Premiata Forneria Marconi - The World Became The World (1974 italy, progressive rock, 2010 esoteric remaster - FLAC)

In Ernesto de Pascale's liner notes to Photos of Ghosts, PFM drummer Franz Di Cioccio is quoted as saying, "From the very beginning we decided that every PFM album had to be different from the previous one, even if it was a massive success...Every song belongs to an album that reflects a specific way of feeling and that was recorded in a specified period of time...If you are a professional musician, you always have to deal with your present, not only with your past." While each successive album in the group's Manticore run from 1973-1977 demonstrates unequivocal—in some cases, completely redefining—evolution, they're also clearly built on past lessons.

And so, while The World Became the World is an album that couldn't have existed without Photos of Ghostsbefore it, it's also a major step forward, in no small part due to the replacement of bassist Giorgio Piazza with Area's Patrick Djivas. Not that there was anything inherently wrong with Piazza, but Djivas possesses a voice instantly more dominant and immediate on the opening nearly 11-minute opener, "The Mountain," where his driving pulse elevates one of PFM's most exhilaratingly dramatic epics.

But before the group enters, there's a two-minute introduction, featuring an uncredited choir, that supports Cioccio's suggestion that, compositionally speaking, PFM never repeated itself. Mussida's choppy rhythm guitar signals the entry of the group, and his serpentine lines running underneath the vocal possess a more biting tone that adds to the album's more aggressive stance, also heard on tracks like "Is My Face on Straight?," which features a fluid flute solo from Pagani, over Djivas and De Cioccio at their funkiest, and "Have Your Cake and Beat It," that brings the introduction of Djivas as a significant new voice to the group full circle. His opening bass solo on this instrumental album closer is a virtuosic (and more self-directed) lead-in to a fiery 13/8 section where, with Pagani's violin soaring over Mussida's again choppy rhythm guitar, PFM moves towards a decidedly jazz-fusion approach it would explore further on subsequent records.

The World Became the World may hold some of PFM's most assertive playing to date, but the group's symphonic roots and Mediterranean tinges remain a part of its overall sound. "Just Look Away," propelled by Mussida's elegant classical and warm electric guitar overdubs, is another folkloric track, its pastoral ambiance supported by Pagani's violin, this time soft and lyrical, with Premoli's synths more orchestral in texture as one of PFM's most beautiful tunes leads to a descending four-chord pattern at the end that slowly builds with the addition of Premoli's expansive mellotron.

The title track is a re-recording of Storia di un minute's "Impressioni di settembre," already sonically improved over the Italian version but here, with Esoteric's remastering, sounding even bolder, more dramatic, as Premoli's memorable synth line winds its way through layers of mellotron, acoustic guitars and an overall vibe reminiscent of early Crimson.

"Four Holes in the Ground" is, perhaps, PFM at its transitional best; mellotron orchestrations supporting a classically informed vocal track that comes after an introductory section that, taking up nearly half of the song's six minute duration, builds to an elliptical theme that seems to accelerate, despite the time remaining fixed...until, that is, the song's end, where the instrumental opening is recapitulated before the theme is, indeed, sped up to a fever pitch that only suggests how it would ultimately sound in breathtaking live performance.

With the majority of The World Became the World recorded in London with its international audience in mind, PFM still released an Italian counterpart, L'Isola di niente (RCA, 1974), but without the rework of "Impressioni di settembre," bringing it down to a brief 35 minutes. While Italian takes of "The Mountain," "Just Look Away," "Four Holes in the Ground" and "Have Your Cake and Beat It" received Italian lyric treatments that many PFM fans still find preferable to their English language versions, PFM reversed Photos of Ghosts' assertion that, by including "Il Banchetto," it was still a decidedly Italian band (not that, with the group's heavily accented English, this was ever in question).

There are no Italian vocals to be found on The World Became the World, but L'Isola di niente does contain the English version of "Is My Face on Straight?," making it clear to its still significant Italian fan base, that PFM was now and English band. And by significantly re-sequencing the Italian version—with only the album opener and closer in their same positions—PFM also suggests that how its home audience perceived the overriding arc of the album was different than that of its growing intentional fan base.

Esoteric's reissue also includes an additional 12 minutes of bonus features. A single edit of "Four Holes in the Ground" supports its "previously unreleased" status, the edits choppy and destructive; the same can be said for a previously unreleased single edit of "Celebration" that suffers the same problems, and is surprisingly inferior to the single version included on Photos of Ghosts, given it's actually 24 seconds longer.

A UK single version of "La Carrozza di Hans," first released on Storia di un minute fares far better, though the addition of crowd noise at the beginning and end, to suggest it's live (when it isn't), doesn't make a whole lot of sense. Still, considering it's one of the group's earliest tracks, it positions well on The World Became the World, an album that found PFM moving in a new direction that would evolve even further with the release of Chocolate Kings.
By John Kelman

Tracks
1. The Mountain - 10:46
2. Just Look Away - 4:02
3. The World Became The World - 4:48
4. Four Holes In The Ground - 6:22
5. Is My Face On Straight - 6:39
6. Have Your Cake And Beat It - 7:26
7. La Carozza Di Hans (UK single version) - 5:59
8. Four Holes In The Ground (Single Edit) - 3:22
9. La Carrozza Di Hans (Live) - 2:36

Premiata Forneria Marconi
*Franz Di Cioccio - Drums, Vocals, Percussion
*Jan Patrick Djivas - Bass, Vocals
*Franco Mussida - Electric, Acoustic Guitar, Vocal
*Mauro Pagani - Flute, Violin, Windwood, Vocal
*Flavio Premoli - Keyboards, Hammond Organ, Piano, Mellotron, Moog, Vocal

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Premiata Forneria Marconi - Photos Of Ghosts (1973 italy, progressive rock, 2010 esoteric bonus tracks issue - FLAC)

PFM were already Italy's premiere progressive rock band when Emerson, Lake & Palmer signed them to the British trio's own Manticore label in 1972 and turned to King Crimson alumnus Peter Sinfield to write English-language words (sung phonetically) for this, the Italian group's debut international release.

