being "Se Allous Kosmous", a double LP at the time, marked by ambitious blending of seemingly disparate styles and instruments that somehow works.
Metropolitan Suite is a wonderful work from synthesist Larry Fast, who uses his keyboards to create two sets of musical vistas - one that calls, simply, musical abstractions; the other is the title composition, a piece that gives musical sketches of New York at different periods in its history. Fast has a cinematic flair that results in some extremely dramatic writing - music for the cinema of the mind.
Larry Fast's Synergy was an extremely inventive and innovative electronic music project of the '70's. Larry Fast is known for his synthesizer contributions to a lot of bands in the '70's and '80's including Peter Gabriel and Yes. While Synergy's second album, "Sequencer", isn't quite as startling as their debut, it remains an intriguing, unpredictable collection of electronic instrumentals. Again, the sounds and technology occasionally sound a little dated, but the ideas remain fresh.
Originally released 1969 on MPS Records Germany - which became world famous for Dave Pike´s Noisy Silence Gentle Noise released in the same era. This is a true jewel for all progressive music enthusiasts.Ahead of its time the album is an eclectic mixture of beat, psychedelia and little hints of jazz rock. The album is compared with the similarly styled debut of Burnin' Red Ivanhoe. 14 Minutes title song 'Maxwells Street' sounds like a continuation of the Rolling Stones' 'Their Satanic Majesty's Requests'. Lars Bisgaard and Bent Hesselmann later played with Rainbow Band. Comes with bonus tracks, digitally remastered from the original tapes and with informative booklet.
Known by many as the 'Brazilian Gentle Giant', Terreno Baldio are one of the most important prog-rock bands in Brazil. Grouped in the beginning of the 70s, the band debut was the album "Terreno Baldio", which got substantial sellings although the master-tapes were lost avoiding new editions. The line-up was João Carlos Kurk (vocal, flute and percussion), Mozart de Mello (guitars), Ronaldo Lazzarini (keyboards), Ascenção (bass) and Joaquim (drums). Noticeable is that more than 20 years after its original release, Terreno Baldio and the Brazilian label Rock Symphony recovered the original first album, still unreleased in CD. The CD release includes a folder with all the band biography, photos and also an extra folder in English aiming at the international market.
The third and last album that Lonnie Mack recorded for Elektra in his brief stint with the label in the late '60s and early '70s, The Hills of Indiana must have surprised quite a few listeners familiar with his earlier work. There were little of the blues-rock-R&B-oriented guitar fireworks that many of his earlier recordings had boasted. In contrast, it was a pretty laid-back affair with plenty of roots rock, country-rock, and early-'70s singer/songwriter influences. Steel guitar and fiddle augmented the usual rock lineup, string and horn arrangements were devised by Norbert Putnam (who played bass on much of the record), and there were liberal touches of gospel in the songwriting, singing, and occasional background vocals.