...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Nowa, limitowana, europejska edycja jednej z pięciu (moim zdaniem) najlepszych progresywnych płyt z Niemiec, a z pewnością albumu najbardziej atmosferycznego!!! Wydany jesienią 1970 roku przez Vogue i trwający blisko 50 minut, jedyny album zespołu zawierał sześć rozbudowanych kompozycji, utrzymanych w mrocznym klimacie - w końcu nazwa zobowiązywała! Płytę charakteryzowało dość surowe, ale potężne, gęste brzmienie, całkiem chwytliwe melodie, dużo partii organów Hammonda, ostra rockowa gitara, nieco psychodelicznie brzmiące partie saksofonu i fletu. Jeśli ktoś lubi starego prog-rocka z lat 1969-1970, to nie może tego albumu pominąć!
Oryginalny winyl w doskonałym stanie kosztuje około 2000 euro (!!!)



..::TRACK-LIST::..

1. Highway
2. Willie the Fox
3. Found My Home
4. No. 4
5. Work Day
6. Vanity Fair



..::OBSADA::..

Michael 'Mick' Thierfelder - Voc
Christian Felke - Sax & Flute
Michael 'Mike' Kessler - Bass
Reinhard 'Tammy' Grohe - Organ
Michael 'Xner' Meixner - Lead Guitar
Byally Braumann - Drums




https://www.youtube.com/watch?v=BYsm-tfJIo8



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Nowa, limitowana, europejska edycja jednej z pięciu (moim zdaniem) najlepszych progresywnych płyt z Niemiec, a z pewnością albumu najbardziej atmosferycznego!!! Wydany jesienią 1970 roku przez Vogue i trwający blisko 50 minut, jedyny album zespołu zawierał sześć rozbudowanych kompozycji, utrzymanych w mrocznym klimacie - w końcu nazwa zobowiązywała! Płytę charakteryzowało dość surowe, ale potężne, gęste brzmienie, całkiem chwytliwe melodie, dużo partii organów Hammonda, ostra rockowa gitara, nieco psychodelicznie brzmiące partie saksofonu i fletu. Jeśli ktoś lubi starego prog-rocka z lat 1969-1970, to nie może tego albumu pominąć!
Oryginalny winyl w doskonałym stanie kosztuje około 2000 euro (!!!)



..::TRACK-LIST::..

1. Highway
2. Willie the Fox
3. Found My Home
4. No. 4
5. Work Day
6. Vanity Fair



..::OBSADA::..

Michael 'Mick' Thierfelder - Voc
Christian Felke - Sax & Flute
Michael 'Mike' Kessler - Bass
Reinhard 'Tammy' Grohe - Organ
Michael 'Xner' Meixner - Lead Guitar
Byally Braumann - Drums




https://www.youtube.com/watch?v=BYsm-tfJIo8



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

To wspaniałe wydawnictwo przygotowano dla uczczenia 40. rocznicy powstania zespołu. Pięknie wydany zestaw zawiera 21 CD (zremasterowanych i opakowanych jak LP), 36-stronicową książeczkę z historią zespołu i szczegółowymi opisami każdego albumu oraz 32-stronicową książkę ze wspomnieniami Manfreda, anegdotami i plakatem przedstawiającym aktualny skład zespołu.

Atrakcją jest bez wątpienia album 'Live In Ersingen' zarejestrowany 22 lipca 2011r. z nowym wokalistą Robertem Hartem oraz kompilacja 'Leftovers' zawierająca przebojowe single, nie publikowane wcześniej nagrania oraz rarytasy.
Nakład zestawu jest limitowany!



'The good earth' jest przyzwoitym i bardzo progresywnym albumem, ale pod względem jakości ustępuje takim albumom jak 'Solar fire' i 'The roaring silence'. Wykonanie jest wzorowe, ale patrząc z perspektywy czasu, wybór materiału jest słabszy, niż można się spodziewać po tym znakomitym zespole.



..::TRACK-LIST::..

CD 5 - The Good Earth (1974):
1. Give Me The Good Earth 8:29
2. Launching Place 5:52
3. I'll Be Gone 3:42
4. Earth Hymn 6:21
5. Sky High 5:16
6. Be Not Too Hard 4:13
7. Earth Hymn (Part 2) 4:14



..::OBSADA::..

Guitar, Vocals - Mick Rogers
Keyboards - Manfred Mann
Drums [Fibes] - Chris Slade
Bass Guitar - Colin Pattenden




https://www.youtube.com/watch?v=HqFfA1rZ7XU



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

To wspaniałe wydawnictwo przygotowano dla uczczenia 40. rocznicy powstania zespołu. Pięknie wydany zestaw zawiera 21 CD (zremasterowanych i opakowanych jak LP), 36-stronicową książeczkę z historią zespołu i szczegółowymi opisami każdego albumu oraz 32-stronicową książkę ze wspomnieniami Manfreda, anegdotami i plakatem przedstawiającym aktualny skład zespołu.

Atrakcją jest bez wątpienia album 'Live In Ersingen' zarejestrowany 22 lipca 2011r. z nowym wokalistą Robertem Hartem oraz kompilacja 'Leftovers' zawierająca przebojowe single, nie publikowane wcześniej nagrania oraz rarytasy.
Nakład zestawu jest limitowany!



'The good earth' jest przyzwoitym i bardzo progresywnym albumem, ale pod względem jakości ustępuje takim albumom jak 'Solar fire' i 'The roaring silence'. Wykonanie jest wzorowe, ale patrząc z perspektywy czasu, wybór materiału jest słabszy, niż można się spodziewać po tym znakomitym zespole.



..::TRACK-LIST::..

CD 5 - The Good Earth (1974):
1. Give Me The Good Earth 8:29
2. Launching Place 5:52
3. I'll Be Gone 3:42
4. Earth Hymn 6:21
5. Sky High 5:16
6. Be Not Too Hard 4:13
7. Earth Hymn (Part 2) 4:14



..::OBSADA::..

Guitar, Vocals - Mick Rogers
Keyboards - Manfred Mann
Drums [Fibes] - Chris Slade
Bass Guitar - Colin Pattenden




https://www.youtube.com/watch?v=HqFfA1rZ7XU



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Album taki jak 'The Overview' mógł nagrać tylko Steven Wilson. Wydawnictwo jest bez wątpienia jednym z najbardziej unikatowych albumów 2025 roku.
Do odsłuchu zalecam słuchawki oraz otwarty umysł...