A phantasmagorical creation, Photos of Ghosts is filled with lush melodies and rich musical textures, all wrapped around Sinfield's frequently surreal lyrics, which seem an extension of some of his better work from King Crimson's Lizard and Islands albums.

In contrast to ELP's music of the same period, PFM's music still retains some loud echoes of psychedelia, and the music has a refreshingly airy, open sound, free from the thick, heavy-handed Germanic textures generated by most of the rival U.K. classical rock bands of the period -- this album can stand next to competing works by Genesis, Yes, et al. from the same period. Additionally, PFM were not only unafraid of doing songs that changed time signatures radically, but reveled and thrived in such unusual structures, as demonstrated by "Il Banchetto," the one song on the album transferred -- at least in terms of lyrics -- intact from the original Italian release.

The phonetically sung English lyrics also take on a special eeriness on track such as "Promenade the Puzzle." Oddly enough, the group actually became a better rock band in the year following this release, with a shift in personnel and the addition of bassist Patrick Djivas, and subsequent releases rocked harder and better, but they never had a finer, more consistently rewarding body of music in one place to their credit than this album.

The various CD editions have been a major improvement over the fuzzy, indistinct mastering (and accompanying poor pressings) of the original 1970s-era U.S. vinyl release. The 2010 CD re-release also features significant bonus tracks, consisting principally of early mixes and unaccompanied backing tracks from much of the album -- all of which bring the running time up past 70 minutes -- and reveal a wealth of inner detail and instrumental textures that were otherwise masked on the finished album, plus the single edit of "Celebration."
by Bruce Eder

Tracks
1. River Of Life - 6:59
2. Celebration - 3:51
3. Photos of Ghosts - 5:21
4. Old Rain - 3:41
5. Il Banchetto - 8:34
6. Mr. 9 'til 5 - 4:09
7. Promenade The Puzzle - 7:30
8. Photos of Ghosts (Bonus Track, Instrumental Mix) - 5:22
9. River Of Life (Bonus Track, First Mix) - 7:07
10.Old Rain (Bonus Track, First Mix) - 3:40
11.Il Banchetto (Bonus Track, First Mix) - 8:34
12.Mr. 9 'til 5 (Bonus Track, Instrumental Mix) - 3:54
13.Celebration (Bonus Track, Single Edit) - 2:13

Premiata Forneria Marconi
*Franz Di Cioccio - Drums, Vocal
*Franco Mussida - Electric, Acoustic Guitar, Vocal
*Mauro Pagani - Flute, Violin, Windwood, Vocal
*Giorgio Piazza - Bass
*Flavio Premoli - Keyboards, Hammond Organ, Piano, Mellotron, Moog, Vocal

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The O Band (A Band Called O) - The Knife (1977 Uk classic rock blended progressive rock - Wave audio format )

The Band Called "O" final studio LP contains stunning versions of Spirit's "Look To The Left Look To The Right" and Creedence Clearwater Revival's "Almost Saturday Night" as well as nice quality self composed songs. Through never achieving the commercial success they merited there's no doubting that the O-Band were one of the UK's finest Rock bands of the 70's. However, this album is excellent, and can be regarded as a swan song succeeded ... Musically, their style had already evolved from progressive rock to soft-rock, but it then moved towards a pop style. They changed their name to "The O Band" and released a 12" EP Look to the Left, Look to the Right in 1977. before recording their final album The Knife, from which the single "Almost Saturday Night"/"Love Ain't A Keeper" was taken, also in 1977. Shortly before a planned change of management, Pix Pickford decided to leave for a solo career. The O Band later disbanded at the end of 1977.





The O Band - The Knife





Tracks Listing

01. Look To The Left Look To The Right

02. Almost Saturday Night

03. Im Gonna Leave You

04. Strange Lovin

05. Back Alley Lightning

06. Time Seems To Fly

07. The Knife

08. Got To Run

09. Venus Avenue

10. A Smile Is Diamond ( Maxi Version)

11. Fine White Wine



Credits

Mark Anders - Bass Guitar

Pix Pickford - Lead Vocals, Guitar

Greg Anders - Vocals, Guitar, Slide Guitar

Jeff Bannister - Vocals, Keyboards

Derek Ballard - Drums, Percussion



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A Band Called O - Within Reach - (1976 Uk classic rock blended progressive rock - Wave audio format)

I saw this band three times on the UK college circuit (at UCW Aberystwyth in the mid-70s) and they sounded almost exactly as they do on this album: wonderfully melodic very tight musicianship led by Pix on lead guitar; West Coast US inspired, but nevertheless 'English sounding'. Pix is still playing with a band called Racket: he is better than Mark Knopfler, but having just as distinctive a signature sound. Pix was from the Channel Islands. A picture of him shows him playing a strat and still looking in good health. There is a telephone number given on which you can book gigs, by Racket, that is, but sadly not by The O Band. The band used to be obsessed about getting the sound-engineering just right on stage and would keep us waiting for 10 to 15 minutes, playing to an empty, locked auditorium while the engineer made fine adjustments on the desk. You could watch through the windows in the doors. The wait was always worth it. The band were fine vocalists as well as great players. When I saw them they were first called Oasis! I do not know why they changed name. I remember Pix played with a slightly distracted look of concentration and absorption by the music. He used to look above the heads of the audience, apparantly studying the wall behind us, but seeing nothing I guess. He took his picking really seriously. So to the album. Each track has a complimentary momentum and feel so that the overall effect is very coherent. The last track is a kind of gentle 'goodbye'. Smile is a Diamond seems to be the most highly regarded track, but I find them all equally good. If you want a benchmark, I would place Crosby Stills Nash and Young 'Deja Vu' and The Band 'Stagefright' slightly ahead of this album. In other words Within Reach by The O Band is World Class Country Rock and an essential album for any blissed-out soft rocker. I love it. Dear Pix: any chance of an O Band reunion gig? You'd find me in the front row and before that, trying to get in just to enjoy the sound check. Dig your style! How did you develop it and what set up did you use back then? Stay in good health: too many rockers die young!! (By Dr. S. L. Smith "Steve Smith")





A Band Called O - A Smile Is Diamond





Tracks Listing

01. Smile Is Diamond

02. Feel Alright

03. Lucia Loser

04. Don't Cha Wanna

05. Money Talk

06. Still Burning

07. Paradise Blue

08. Long Long Way

09. Within Reach

10. A Smile Is Diamond (Single Version)

11. Coasting (Single B-Side)

12. Love Ain't a Keeper (Single B-Side)



Credits

Pix - Lead Vocals, Guitar

Mark Anders - Bass

Derek Ballard - Drums, Percussion

Craig Anders - Vocals, Peddle Steel Guitar, Slide Guitar

Jeff Bannister - Vocals, Piano, Electric Piano, Organ, Synthesizer



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A Band Called O - A Band Called O - (1974 Uk classic rock blended progressive rock - Vinyl rip - Wave audio format )

A Band Called O were a band from Jersey, Channel Islands. Originally known as "The Parlour Band", playing progressive rock, they renamed to "A Band Called O" for two albums on CBS/Epic and later to "The O Band" for a further albums with UA. Despite issuing five albums, on three major labels, and being championed by John Peel, for whom they recorded four Peel Sessions, they had no chart success; but were a popular live act, who toured Britain and Europe.

Formed in Jersey, Channel Islands, circa 1970, as "The Parlour Band", the early line up comprised brothers Mark Anders (bass and vocals) and Craig Anders (lead guitar and vocals) with Peter Filleul (keyboards and vocals) formerly of the Climax Blues Band , John “Pix” Pickford (guitar and vocals) and Jerry Robbins (drums). Released in 1972, The Parlour Band's only album Is a Friend?, was produced by Nick Tauber in a melodic progressive rock style, sounding like a "more mainstream, less art-rock-inclined Yes" with strong keyboard and guitar parts.The Parlour Band toured supporting Caravan and Steve Hillage’s Khan.



A Band Called O

They relocated from Jersey to Leicester, changed their name to "A Band Called O", and their drummer to Derek Ballard. This line-up released their first album on the Epic label, produced by Ben Sidran of the Steve Miller Band, and Chris White of the Zombies. A Band Called O (1974) and, despite being an album orientated band, a single "Rock and Roll Clown"/"Red Light Mama Red Hot" was released in Germany while they recorded the first of four Peel Sessions on 24 September 1974. They recorded their second Peel Session on 18 March 1975, before touring with Man and John Cipollina. Later that year, they released their second album, Oasis. They had one track "There Ain't Nothing I Wouldn't Do" on a single to promote their tour with Sassafras and Randy Pie as the "Hot On The Tracks" package.

Filleul left and was replaced by Ian Lynne, after about 6 months he was also replaced by Jeff Bannister, formerly with the John Barry Seven, The Alan Bown Set and Jess Roden’s Bronco.[8] The band changed label from CBS/Epic to United Artists, played their third Peel Session on 23 March 1976 and released their third album Within Reach later that year.[9] A promotional single "Excerpts from Within Reach" was issued in the UK whilst two singles were taken from the album: "A Smile Is Diamond" / "Coasting" was issued in Germany, and "Don't cha Wanna" /"Coasting" in the UK. They played their fourth and final Peel Session on 22 February 1977.



Tracklist



01 Red Light Mama Red Hot - 6:20

02 Angelica - 3:41

03 Helping Hand - 3:38

04 Lady Beatrice - 3:55

05 Ride, Ride, Ride - 3:12

06 Rock Roll Clown - 3:38

07 All I Need - 2:02

08 Get Funky - 3:30

09 Captain Cellophane / Sidewalk Ship - 12:00



Credits



Pix - Vocals, Guitar

Derek Ballard - Drums

Peter Filleul - Electric Piano, Vocals

Mark Anders - Bass Guitar

Craig Anders - Guitar, Slide Guitar



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The Ghost - When You're Dead ..One Second (1970 uk, heavy psychedelic rock with some folk shades, remaster digipack edition - MP3 320k and FLAC)

The Ghost LP is one of the most fabulous UK psych/prog albums. This Birmingham band featured guitarist Paul Eastment, previously in The Velvett Fogg.