Trzeba przyznać, że Steven Wilson ma nosa do wyszukiwania intrygujących tematów, mających stanowić punkt wyjścia do tworzenia wraz z artystycznymi kompanami muzyczno-słowno-graficznych concept-albumów. Tym razem postanowił na swój sposób zinterpretować niezwykłe zjawisko „efektu oglądu”, czy też „kosmicznej euforii”, a więc wyjątkowego mentalno-percepcyjnego stanu, jakiego doświadczają niektórzy astronauci, obserwując Ziemię z dużej odległości w czasie rzeczywistym. Trudno o bardziej podatny interpretacyjnie grunt dla muzyka tak świadomie przez lata inspirującego się space-rockiem i muzyką elektroniczną, i tak doświadczonego w kreowaniu specyficznymi środkami estetyki przywołującej kosmiczne skojarzenia. A gdyby jeszcze dodać, że podjęta tematyka została wpisana na „The Overview” w powracającą po latach, sprawdzoną progrockową formułę, to łatwo o wniosek, że Wilson tworząc materiał na nową płytę musiał czuć się jak ryba w wodzie. Czy sprzyjające okoliczności jednak wystarczyły, by stworzyć muzykę nie tylko atrakcyjną dziś, ale i będącą w stanie pozostać taką na dużo dłużej?

Album został rozpisany na dwie około dwudziestominutowe części. Pierwszej suicie, zatytułowanej „Objects Outlive Us”, bliżej do najbardziej klasycznych rozwiązań rocka progresywnego. Oparta na schematycznym dramaturgicznym wzorze, z obowiązkowymi typowo progrockowymi paralelizmami, tutaj polega tak na ogranych elementach, jak i składowych mających wyraźniejszy wpływ na charakter całości. Mamy więc tradycyjne „fabularne” opowieści wokalne (co ciekawe, jedna z nich obdarzona jest tekstem Andy’ego Partridge’a z XTC), mamy również dość wyświechtane partie instrumentalne na zasadzie basowo-gitarowych riffów czy tradycyjne już dla „progresywnego” Wilsona nawiązania do specyficznej melodyki Mahavishnu Orchestra. Tym, co jednak zwraca szczególnie uwagę i wpływa na niełatwy, nieoczywisty odbiór kompozycji, są monotonne, niemelodyjne, wielogłosowe, rwane melodeklamacje, przywołujące oczywiste skojarzenia z podobnymi akcentami obecnymi na „Tales From Topografic Oceans” Yes, czy nieco dalsze – z dokonaniami Philipa Glassa.

O ile pierwsza kompozycja jako całość sprawia wrażenie czegoś w rodzaju kosmicznego traktatu filozoficznego, o tyle tytułowa „The Overview”, to już penetracja kosmicznych przestworzy w pełnej krasie. Więcej tu elektroniki, mniej gitar, więcej przestrzeni i klimatu, mniej wirtuozerii. Astronautyczne reminiscencje „Astronomy Domine” wprowadzają w podszyty elektroniką traktat o rozmaitych galaktykach i ich parametrach, by po chwili otworzyć przestrzeń dla iście Gilmourowskiej ballady. W drugiej połowie utworu robi się ciekawiej: „Infinity Measured” to przebogaty aranżacyjnie fragment chyba najtrafniej oddający cechy owej „kosmicznej euforii”, natomiast następująca po nim koda płyty („Permanence”) to przestrzenna syntezatorowo-saksofonowa, ascetyczna wręcz, miniatura przywołująca klimaty ambientów Briana Eno czy Harolda Budda.

Steven Wilson, tak dobrze kojarzony z aranżacyjną, foniczną drobiazgowością, na całej płycie oferuje całą gamę niespodzianek, by wspomnieć choćby jedynie charakterystyczne rwane szarpnięcia strun telecastera przewijające się przez całe „Objects Outlive Us” czy obecne na całym albumie moduły wydobywane z syntezatora ARP 2600. Jak zwykle, starannie dobrał też instrumentalistów ucieleśniających jego bogate wizje – szczególne wspomnienie należy się tu Russellowi Holzmanowi (synowi klawiszowca Adama Holzmana), który jako trzydziestoletni muzyk, będący dotąd przede wszystkim perkusyjną postacią social-medialną, wyczynia rytmiczne cuda w pierwszej suicie.

Litania pochwał formy, którą przyjął i wypełnił Wilson na nowej płycie, jej interesujących składowych, tak konstrukcyjnych, jak i pełniących funkcję instrumentalnych środków wyrazu, mogłaby trwać w najlepsze, choć ostatecznie łatwo w obliczu tego bogactwa o dość gorzką refleksję. Czy aby artysta nie zapędził się do punktu, w którym zaczyna w pewnym sensie uprawiać już sztukę dla sztuki? Muzykę brzmiącą wspaniale, intrygującą środkami, ale być może nie dość mocno grającą na emocjach. Już w przypadku poprzedniej płyty „The Harmony Codex” wyrażałem obawy, czy audiotechniczne ambicje i niezaprzeczalne zdolności Wilsona nie wezmą góry nad muzyką samą w sobie – i tu owa wizja wydaje się spełniać jeszcze bardziej. O ile bowiem „The Overview” bez zastanowienia można określić mianem progresywnej audiofilskiej kosmicznej podróży, o tyle obawiam się, że podróż ta, wśród zapierających dech międzygwiezdnych ekspozycji, może kończyć się wrażeniem pewnej pustki.

Trochę brakuje mi pewnego punktu zaczepienia na tym albumie, akcentu, który pomógłby tej muzyce bronić się po dłuższym czasie. Brakuje jakiejś magicznej iskry, świetnej uzależniającej melodii, porywającej piosenki. Pewnej specyficznej głębi, która w przeszłości sprawiała, że swoimi pomysłami Wilson kupował moją uwagę i estymę niezwykle łatwo, wręcz instynktownie. „The Overview”, choć jest kolejnym godnym pochwał dowodem na artystyczną bezkompromisowość Stevena Wilsona, to jednak może razić brakiem pewnej kosmicznej siły, o której artysta zdaje się pomału zapominać.

Przemysław Stochmal



..::TRACK-LIST::..

1. OBJECTS OUTLIVE US (23.17)
- No Monkey’s Paw
- The Buddha Of The Modern Age
- Objects: Meanwhile
- The Cicerones
- Ark
- Cosmic Sons Of Toil
- No Ghost On The Moor
- Heat Death Of The Universe

2. THE OVERVIEW (18.27)
- Perspective
- A Beautiful Infinity I
- Borrowed Atoms
- A Beautiful Infinity II
- Infinity Measured In Moments
- Permanence



..::OBSADA::..

Steven Wilson - Vocals, guitars, keyboards, sampler, bass, percussion, programming, strings, piano
Adam Holzman - Keyboards, mellotron, Hammond organ, piano, modular synth, Rhodes piano
Randy McStine - Guitars, sound design, FX, backing vocals, harmony vocals
Craig Blundell - Drums
Russell Holzman - Drums
Theo Travis - Sax, ambient flutes
Niko Tsonev - Guitar solo on 'A Beautiful Infinity I'
Andy Partridge - Voices
Rotem Wilson - Voices




https://www.youtube.com/watch?v=OIXs9dJlVEc



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Album taki jak 'The Overview' mógł nagrać tylko Steven Wilson. Wydawnictwo jest bez wątpienia jednym z najbardziej unikatowych albumów 2025 roku.
Do odsłuchu zalecam słuchawki oraz otwarty umysł...



Trzeba przyznać, że Steven Wilson ma nosa do wyszukiwania intrygujących tematów, mających stanowić punkt wyjścia do tworzenia wraz z artystycznymi kompanami muzyczno-słowno-graficznych concept-albumów. Tym razem postanowił na swój sposób zinterpretować niezwykłe zjawisko „efektu oglądu”, czy też „kosmicznej euforii”, a więc wyjątkowego mentalno-percepcyjnego stanu, jakiego doświadczają niektórzy astronauci, obserwując Ziemię z dużej odległości w czasie rzeczywistym. Trudno o bardziej podatny interpretacyjnie grunt dla muzyka tak świadomie przez lata inspirującego się space-rockiem i muzyką elektroniczną, i tak doświadczonego w kreowaniu specyficznymi środkami estetyki przywołującej kosmiczne skojarzenia. A gdyby jeszcze dodać, że podjęta tematyka została wpisana na „The Overview” w powracającą po latach, sprawdzoną progrockową formułę, to łatwo o wniosek, że Wilson tworząc materiał na nową płytę musiał czuć się jak ryba w wodzie. Czy sprzyjające okoliczności jednak wystarczyły, by stworzyć muzykę nie tylko atrakcyjną dziś, ale i będącą w stanie pozostać taką na dużo dłużej?

Album został rozpisany na dwie około dwudziestominutowe części. Pierwszej suicie, zatytułowanej „Objects Outlive Us”, bliżej do najbardziej klasycznych rozwiązań rocka progresywnego. Oparta na schematycznym dramaturgicznym wzorze, z obowiązkowymi typowo progrockowymi paralelizmami, tutaj polega tak na ogranych elementach, jak i składowych mających wyraźniejszy wpływ na charakter całości. Mamy więc tradycyjne „fabularne” opowieści wokalne (co ciekawe, jedna z nich obdarzona jest tekstem Andy’ego Partridge’a z XTC), mamy również dość wyświechtane partie instrumentalne na zasadzie basowo-gitarowych riffów czy tradycyjne już dla „progresywnego” Wilsona nawiązania do specyficznej melodyki Mahavishnu Orchestra. Tym, co jednak zwraca szczególnie uwagę i wpływa na niełatwy, nieoczywisty odbiór kompozycji, są monotonne, niemelodyjne, wielogłosowe, rwane melodeklamacje, przywołujące oczywiste skojarzenia z podobnymi akcentami obecnymi na „Tales From Topografic Oceans” Yes, czy nieco dalsze – z dokonaniami Philipa Glassa.

O ile pierwsza kompozycja jako całość sprawia wrażenie czegoś w rodzaju kosmicznego traktatu filozoficznego, o tyle tytułowa „The Overview”, to już penetracja kosmicznych przestworzy w pełnej krasie. Więcej tu elektroniki, mniej gitar, więcej przestrzeni i klimatu, mniej wirtuozerii. Astronautyczne reminiscencje „Astronomy Domine” wprowadzają w podszyty elektroniką traktat o rozmaitych galaktykach i ich parametrach, by po chwili otworzyć przestrzeń dla iście Gilmourowskiej ballady. W drugiej połowie utworu robi się ciekawiej: „Infinity Measured” to przebogaty aranżacyjnie fragment chyba najtrafniej oddający cechy owej „kosmicznej euforii”, natomiast następująca po nim koda płyty („Permanence”) to przestrzenna syntezatorowo-saksofonowa, ascetyczna wręcz, miniatura przywołująca klimaty ambientów Briana Eno czy Harolda Budda.

Steven Wilson, tak dobrze kojarzony z aranżacyjną, foniczną drobiazgowością, na całej płycie oferuje całą gamę niespodzianek, by wspomnieć choćby jedynie charakterystyczne rwane szarpnięcia strun telecastera przewijające się przez całe „Objects Outlive Us” czy obecne na całym albumie moduły wydobywane z syntezatora ARP 2600. Jak zwykle, starannie dobrał też instrumentalistów ucieleśniających jego bogate wizje – szczególne wspomnienie należy się tu Russellowi Holzmanowi (synowi klawiszowca Adama Holzmana), który jako trzydziestoletni muzyk, będący dotąd przede wszystkim perkusyjną postacią social-medialną, wyczynia rytmiczne cuda w pierwszej suicie.

Litania pochwał formy, którą przyjął i wypełnił Wilson na nowej płycie, jej interesujących składowych, tak konstrukcyjnych, jak i pełniących funkcję instrumentalnych środków wyrazu, mogłaby trwać w najlepsze, choć ostatecznie łatwo w obliczu tego bogactwa o dość gorzką refleksję. Czy aby artysta nie zapędził się do punktu, w którym zaczyna w pewnym sensie uprawiać już sztukę dla sztuki? Muzykę brzmiącą wspaniale, intrygującą środkami, ale być może nie dość mocno grającą na emocjach. Już w przypadku poprzedniej płyty „The Harmony Codex” wyrażałem obawy, czy audiotechniczne ambicje i niezaprzeczalne zdolności Wilsona nie wezmą góry nad muzyką samą w sobie – i tu owa wizja wydaje się spełniać jeszcze bardziej. O ile bowiem „The Overview” bez zastanowienia można określić mianem progresywnej audiofilskiej kosmicznej podróży, o tyle obawiam się, że podróż ta, wśród zapierających dech międzygwiezdnych ekspozycji, może kończyć się wrażeniem pewnej pustki.

Trochę brakuje mi pewnego punktu zaczepienia na tym albumie, akcentu, który pomógłby tej muzyce bronić się po dłuższym czasie. Brakuje jakiejś magicznej iskry, świetnej uzależniającej melodii, porywającej piosenki. Pewnej specyficznej głębi, która w przeszłości sprawiała, że swoimi pomysłami Wilson kupował moją uwagę i estymę niezwykle łatwo, wręcz instynktownie. „The Overview”, choć jest kolejnym godnym pochwał dowodem na artystyczną bezkompromisowość Stevena Wilsona, to jednak może razić brakiem pewnej kosmicznej siły, o której artysta zdaje się pomału zapominać.

Przemysław Stochmal



..::TRACK-LIST::..

1. OBJECTS OUTLIVE US (23.17)
- No Monkey’s Paw
- The Buddha Of The Modern Age
- Objects: Meanwhile
- The Cicerones
- Ark
- Cosmic Sons Of Toil
- No Ghost On The Moor
- Heat Death Of The Universe

2. THE OVERVIEW (18.27)
- Perspective
- A Beautiful Infinity I
- Borrowed Atoms
- A Beautiful Infinity II
- Infinity Measured In Moments
- Permanence



..::OBSADA::..