The album, originally released back in 1970 on the Gemini label in the UK and in 1971 on Exit/Ekipo records in Spain, is one step ahead psychedelia entering the realm of prog music, yet retaining an atmospheric mind expanding feel through it all. Loads of Hammond organ swirls, pyrotechnical guitar licks, beautiful accoustic guitar parts, and above it all killer vocal arrangements.



The lead-off track, "When You're Dead," is the most effective and famous (at least in the world of psychedelic collectordom) cut. Lead singer Paul Eastment sounds much like Family's Roger Chapman, but even creepier (and more ostentatious), as the group vamp around a skin-crawling riff, anchored by an almost garagey shrill organ.



Yet the second song, "Hearts and Flowers," could almost be the work of an entirely different outfit, with the band's other lead singer, Shirley Kent, shining on a pretty folk tune reminiscent of some of Fairport Convention's most precious early numbers (Shirley would later move on to record the "Fresh Out" LP as Virginia Tree).



Top quality remastered sound, an impressing psych prog release! First ever official CD reissue, limited to 1000 digipack copies."

Tracks

1. When You're Dead (P. Eastment, P. Keatly) - 4:25

2. Hearts And Flowers (S. Kent) - 2:54

3. In Heaven (T. Guy) - 3:21

4. Time Is My Enemy (S. Kent) - 4:06

5. Too Late To Cry (P. Eastment, P. Keatly) - 5:04

6. For One Second (T. Guy) - 5:25

7. Night Of The Warlock (P. Eastment, T. Guy) - 4:22

8. Indian Maid (T. Guy) - 4:21

9. My Castle Has Fallen (P. Eastment) - 2:57

10.The Storm (P. Eastment, P. Keatly) - 3:36

11.Me And My Loved Ones (T. Guy) - 4:09

12.I'Ve Got To Get To Know You (S. Kent) - 4:02



The Ghost

*Daniel MacGuire - Bass Guitar

*Charlie Grima - Drums, Percussion

*Paul Eastment - Lead Guitar

*Terry Guy - Organ, Piano

*Shirley Kent - Vocals



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Druid - Toward The Sun/Fluid Druid (1975-76 uk, progressive rock, BGO edition - MP3 320k and FLAC)

Formed in 1971 by old schoolmates Dane Stevens and Cedric Sharpley, along with local bass player Neil Brewer, Druid spent years playing clubs as a trio before winning a competition by Melody Maker for the best unsigned band. At this point they added Andrew McCrorie-Shand, a recent London College of Music graduate.

The Melody Maker prize included new instruments and a recording contract, and their debut album appeared in July 1975 among envious whispers by rival bands and music publications. The band had a difficult time shaking the charge of hype, and they were also charged in some quarters as being Yes soundalikes -- Starcastle in the U.S. was later to be tarred with the same brush. (In fact, Druid was an opening act at a number of Yes concerts.) The Yes comparison, though an obvious one, is not entirely accurate.

While Dane's vocals are clearly styled after Jon Anderson, and Neil Brewer's bass has the classic pick-driven Rickenbacker growl associated with Chris Squire, the rest of the band departs from the formula; McCrorie-Shand's unadorned keyboard parts, for example, have little in common with the lavishly baroque flash of Rick Wakeman or the martial Hammond pounding of Tony Kaye.

With the release of their second album in the spring of 1976, the band distanced themselves from their production and Melody Maker connections. It couldn't make up for the weaker material on their sophomore effort, and the band finally called it quits. Cedric Sharpley was to find success soon afterwards, though, by joining up with a new and unusual band led by an strange fellow named Gary Numan.
by Paul Collins

Tracks
1975 Toward the Sun
1. Voices - 8:14
2. Remembering - 5:24
3. Theme - 5:26
4. Toward the Sun - 5:08
5. Red Carpet for an Autumn - 3:09
6. Dawn of Evening - 10:03
7. Shangri-La - 10:08

1976 Fluid Druid
1. Razor Truth - 5:42
2. Painters Clouds - 4:59
3. FM 145 - 2:08
4. Crusade - 7:49
5. Nothing But Morning - 4:10
6. Barnaby - 3:15
7. Kestrel - 3:37
8. Left To Find - 7:16
9. The Fisherman's Friend - 0:46

Druid
*Neil Brewer - Bass
*Dane - Guitars, Vocals
*Andrew McCrorie-Shand - Keyboards
*Cedric Sharpley - Drums, Percussions

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Genesis - The Early Days Of Genesis (1967-69 uk, post psychedelia, progressive rock, double disc 2008 edition - MP3 320k and FLAC)

There was a school in Surrey, England named Charterhouse. Attending this school there were two students named Tony Banks and Peter Gabriel. The two both had a love for music which caused them to form a band called The Garden Wall.

A nearby group named The Anon. Formed by Riverz Job (bass), Richard MacPhail (vocals), Anthony Phillips (guitar), and Rob Tyrell (drums). Later join by Mike Rutherford, The Anon was The Garden Wall's main competition.