Steven Wilson - Vocals, guitars, keyboards, sampler, bass, percussion, programming, strings, piano
Adam Holzman - Keyboards, mellotron, Hammond organ, piano, modular synth, Rhodes piano
Randy McStine - Guitars, sound design, FX, backing vocals, harmony vocals
Craig Blundell - Drums
Russell Holzman - Drums
Theo Travis - Sax, ambient flutes
Niko Tsonev - Guitar solo on 'A Beautiful Infinity I'
Andy Partridge - Voices
Rotem Wilson - Voices




https://www.youtube.com/watch?v=OIXs9dJlVEc



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Droga kariery Steve’a Hacketta ostatnich dwóch dekad zdecydowanie imponuje względem solowych poczynań jego kolegów z Genesis. Aktywność wydawnicza, wspierana jak tylko można aktywnością koncertową, a przede wszystkim jej artystyczne przymioty zdradzające niezwykłą kulturową otwartość gitarzysty, nie mają sobie równych wśród dokonań członków klasycznego składu progrockowej legendy. Z każdą kolejną publikacją studyjną pojawia się jednak pewien przesyt. Bo o ile Hackett, nie musząc udowadniać swojego artystycznego kosmopolityzmu, wciąż ambitnie decyduje się, aby dawać jemu wyraz, o tyle wydaje się w tym kontekście trochę kręcić w kółko.

Nie inaczej jest i tym razem. Godne podziwu wycieczki pomiędzy Prokofiewem, rdzenną muzyką afrykańską czy akcentami z odległych Chin i Uzbekistanu, to właściwie narzędzie charakterystycznej dla Hacketta gry kontrastami. Tradycyjnie dla siebie zestawia on egzotyczną rytmikę z klasyczną melancholią, czerpiące z nastroju horrorów harmonie z piosenkami opartymi na popowej melodyce, pełne rytmicznych akrobacji riffy ze ściskającymi w dołku romantycznymi solówkami, i tak dalej, i tak dalej… I chociaż, również tradycyjnie, można z tego niezwykłego tygla wydobyć kilka całkiem wartościowych momentów, to całościowo album jawi się jako kolejna płyta Steve’a Hacketta mocno kojarząca się w ogóle i w szczególe z poprzednimi jego krążkami. Co gorsza, powielanie kalek, w całym tym bogactwie wpływów wyglądających wręcz paradoksalnie, nie jest bynajmniej największym grzechem albumu. Bo jakimkolwiek szacunkiem nie darzyć by muzyki tak świetnie wyprodukowanej i tak niezwykle międzykulturowej, mimo tej jej wtórności, to jednak nie sposób zadowolić się aktualnym podejściem Hacketta do linii melodycznych, a konkretniej do tego, co jest śpiewane. Atrakcyjność i rozmach instrumentalny „Surrender Of Silence” w przykry sposób dewaluowane są przez mierność, a wręcz banalność niemal każdej linii napisanej z myślą o śpiewaniu tekstu. Czy to Hackett solo, czy wraz z Amandą Lehmann, czy też Nad Sylvan użyczający głosu w jednej kompozycji – każda z tych wokalnych kombinacji mierzy się z materią doprawdy niegodną kompozytorskiego kunsztu Steve’a Hacketta. Śpiewane partie na tym albumie to kalka wytarta, błaha i zadziwiająco nużąca.

A wspomniane wartościowe momenty albumu? Nadmieńmy choćby demoniczne intro „The Devil’s Cathedral”, w którym dialog organów kościelnych z saksofonem robi całkiem przekonujące wrażenie, ale to, co po nim, jeszcze dziesięć-piętnaście lat temu brzmiałoby z pewnością bardziej odpowiednio diabolicznie. Wśród Hackettowskiej krainy łagodności wyróżnia się zaś stanowiący właściwy finał albumu utwór „Scorched Earth” – skonstruowany, zaaranżowany w sposób, wydawałoby się, zaskakująco naturalny, pozbawiony tak charakterystycznych dla albumu eklektycznych ambicji, a w dodatku z linią melodyczną Hacketta-wokalisty wyjątkowo nie pozostawiającą mizernego wrażenia.

Pewne środki modelowania kolorowego muzycznego uniwersum Steve’a Hacketta niestety wyraźnie się stępiły, co wielokrotnie może nieco uwierać przy prezentacjach tego niemal godzinnego materiału. Niemniej, po raz kolejny wypada pochwalić wydawniczą regularność siedemdziesięciojednoletniego już gitarzysty, a przede wszystkim jego wciąż bujne artystyczne ambicje. Ich realizacja bez wątpienia w pełni legitymizuje i usprawiedliwia jego retrospektywne podróże w działalności koncertowej – Steve Hackett to artysta tyleż sentymentalny, co nowoczesny – i za to go kochamy.

Przemysław Stochmal


I think this is Steve’s 28th studio album, which is probably more than the combined output of those he left in Genesis, but although I saw him play earlier this year none of this material was featured as he was touring his highly popular Genesis Revisited shows. So, when it comes to prog he has two back catalogues that are very different, while he is still releasing new and wonderful music even though he is now in his seventies. Over the last 40+ years he has released music from many different styles, being one of the few prog musicians to go the whole hog and write and record classical music, and he can play solo acoustic classical performances as well as standing in front of an electric band, and in many ways this album is a coming together of his past while also looking in new directions.

He provides nylon, steel string & 12-string guitars, oud, charango, sitar, harmonica, and vocals, and is joined by one of his touring line-ups with Roger King (keyboards, programming & orchestral arrangements), Rob Townsend (saxophone, clarinet), Jonas Reingold (bass), Nad Sylvan (vocals) and Craig Blundell (drums) while he has also brought in additional musicians which includes two more drummers in Phil Ehart (Kansas) and Nick D’Virgilio (Spock’s Beard etc). Musically he is moving through tribal, New Age, classical and prog, but surely the whole album should be deemed as progressive as he is truly pushing boundaries and mixing and blending styles together to create something which is vital and hugely impressive.

Many old progheads, like me, will have a strong fondness for his early solo albums as they were released when we were teenagers and had a massive impact on us. However, unlike many of his contemporaries from back then he has continued to tour and record incessantly, and his current output is to the same high standard as it has always been. When asked my favourite period of Genesis, I always give the same answer, Hackett (as opposed to the normal Gabriel or Collins) and there is no doubt that he has continued to develop and deliver even since leaving that entity. Listen to his music with an open mind and discover that Hackett is still pushing himself and his followers yet even though he keeps moving this is always identifiable and part of his canon as opposed to being removed. One never knows what to expect from his albums, except they will always be sheer class, and this is no exception.

Kev Rowland


After the peaceful acoustic release "Under a Mediterranean Sky", Steve Hackett is back on his electric formula mode. He is with long-time musicians, Roger King on keys, and orchestral arrangements, and Rob Townsend on sax. The drum parts are split up between 3 drummers. Jonas Reingold is on most of the tracks on bass.
The first track is instrumental and sounds like a movie score for an action hero film. The song "Natalia" is Russian music with some well-known passages done in collaboration with his wife. Steve is singing with some opera singing and orchestral arrangements. Again you can hear an action movie in the instrumental section. Then it has some tasty and authentic violin playing. "Relaxation Music For Sharks" has some intriguing special effect intro before the drums of Nick D'Virgilio kick-off to bring the song to a faster pace. Steve is getting loose on his guitar playing. Not too relaxing, but it's for sharks!

"Wingbeats" has some African beats and singing that is not too far from what Peter Gabriel made with his band. There are some tribal drums but adding the guitar, it's done in a Hackett style. "The Devil's Cathedral" has a horror atmosphere with the dark organ playing of Roger King all this embellished with some orchestral arrangements. "Held in the Shadows is a love song dedicated to Steve's wife. It's romantic but with a kick of Rock! I enjoy the heavy parts that are in contrast to the beginning.

"Shanghai To Samarkand" put us now in the oriental part of the world where classical music meets world music, the music doing most of the talking here. When the Kansas drummer arrives, we are in a more familiar Hackett style before going back to the world music beat. "Fox Tango" Steve is getting loose again with his Gibson guitar which reminds me in some specific passages of Brian May.

"Day of the Dead" is another horror-inspired movie now a Mexican one. "Scorched Earth" is a warning song to save the earth from destruction. It's a beautiful song that has a clear and intentional lighter mood. I enjoyed the orchestral arrangements here. It ends with a short and peaceful song with some lovely guitar parts of Steve showing his love for classical music.

As much as I still rave for Steve Hackett's first albums, He has improved a lot in his songwriting style surpassing the Genesis influence with some fusion music that brings more variety and textures to his music.

rdtprog



..::TRACK-LIST::..

1. The Obliterati (2:17)
2. Natalia (6:17)
3. Relaxation Music for Sharks (feat. Feeding Frenzy) (4:36)
4. Wingbeats (5:20)
5. The Devil's Cathedral (6:31)
6. Held in the Shadows (6:20)
7. Shanghai to Samarkand (8:27)
8. Fox's Tango (4:21)
9. Day of the Dead (6:25)
10. Scorched Earth (6:03)
11. Esperanza (1:04)



..::OBSADA::..

Steve Hackett - nylon, steel string & 12-string guitars, oud, charango, sitar, harmonica, vocals, co-producer

With:
Roger King - keyboards, programming & orchestral arrangements
Rob Townsend - saxophone, clarinet
Jonas Reingold - bass
Nad Sylvan - vocals
Craig Blundell - drums

And:
Phil Ehart - drums
Nick D'Virgilio - drums
Amanda Lehmann - vocals
Durga - vocals
Lorelei McBroom - vocals
Christine Townsend - violin, viola
Malik Mansurov - tar
Sodirkhon Ubaidulloev - dutar




https://www.youtube.com/watch?v=ZbW9tCJ9Snc



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Droga kariery Steve’a Hacketta ostatnich dwóch dekad zdecydowanie imponuje względem solowych poczynań jego kolegów z Genesis. Aktywność wydawnicza, wspierana jak tylko można aktywnością koncertową, a przede wszystkim jej artystyczne przymioty zdradzające niezwykłą kulturową otwartość gitarzysty, nie mają sobie równych wśród dokonań członków klasycznego składu progrockowej legendy. Z każdą kolejną publikacją studyjną pojawia się jednak pewien przesyt. Bo o ile Hackett, nie musząc udowadniać swojego artystycznego kosmopolityzmu, wciąż ambitnie decyduje się, aby dawać jemu wyraz, o tyle wydaje się w tym kontekście trochę kręcić w kółko.

Nie inaczej jest i tym razem. Godne podziwu wycieczki pomiędzy Prokofiewem, rdzenną muzyką afrykańską czy akcentami z odległych Chin i Uzbekistanu, to właściwie narzędzie charakterystycznej dla Hacketta gry kontrastami. Tradycyjnie dla siebie zestawia on egzotyczną rytmikę z klasyczną melancholią, czerpiące z nastroju horrorów harmonie z piosenkami opartymi na popowej melodyce, pełne rytmicznych akrobacji riffy ze ściskającymi w dołku romantycznymi solówkami, i tak dalej, i tak dalej… I chociaż, również tradycyjnie, można z tego niezwykłego tygla wydobyć kilka całkiem wartościowych momentów, to całościowo album jawi się jako kolejna płyta Steve’a Hacketta mocno kojarząca się w ogóle i w szczególe z poprzednimi jego krążkami. Co gorsza, powielanie kalek, w całym tym bogactwie wpływów wyglądających wręcz paradoksalnie, nie jest bynajmniej największym grzechem albumu. Bo jakimkolwiek szacunkiem nie darzyć by muzyki tak świetnie wyprodukowanej i tak niezwykle międzykulturowej, mimo tej jej wtórności, to jednak nie sposób zadowolić się aktualnym podejściem Hacketta do linii melodycznych, a konkretniej do tego, co jest śpiewane. Atrakcyjność i rozmach instrumentalny „Surrender Of Silence” w przykry sposób dewaluowane są przez mierność, a wręcz banalność niemal każdej linii napisanej z myślą o śpiewaniu tekstu. Czy to Hackett solo, czy wraz z Amandą Lehmann, czy też Nad Sylvan użyczający głosu w jednej kompozycji – każda z tych wokalnych kombinacji mierzy się z materią doprawdy niegodną kompozytorskiego kunsztu Steve’a Hacketta. Śpiewane partie na tym albumie to kalka wytarta, błaha i zadziwiająco nużąca.

A wspomniane wartościowe momenty albumu? Nadmieńmy choćby demoniczne intro „The Devil’s Cathedral”, w którym dialog organów kościelnych z saksofonem robi całkiem przekonujące wrażenie, ale to, co po nim, jeszcze dziesięć-piętnaście lat temu brzmiałoby z pewnością bardziej odpowiednio diabolicznie. Wśród Hackettowskiej krainy łagodności wyróżnia się zaś stanowiący właściwy finał albumu utwór „Scorched Earth” – skonstruowany, zaaranżowany w sposób, wydawałoby się, zaskakująco naturalny, pozbawiony tak charakterystycznych dla albumu eklektycznych ambicji, a w dodatku z linią melodyczną Hacketta-wokalisty wyjątkowo nie pozostawiającą mizernego wrażenia.