The Charterhouse arranged a concert in 1967 that featured both The Garden Wall and The Anon. The Garden Wall stole the show away from The Anon (who were the concert's main feature. After this more than half The Anon left the band leaving Anthony Phillips and Mike Rutherford. Phillips and Rutherford went to their rivals and formed a new band. They later were joined by drummer Chris Stewart.

This new band put together a demo tape which they sent to producer Jonathan King (who was an ex-student of The Charterhouse). He liked this band's music so much and since they didn't have a name yet he gave them one: Genesis. In 1968 Stewart left Genesis. John Silver came in as Stewart's replacement

In 1969 they released their first album titled 'From Genesis To Revelation'. The album was only released in the UK. To put it nicely, the album was a bomb. It sold less then seven hundred copies. Part of the album's lack of success can be contributed to the fact that the album was thought to be Christian.

After this, Genesis went inactive in order to get out of it's one year contract with King (who thought their new music lacked). After a year, Genesis was free of King and Silver (who wanted to stay with King).In March of 1970, Genesis met John Anthony who signed them with Charisma-Records.

This is actually their first album release "From Genesis To Revelation", (with few bonus tracks from the 1967-1969 period and some new remixes from 2006) a magma of British post psychdelia with progressive touches, it has nothing common with their later recordings except for the musicians, it is more earthy, more accessible, however it is fascinating, the velvet voices along with beautiful melodies, creating colourful ribbons, leaving finally a sweet taste ...

Tracks
Disc-1
1. Where the Sour Turns to Sweet - 3:16
2. In the Beginning - 3:47
3. Fireside Song - 4:20
4. The Serpent - 4:40
5. Am I Very Wrong? - 3:33
6. In the Wilderness - 3:33
7. The Conqueror - 3:42
8. In Hiding - 2:40
9. One Day - 3:22
10.Window - 3:35
11.In Limbo - 3:32
12.Silent Sun - 2:15

Disc-2
1. A Place to Call My Own - 2:00
2. A Winter's Tale - 3:31
3. One-Eyed Hound - 2:31
4. That's Me - 2:38
5. Image Blown Out - 2:11
6. She is Beautiful - 3:46
7. Try a Little Sadness (Demo Version) - 3:18
8. Patricia (Demo Version of 'In Hiding') - 3:05
9. Where The Sour Turns To Sweet (2006 remix) - 3:19
10.The Silent Sun (2006 remix) - 2:15
11.In The Wilderness (Rough Mix) - 2:57

Genesis 1967-69
*Peter Gabriel – Vocals, Flute, Percussion
*Anthony Phillips – Guitar, Vocals
*Tony Banks – Organ, Guitar, Piano, Keyboards, Vocals
*Mike Rutherford – Bass Guitar, Guitar, Vocals
*John Silver – Drums, Vocals
*Chris Stewart – Drums on "Silent Sun"

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Gentle Giant - GG At The GG (1978 uk, progressive rock - MP3 320k and FLAC)

The sequel to Giant on the Box is here, GG at the GG-Sight & Sound in Concert, featuring more live video of Gentle Giant from the archives. The main portion of this DVD/CD set was recorded in front of a live studio audience at the Golders Green Hippodrome in London and Broadcast over BBC television in January of 1978.

Hot on the heels of their then new album The Missing Piece, the set contains a healthy dose of that album, along with a few older numbers. It's an hour's worth of energetic Gentle Giant, well shot and with great audio, and this collection also features some of the band's videos from the Interview and Giant For a Day albums, plus some rare film footage, hilarious audio commentary from all five members, and some stunning new music from Kerry Minnear on the main menu. For those who wish to have audio of the main show on the DVD, this set includes a bonus CD with the entire show to enjoy in your stereo or car.

The BBC set is a fun watch, with the band extremely energetic as they try to get the audience, who did not know which band they were going to witness (this was a regular thing with the BBC show), into the concert, which they certainly did. While many longtime fans find The Missing Piece album to be one of Gentle Giant's weaker albums, the songs from that release come across well live, especially "Two Weeks in Spain", "For Nobody", and the gorgeous "Memories of Old Days". Classics like "Free Hand", "On Reflection", "Just the Same", "Playing the Game", and "Funny Ways" are given fabulous treatment, as the band mixes complex arrangements with elements of classical, jazz, and rock.

Despite the hokey and dated outfits the band are wearing during this show, the set really cooks with all the members really locking in with each other and delivering the goods. Make sure to watch the show with the commentary track on, as all five members look at the show with fond memories, and have no problem cutting on themselves a little for their choice of wardrobe, facial gestures, and stage movements. It's quite funny and entertaining, yet also somewhat thrilling at the same time hearing all five speaking to each other.

The bonus materials are fun as well, especially the videos, which show the band lip synching to select songs from the Interview and Giant For a Day albums. The former are pretty cool, basically the band on a studio stage rocking out, while the latter are cheesy story based/performance clips to coincide with three ordinary songs off the bands worst album.

The clip from the Old Grey Whistle Test is amazing, despite the bad quility, as the band rips through a short "Octopus" medley, and the raw 35MM footage from Germany is brief and sub-par quality, but they did a good job synching up the film with the audio so there is at least something presentable. The selection of photos from Gary Green's collection are a nice addition as well, some being quite old and worth seeing. Hearing the new music from Kerry Minnear during the main menu once again will make fans yearn for some more from the keyboard ace as well as any kind of reunion from the band.