Pewne środki modelowania kolorowego muzycznego uniwersum Steve’a Hacketta niestety wyraźnie się stępiły, co wielokrotnie może nieco uwierać przy prezentacjach tego niemal godzinnego materiału. Niemniej, po raz kolejny wypada pochwalić wydawniczą regularność siedemdziesięciojednoletniego już gitarzysty, a przede wszystkim jego wciąż bujne artystyczne ambicje. Ich realizacja bez wątpienia w pełni legitymizuje i usprawiedliwia jego retrospektywne podróże w działalności koncertowej – Steve Hackett to artysta tyleż sentymentalny, co nowoczesny – i za to go kochamy.

Przemysław Stochmal


I think this is Steve’s 28th studio album, which is probably more than the combined output of those he left in Genesis, but although I saw him play earlier this year none of this material was featured as he was touring his highly popular Genesis Revisited shows. So, when it comes to prog he has two back catalogues that are very different, while he is still releasing new and wonderful music even though he is now in his seventies. Over the last 40+ years he has released music from many different styles, being one of the few prog musicians to go the whole hog and write and record classical music, and he can play solo acoustic classical performances as well as standing in front of an electric band, and in many ways this album is a coming together of his past while also looking in new directions.

He provides nylon, steel string & 12-string guitars, oud, charango, sitar, harmonica, and vocals, and is joined by one of his touring line-ups with Roger King (keyboards, programming & orchestral arrangements), Rob Townsend (saxophone, clarinet), Jonas Reingold (bass), Nad Sylvan (vocals) and Craig Blundell (drums) while he has also brought in additional musicians which includes two more drummers in Phil Ehart (Kansas) and Nick D’Virgilio (Spock’s Beard etc). Musically he is moving through tribal, New Age, classical and prog, but surely the whole album should be deemed as progressive as he is truly pushing boundaries and mixing and blending styles together to create something which is vital and hugely impressive.

Many old progheads, like me, will have a strong fondness for his early solo albums as they were released when we were teenagers and had a massive impact on us. However, unlike many of his contemporaries from back then he has continued to tour and record incessantly, and his current output is to the same high standard as it has always been. When asked my favourite period of Genesis, I always give the same answer, Hackett (as opposed to the normal Gabriel or Collins) and there is no doubt that he has continued to develop and deliver even since leaving that entity. Listen to his music with an open mind and discover that Hackett is still pushing himself and his followers yet even though he keeps moving this is always identifiable and part of his canon as opposed to being removed. One never knows what to expect from his albums, except they will always be sheer class, and this is no exception.

Kev Rowland


After the peaceful acoustic release "Under a Mediterranean Sky", Steve Hackett is back on his electric formula mode. He is with long-time musicians, Roger King on keys, and orchestral arrangements, and Rob Townsend on sax. The drum parts are split up between 3 drummers. Jonas Reingold is on most of the tracks on bass.
The first track is instrumental and sounds like a movie score for an action hero film. The song "Natalia" is Russian music with some well-known passages done in collaboration with his wife. Steve is singing with some opera singing and orchestral arrangements. Again you can hear an action movie in the instrumental section. Then it has some tasty and authentic violin playing. "Relaxation Music For Sharks" has some intriguing special effect intro before the drums of Nick D'Virgilio kick-off to bring the song to a faster pace. Steve is getting loose on his guitar playing. Not too relaxing, but it's for sharks!

"Wingbeats" has some African beats and singing that is not too far from what Peter Gabriel made with his band. There are some tribal drums but adding the guitar, it's done in a Hackett style. "The Devil's Cathedral" has a horror atmosphere with the dark organ playing of Roger King all this embellished with some orchestral arrangements. "Held in the Shadows is a love song dedicated to Steve's wife. It's romantic but with a kick of Rock! I enjoy the heavy parts that are in contrast to the beginning.

"Shanghai To Samarkand" put us now in the oriental part of the world where classical music meets world music, the music doing most of the talking here. When the Kansas drummer arrives, we are in a more familiar Hackett style before going back to the world music beat. "Fox Tango" Steve is getting loose again with his Gibson guitar which reminds me in some specific passages of Brian May.

"Day of the Dead" is another horror-inspired movie now a Mexican one. "Scorched Earth" is a warning song to save the earth from destruction. It's a beautiful song that has a clear and intentional lighter mood. I enjoyed the orchestral arrangements here. It ends with a short and peaceful song with some lovely guitar parts of Steve showing his love for classical music.

As much as I still rave for Steve Hackett's first albums, He has improved a lot in his songwriting style surpassing the Genesis influence with some fusion music that brings more variety and textures to his music.

rdtprog



..::TRACK-LIST::..

1. The Obliterati (2:17)
2. Natalia (6:17)
3. Relaxation Music for Sharks (feat. Feeding Frenzy) (4:36)
4. Wingbeats (5:20)
5. The Devil's Cathedral (6:31)
6. Held in the Shadows (6:20)
7. Shanghai to Samarkand (8:27)
8. Fox's Tango (4:21)
9. Day of the Dead (6:25)
10. Scorched Earth (6:03)
11. Esperanza (1:04)



..::OBSADA::..

Steve Hackett - nylon, steel string & 12-string guitars, oud, charango, sitar, harmonica, vocals, co-producer

With:
Roger King - keyboards, programming & orchestral arrangements
Rob Townsend - saxophone, clarinet
Jonas Reingold - bass
Nad Sylvan - vocals
Craig Blundell - drums

And:
Phil Ehart - drums
Nick D'Virgilio - drums
Amanda Lehmann - vocals
Durga - vocals
Lorelei McBroom - vocals
Christine Townsend - violin, viola
Malik Mansurov - tar
Sodirkhon Ubaidulloev - dutar




https://www.youtube.com/watch?v=ZbW9tCJ9Snc



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

WIZRD: Formed Trondheim, Norway, 2018. Since then based in Oslo.

The band was originally envisioned at the Jazz Conservatory in Trondheim by bassist and vocalist Hallvard GAARDLØS who enlisted the help of two of his fellow students at the Conservatory to form a band with a view to the trio performing at his graduating exam. The trio played several songs at the exam, including some which eventually ended up on the band's debut album.

Although formed as a guitar/bass/drums three-piece in early 2018, Vegard Lien BJERKAN joined on keys very soon after the band's initial formation, and the completed line-up consisted of four excellent musicians who were already members of other fine bands - such as Norwegian Jazz Fusionists SOFT FFOG, Rock'n'Roll powerhouse SPIDERGAWD, Jazz/Progressive Trio KROKOFANT, Hard Rock and Metal band DRAKEN and the Free Jazz outfit MEGALODON COLLECTIVE.

WIZRD's completed line-up in early 2018 was: Hallvard GAARDLØS (SPIDERGAWD, DRAKEN and more) on bass and lead vocals, Karl BJORÅ (MEGALODON COLLECTIVE and more) on guitar and vocals, Vegard Lien BJERKAN (SOFT FFOG and more) on keyboards and vocals and Axel SKALSTAD (KROKOFANT, SOFT FFOG and more) on drums.