While Giant on the Box contains older material and more classic Gentle Giant songs, this one here has material of better quality. Both are an essential purchase for any fan of the band, plain and simple.
by Pete Pardo


Tracks
1. Two Weeks in Spain - 3:25
2. Free Hand - 7:33
3. On Reflection - 5:46
4. I'm Turning Around - 4:07
5. Just the Same - 4:54
6. Playing the Game - 4:44
7. Memories of Old Days - 7:19
8. Betcha Thought We Couldn't Do It - 2:38
9. JP Weathers Presents... - 1:46
10.Funny Ways - 8:23
11.For Nobody - 4:35
12.Mountain Time - 3:27
13.Excerpts from Octopus - 1:54
14.The Advent of Panurge - 5:49
BBC Sight & Sound in Concert-Golders Green Hippodrome, London 1978

Gentle Giant
*Derek Shulman - Vocals, Bass, Trumpet
*Kerry Minnear - Keyboards, Cello, Vibraphone, Vocal
*Ray Shulman - Bass, Guitar, Violin, Vocals
*Gary Green - Guitars, Recorder, Vocals
*John Weathers - Drums, Vibraphone

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Gentle Giant - Giant on the Box (1974 uk, progressive rock - MP3 320k and FLAC)

Amidst the plethora of so-called progressive rock bands of the '70s, Gentle Giant stood out as a group like no other. By the time of the performances documented on this newly-released DVD, Giant on the Box , Giant had settled into the line-up that would remain intact until their sadly with-a-whimper demise at the end of the '70s: Derek Shulman on lead vocals, saxophone, recorder, electric bass and percussion; brother Ray Shulman on electric bass, violin, trumpet, acoustic guitar, backing vocals and percussion; Kerry Minnear on keyboards, vibraphone, cello, recorder, backing vocals and percussion; Gary Green on electric and acoustic guitars, recorder, percussion and backing vocals; and John Weathers on drums and percussion.

Mixing awe-inspiring feats of vocal and instrumental prowess with an aggressive rock edge and a distinct baroque sensibility, Gentle Giant created music that was challenging and yet managed to be completely approachable. Giant on the Box features two longish television performances. First up is a '74 German broadcast that finds them on tour in support of what was ultimately to become their biggest-selling record, The Power and the Glory.

During the 50-minute set, comprised of material from that album as well as a tune from their cult hit (mind you, at over 150,000 units sold at the time - and as a British import, no less - it may be more than a cult record after all) In a Glass House , a medley of tunes from Octopus and a dip back to their first, self-titled, album for an extended version of "Funny Ways," Gentle Giant demonstrate why they were such a compelling band, especially in concert. The recording quality is good for a broadcast from that time.

Sadly, however, the camerawork fails to demonstrate the incredible slight of hand that Gentle Giant exercised on stage on a regular basis. Your attention is drawn to stage left, where Minnear, Weathers and Derek Shulman are busy carrying "Knots" only to have your attention suddenly and dramatically shifted to stage right, where Ray Shulman and Green are executing a staggering acoustic guitar duet leading into "The Advent of Panurge." The constant yet seamless shifting of instrumentation is one of the things that made Gentle Giant so entertaining live, and so completely unique, and despite the loss of these transitional visuals, the group's sheer virtuosity remains impressive.

While Green plays the intro to "Funny Ways" on a 12-string acoustic, Ray Shulman hands his bass over to brother Derek and picks up a violin, forming a small chamber duo with Minnear on cello. Before long Ray is on trumpet, leading into a jazzy vibes solo from Minnear that builds to a fever pitch before the dynamics drop and the chamber duo is back in place for the last verse. Sure the costumes are dated and Derek Shulman's stage antics seem a little exaggerated in retrospect, but the recording succeeds at portraying the sheer excitement of the live experience.

Gentle Giant is a band that was often criticized for being too cerebral, too abstract in the studio, but live, and especially with the rhythmic powerhouse that is John Weathers they drastically reshape the material, retaining all the complexity and intellect but adding a sense of rock and roll showmanship and energy that makes them arguably the most vivid progressive rock band of their time. And while emphasis has often been on the multi-instrumental prowess of Minnear and the Shulman brothers, special note has to be made of Green, a rock guitarist with a remarkably broad knowledge.

Execute complicated odd-metered lines? No problem. Play part of a five-piece percussion ensemble on "So Sincere"? Piece of cake. But when it comes to soloing, as he does on "Experience," he drips blues and rock, and is a guitarist that, amongst all the other guitar gods that emerged from that time, never really received his proper due. Following the '74 German broadcast is a shorter half-hour American television broadcast from '75 that mines much of the same material — "Experience" from In a Glass House , "Features from Octopus ," and "Funny Ways."

While the arrangements are almost the same, there's enough improvisational work going on between Minnear, Ray Shulman and Green to prevent this from simply being a rehash. Additional features include a brief excerpt from another German broadcast, "Szene 74," which features a blistering duet between Green and Weathers before the band kicks in for the finale of "In a Glass House." And while the Italian interviewer makes things a little confusing at times, the 22-minute black-and-white collage of a performance of "Features from Octopus ," interspersed with interviews with the band, makes for a nice extra.
by John Kelman


Tracks
1. Cogs in cogs - 3:18
2. Proclamation - 4:54
3. Funny ways - 8:41
4. The runaway - 4:17
5. Experience - 5:49
6. Features from Octopus - 7:08
7. Advent of Panurge - 6:22
8. So sincere - 9:58

Gentle Giant
*Derek Shulman - Vocals, Bass, Saxophone, Percussion
*Ray Shulman - Bass, Violin, Acoustic Guitar, Trumpet, Vocals, Percussion
*Gary Green - Guitars, Recorders, Vocals, Percussion
*Kerry Minnear - Keyboards, Cello, Vibes, Recorder, Vocals, Percussion
*John Weathers - Drums, Vibes, Tambour, Vocals, Percussion

[ Thank you BRAIN POLICE for sending this post]
CODE: 52851

David Kubinec's Mainhorse Airline - The Geneva Tapes (1969/70 swiss/uk, progressive rock with jazz flashes, 2007 remaster - MP3 320k and FLAC)

It has always been said that the origins of the Patrick Moraz debut recording group “Mainhorse” are not well documented. Now, with the discovery after 37 years of ‘The Geneva Tapes’ all that has changed.

These tapes provide a unique insight into how the band was formed and what its original aims and personnel were. In the late summer of 1969, Moraz and his friend, bass player and cellist Jean Ristori came over to England in search of an English rock drummer and singer. After putting an advertisement in Melody Maker they hired a rehearsal room in Shepherds Bush, London for 2 days.

On the first day they auditioned drummers and chose a then unknown 17 year old Bryson Graham. The 2nd day was spent listening to singers and finally the choice was reduced to 2. The singer from that great band “If” and cult rock figure David Kubinec aka ‘Kubie’ from pop-psych band “The World of Oz”. Finding it impossible to decide between them, they were given an exam in which they both had to write lyrics for ‘Pale Sky’ in 10 minutes but Kubinec raced through it in 3 or 4 and they can be heard here in their entirety for the 1st time. And so Kubie was chosen.

These 4 guys then flew over to Switzerland and joined up with Auguste De Antoni the renowned French jazz guitarist and Swiss jazz drummer Arnold who were part of The Patrick Moraz Quartet which had already played to great acclaim at The Montreux Jazz Festival, forming a 6 piece group with 2 drummers with differing styles which Moraz named “Integral Aim”.

An innovative project of free jazz, rock, psychedelia and classical fusion (which filled the gap between the Underground and Progressive-Rock and which would have taken the world of music by storm) was over, but it makes the recent emergence of these original tapes all the more exciting. This album is a must for any fan of what became known as Prog- Rock, laying down as it did one of the foundation stones for that genre and yet these particular recordings have never been heard before.

A truly fabulous and unexpected find that shines a light into the dark corners of late-sixties and early-seventies experimental music. Moraz went on to play with Refugee, Yes and The Moody Blues, recording several albums of his own when he left them after fifteen years. David Kubinec, a wonderful songwriter in his own right, recorded solo material and also albums with The Rats and John Cale of Velvet Underground. Bryson Graham teamed up with Gary Wright, Spooky Tooth and The Paul Kossoff Band and was with Paul when he died on the flight returning from the United States.

He rejoined Kubie in David Kubinec's Excess in 1978 to promote the A&M album "Some Things Never Change" with Chris Spedding, Ollie Halsall and John Cale. In 1979, Kubinec went to the former Yugoslavia to watch his only child Emily growing up, and he joined "Stijene" a rock band which enjoyed great national success before the Balkan Wars. After the war, it was rumoured that he had been killed in a crossfire between the Serbs and Croats. This has never been confirmed, but it's certain that he hasn't released a record since.

In 1997, Rick Davies of Supertramp, who had always been a big fan of Kubinec's songwriting talent, paid him the compliment of titling the Supertramp album released that year "Some Things Never Change". A fitting tribute.
by Louise Campbell.

Track List
1. Overture and Beginners
2. Blunt Needles
3. Passing Years
4. Make It the Way You Are
5. Pale Sky
6. What the Government Can Do for You
7. Daybreak of Eternity
8. Directions for Use
9. Very Small Child
10. God Can Fix Anything

David Kubinec's Mainhorse Airline
*Patrick Moraz - Keyboards
*David Kubinec - Vocals
*Bryson Graham - Drums
*Jean Ristori - Bass, Cello
*Auguste De Antoni - Guitar
*Arnold Ott - Drums

[ Rip and Scans by MARIOS ]
originally published in PHROCK blog at Wednesday, July 29, 2009
CODE: 49827

Socrates - From Persons To Socrates Drank The Conium/The Singles (1968-1982 greece, classic rock with progressive flashes - MP3 320k and FLAC)

The Socrates is the best and most historic Rock group in Greece. The band was formed in the late 60's, by two classmates John Spathas and Anthony Tourkogiorgis.

The Socrates played a mix between Rock - Hard Rock - Blues Rock - Progressive Rock and Heavy Psychedelic Rock. Prior to Socrates, was a short-lived band, The Persons with Ilias Asvestopoulos, (later 2002 GR), they were forerunner of Socrates: Spathas - Tourkogiorgis - Boukouvalas, they released 3 rarely singles.