The band eventually began working on their debut album in 2020, and the finished album was produced by Norwegian film score composer and Norwegian Alt-Jazz legends JAGA JAZZIST drummer Martin HORNTVETH, whom the various members of WIZRD had known for many years. The album was recorded at Studio Paradiso in Oslo, with HORNTVETH being assisted by Marcus FORSGREN (BROR FORSGREN, JAGA JAZZIST), and the mixing was done by Bergen-based musician and producer Matias TELLEZ (YOUNG DREAMS, GIRL IN RED).

With a classic Rock line-up of guitar, bass, drums, keyboards and vocals the quartet stylistically follows the traditions of the likes of CREAM, MAHAVISHNU ORCHESTRA, WEATHER REPORT etc. in generating a sense urgency and energy without sacrificing attention to melody and dynamics. The band's intention from the very outset was to mix progressive and improvisational elements with rock & pop sensibilities.

The result was the groovy, catchy and progressive debut album 'Seasons', which was finally released on 21st October 2022 by Karisma Records - home to bands like WOBBLER and SEVEN IMPALE - and showcases how WIZRD are more than happy to test their limits with a sound that encompasses a variety of genres - ranging from Rock and Indie to Jazz and Prog. The album has been described as an exciting mix of guitar driven progressive rock, frenzied organ-fueled Classic Rock, captivating vocal harmonies, and Jazz Fusion excursions - all supported by a superb rhythm section.

Prior to the album's release in October 2022, a single 'Fire & Water' was released by Karisma Records on 29th September, for which band were lucky enough to have James PETRALLI from the band WHITE DENIM guesting on lead vocals. The band's choice of this single is notable for the fact that it's a song which marks the very beginning of WIZRD's existence, and provides an opportunity to trace the band's progression in terms of writing and concept from almost day one. Another single called 'Lessons' was released from the album a few weeks earlier by Karisma at the beginning of September 2022.

The band's line up has remained stable since its formation despite all the participants being involved in several other projects, and more recently in October 2023 - having already begun work on their next album - WIZRD and Karisma Records once again joined forces to release a cover of the seminal BLACK SABBATH track 'The Wizard'. This song was a part of WIZRD's setlist a few years back, when they played some shows where the audience could vote and choose in advance what kind of artists the band should cover.

Bio provided by Yam Yam



WIZRD is a Norwegian rock band that dips its toes in all kinds of genres. From rock and indie to jazz and prog, WIZRD knows all the rules but deliberately break them.

Formed at the Jazz Conservatory in Trondheim, WIZRD's four-piece line-up consists of Hallvard Gaardløs (Spidergawd, Draken and more) on bass and lead vocals, Karl Bjorå (Megalodon Collective and more) on guitar and vocals, Vegard Lien Bjerkan (Soft Ffog and more) on keyboards and vocals, Axel Skalstad (Krokofant, Soft Ffog and more) on drums.

Since 2020 the band has been working on their debut album, produced by Norwegian film score composer and Jaga Jazzist drummer Martin Horntveth. The album was recorded in Studio Paradiso in Oslo by Marcus Forsgren (Bror Forsgren, Jaga Jazzist) and Horntveth. Bergen-based musician and producer Matias Tellez (Young Dreams, Girl in Red) has mixed the album.

“Seasons” is a groovy, catchy and progressive masterclass, with beautiful vocal harmonies, awesome melodies, quirky jazz grooves and a rock’n’roll drive to die for.



..::TRACK-LIST::..

1. Lessons 04:10
2. Free Will 04:43
3. Spitfire 04:59
4. All Is As It Should Be 08:09
5. Show Me What You Got 07:44
6. Fire & Water 03:40
7. Divine 06:03
8. When You Call 04:24



..::OBSADA::..

Hallvard Gaardløs - bass, lead vocals
Axel Skalstad - drums & percussion
Karl Bjorå - guitar, vocals
Vegard Lien Bjerkan - keyboards, vocals

With:
James Petralli - lead vocals (6)



https://www.youtube.com/watch?v=m72EJT3kayQ


SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

WIZRD: Formed Trondheim, Norway, 2018. Since then based in Oslo.

The band was originally envisioned at the Jazz Conservatory in Trondheim by bassist and vocalist Hallvard GAARDLØS who enlisted the help of two of his fellow students at the Conservatory to form a band with a view to the trio performing at his graduating exam. The trio played several songs at the exam, including some which eventually ended up on the band's debut album.

Although formed as a guitar/bass/drums three-piece in early 2018, Vegard Lien BJERKAN joined on keys very soon after the band's initial formation, and the completed line-up consisted of four excellent musicians who were already members of other fine bands - such as Norwegian Jazz Fusionists SOFT FFOG, Rock'n'Roll powerhouse SPIDERGAWD, Jazz/Progressive Trio KROKOFANT, Hard Rock and Metal band DRAKEN and the Free Jazz outfit MEGALODON COLLECTIVE.

WIZRD's completed line-up in early 2018 was: Hallvard GAARDLØS (SPIDERGAWD, DRAKEN and more) on bass and lead vocals, Karl BJORÅ (MEGALODON COLLECTIVE and more) on guitar and vocals, Vegard Lien BJERKAN (SOFT FFOG and more) on keyboards and vocals and Axel SKALSTAD (KROKOFANT, SOFT FFOG and more) on drums.

The band eventually began working on their debut album in 2020, and the finished album was produced by Norwegian film score composer and Norwegian Alt-Jazz legends JAGA JAZZIST drummer Martin HORNTVETH, whom the various members of WIZRD had known for many years. The album was recorded at Studio Paradiso in Oslo, with HORNTVETH being assisted by Marcus FORSGREN (BROR FORSGREN, JAGA JAZZIST), and the mixing was done by Bergen-based musician and producer Matias TELLEZ (YOUNG DREAMS, GIRL IN RED).

With a classic Rock line-up of guitar, bass, drums, keyboards and vocals the quartet stylistically follows the traditions of the likes of CREAM, MAHAVISHNU ORCHESTRA, WEATHER REPORT etc. in generating a sense urgency and energy without sacrificing attention to melody and dynamics. The band's intention from the very outset was to mix progressive and improvisational elements with rock & pop sensibilities.

The result was the groovy, catchy and progressive debut album 'Seasons', which was finally released on 21st October 2022 by Karisma Records - home to bands like WOBBLER and SEVEN IMPALE - and showcases how WIZRD are more than happy to test their limits with a sound that encompasses a variety of genres - ranging from Rock and Indie to Jazz and Prog. The album has been described as an exciting mix of guitar driven progressive rock, frenzied organ-fueled Classic Rock, captivating vocal harmonies, and Jazz Fusion excursions - all supported by a superb rhythm section.