In 1970 Socrates released their first single "Kleise ta matia sou kai akou/Ela konta mou" for the first and last time in their music career they used Greek verses. Their first gig was in 1970 at club "Bunny", and the "Flisvos.'s famous concert at stadium" Sporting " Christmas 1970, proclaim them the best Greek Rock band of the era and thus gave them courage to continue. This event paved the way for a great career in Greece and abroad.

In 1971, playing in the club "Cell" with a new composition, George Trandalidis - Drums and Johnny Lambizi - Guitar, later the same year Lambizi and Trandalidis left (went to Anadelta) and returns Boukouvalas again the Socrates are as trio. Their participate in the most famous Greek live album "Live In Kytaro" with one and only instrumental song "Electric Socrates", lasting 10 minutes, this piece does not exist in any of their albums.

Their first full length album released in 1972 and has just named the "Socrates Drank The Conium" (PolyGram), produced by Philip Papatheodorou, the album was recorded in only 3 hours, unfortunately it was a bad production, but yet could not hide anything with the virtues of the shape. Songs like: "Live In The Country", "Starvasion" (original performance), "Something In The Air" is unique.

Their second album "Taste Of Conium" released in late '72, again with PolyGram to manufacture Philip Papatheodorou, songs: "Wild Satisfaction" (adapted by the famous song of Rolling Stones "Satisfaction"), "See See Rider" , "Waiting For The Sun", "Born To See Be Free" make sense. Soon after this release they go for an European tour, first stop the Netherlands, seeking their debut effort for international recognition, played at various clubs for 8 months, also at the famous Rock club "Paradiso" where they earn the title of the best group of the month. The club "Paradiso" in Amsterdam had more people than they were in the club next door where Pink Floyd made their appearance!

Immediately fled the Netherlands, when the authorities catch 'em illegally without a work permit. In 1973 Boukouvalas went on to serve his country and Trandalidis came back to join the group with Costas Dukakis - Guitar (Exadaktylos). With this composition they recorded their third album "On The Wings" (in only 8 hours with producer Bob Bean, again PolyGram), considered by many to be the best until then, a harder album with titles such as the "Who Is To Be Blame "," Death Is Gonna Die "," On The Wings Of Death " gives the indication, while their sound is getting much better.

"On The Wings" remains No. 1 in the play-list, in all collegiate radio stations in Georgia USA, for a whole month!!!. This great event for Greek band, referred to praise from the prestigious music magazine Billboard in June 1974. Also posting great reviews from the American press and radio. Shortly after the Socrates try again for an international career, this time went to Paris where they met Vangelis, to prepare for the upcoming European tour. The Socrates accept the proposal and so begun an experience of countless live in Europe, culminating in a live appearance on "Radio Luxemburg", and a lasting personal friendship with the great Greek musician Vangelis.

In 1974 Socrates had several transformations in the membership, and made limited live appearances due to friction with the record label.. Currently the band had visited the following musicians: Anthony Pistolantis - Bass, Costas Karamitros / Fotodimos Tasos - Drums, Nick Politis - Bass and Dimitris Precious - Keys (the latter two find themselves in the group 1978).

In 1975, following another proposal by Vangelis, they went to London (members that time were, Spathas, Tourkogiorgis and Trandalidis) at Orange Studio to record their fourth album "Phos", which was released in the U.S. with different cover from the Greek version. The Socrates no longer resemble to any other band, they have now acquired a unique personal sound.

The "Phos" (Light) is their premier Rock album in the '70s, and is the most commercial album by any other Greek band of all time with over 200,000 sales. This album has been a great commercial success in Europe and America, at a time were many great Musicians released their albums, Billboard magazine more concerned about a great Greek band called Socrates.

The singles Collection is a long travel from their early days as "Persons" through their most creative days up their efforts to international success, many of these single are valuable collectibles.

Tracks
Persons
1. Drive My Mustang
2. All The World Is Mine
3. Young Girl
4. John's Flight
Socrates Drank The Conium
1. Kleise ta matia sou kai akou (Close your eyes and listen)
2. Ela konta mou (Come near me)
3. Take A Ride In The Sky
4. Flying And Dreaming
5. My Only Fellow
6. Friend's Blues
7. Live In The Country
8. Starvation
9. Highway Triper
10. Don't Be Long
11. Queen Of The Universe
Plaza
1. Baby I'm Leaving [John Spathas, Antonis Tourkogiorgis, Nick Antypas, Gary Osbome]
2. Backroom Boy [John Spathas, Antonis Tourkogiorgis, Nick Antypas, Gary Osbome]

Musicians
*Antonis Tourkogiorgis - Vocals, Bass
*Yiannis Spathas - Guitars
*Giorgos Trantalides - Drums
*Ilias Asvsetopoulos - Vocals
*Ilias Boukouvalas - Drums
*Johnny Lambizi - Guitar
*Costas Doukakis - Guitar
*Antonis Pistolantis - Bass
*Nikos Politis - Bass
*Costas Karamitros - Drums
*Tasos Fotodimos - Drums
*Dimitris Polytimos - keyboards
*Pavlos Alexiou - Keyboards
*Costas Ganosellis - Keyboards
*Nikos Antypas - Drums
*Giorgos Zikoyannis - Bass

[ Rip and Scans by MARIOS ]
CODE: 49395