Prior to the album's release in October 2022, a single 'Fire & Water' was released by Karisma Records on 29th September, for which band were lucky enough to have James PETRALLI from the band WHITE DENIM guesting on lead vocals. The band's choice of this single is notable for the fact that it's a song which marks the very beginning of WIZRD's existence, and provides an opportunity to trace the band's progression in terms of writing and concept from almost day one. Another single called 'Lessons' was released from the album a few weeks earlier by Karisma at the beginning of September 2022.

The band's line up has remained stable since its formation despite all the participants being involved in several other projects, and more recently in October 2023 - having already begun work on their next album - WIZRD and Karisma Records once again joined forces to release a cover of the seminal BLACK SABBATH track 'The Wizard'. This song was a part of WIZRD's setlist a few years back, when they played some shows where the audience could vote and choose in advance what kind of artists the band should cover.

Bio provided by Yam Yam



WIZRD is a Norwegian rock band that dips its toes in all kinds of genres. From rock and indie to jazz and prog, WIZRD knows all the rules but deliberately break them.

Formed at the Jazz Conservatory in Trondheim, WIZRD's four-piece line-up consists of Hallvard Gaardløs (Spidergawd, Draken and more) on bass and lead vocals, Karl Bjorå (Megalodon Collective and more) on guitar and vocals, Vegard Lien Bjerkan (Soft Ffog and more) on keyboards and vocals, Axel Skalstad (Krokofant, Soft Ffog and more) on drums.

Since 2020 the band has been working on their debut album, produced by Norwegian film score composer and Jaga Jazzist drummer Martin Horntveth. The album was recorded in Studio Paradiso in Oslo by Marcus Forsgren (Bror Forsgren, Jaga Jazzist) and Horntveth. Bergen-based musician and producer Matias Tellez (Young Dreams, Girl in Red) has mixed the album.

“Seasons” is a groovy, catchy and progressive masterclass, with beautiful vocal harmonies, awesome melodies, quirky jazz grooves and a rock’n’roll drive to die for.



..::TRACK-LIST::..

1. Lessons 04:10
2. Free Will 04:43
3. Spitfire 04:59
4. All Is As It Should Be 08:09
5. Show Me What You Got 07:44
6. Fire & Water 03:40
7. Divine 06:03
8. When You Call 04:24



..::OBSADA::..

Hallvard Gaardløs - bass, lead vocals
Axel Skalstad - drums & percussion
Karl Bjorå - guitar, vocals
Vegard Lien Bjerkan - keyboards, vocals

With:
James Petralli - lead vocals (6)



https://www.youtube.com/watch?v=m72EJT3kayQ


SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ostatni, trzeci album brytyjskiej progresywnej grupy, wydany w 1971 roku. Niemal równie świetny jak doskonała dwójka, jedynie nagrania nieco krótsze.



Formed in Newport, Wales, in 1967 Blonde On Blonde took their name from Bob Dylan's groundbreaking 1966 double LP. Original members Ralph Denyer (vocals, guitar), Les Hicks (drums), Richard Hopkins (bass, organ) and Gareth Johnson (guitar, sitar) moved to London in 1968 and played in the psychedelic underground club scene. They also appeared on the BBC series How Late It Is. By 1969 they already had one LP out on Pye, Contrasts, which helped them secure a gig at that summers Isle Of Wight festival. When Denyer left to join Aquila long time friend David Thomas joined the band bringing a harder rock oriented sound and and progressive rock feel. The new line up switched from Pye to Ember where they released their second LP, Rebirth, in 1970. Sad news came in 1971 whith the death of Richard Hopkins. The band, however, found a replacement in Graham Davis and went on to record their third and last album in 1971, also on Ember: Reflections On A Life.

Blonde On Blonde's sound has rooted firmly in UK psychedelia with a progressive edge, they mixtured a wide range of influences and echoes of The Pink Floyd, Jefferson Airplane, Cream, Hendrix or The Who lived in perfect harmony with touches of The Incredible String Band imagery in their lyrics. Reflections On A Life is the album in which all the contrasts that make the Blonde On Blonde sound go further ahead in adventure and experimentation, includig surreal out of this world touches a la Syd Barrett. It is an album that plays with the contrast between countryside and big city, as Dave Thomas himself remembers :

"There was something very special about being able to live a life split between two worlds, one quiet and countrified, and the other - on the road or in the heart of London's nightlife!

I think you can hear that contrast in the music itself: a mixture of focused energy and laid-back calm. It was a reflection of the way we lived and worked. We all came from a heavily industrialised Welsh seaport that was closely surrounded by mountains and wild romantic countryside, it was the contrast that inspired us.

And it still inspires me. I am about to release a new Blonde On Blonde album. The music's already 'in the can' and includes songs from Blonde On Blonde's live performances that were not previously released. It also includes some very recent material. The new album is called "Coldharbour" (another name for my hometown Newport). It was hearing "Rebirth" again that brought me determination to complete the project."



..::TRACK-LIST::..

1. Gene Machine 2:04
2. I Don't Care 2:41
3. Love Song 6:41
4. Bar Room Blues 5:25
5. Sad Song For An Easy Lady 4:13
6. Ain't It Sad Too 4:23
7. The Bargain 4:14
8. The Rut 5:22
9. Happy Families 3:44
10. No. 2 Psychological Decontamination Unit 3:09
11. Chorale (Forever) 4:41



..::OBSADA::..

Gareth Johnson - lead guitar, sitar, lute, electronic effects
David Thomas - vocals, guitar, bass
Graham Davies - vocals, guitar, bass, banjo
Les Hicks - drums, percussion




https://www.youtube.com/watch?v=pojQfnBFDK4



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ostatni, trzeci album brytyjskiej progresywnej grupy, wydany w 1971 roku. Niemal równie świetny jak doskonała dwójka, jedynie nagrania nieco krótsze.



Formed in Newport, Wales, in 1967 Blonde On Blonde took their name from Bob Dylan's groundbreaking 1966 double LP. Original members Ralph Denyer (vocals, guitar), Les Hicks (drums), Richard Hopkins (bass, organ) and Gareth Johnson (guitar, sitar) moved to London in 1968 and played in the psychedelic underground club scene. They also appeared on the BBC series How Late It Is. By 1969 they already had one LP out on Pye, Contrasts, which helped them secure a gig at that summers Isle Of Wight festival. When Denyer left to join Aquila long time friend David Thomas joined the band bringing a harder rock oriented sound and and progressive rock feel. The new line up switched from Pye to Ember where they released their second LP, Rebirth, in 1970. Sad news came in 1971 whith the death of Richard Hopkins. The band, however, found a replacement in Graham Davis and went on to record their third and last album in 1971, also on Ember: Reflections On A Life.

Blonde On Blonde's sound has rooted firmly in UK psychedelia with a progressive edge, they mixtured a wide range of influences and echoes of The Pink Floyd, Jefferson Airplane, Cream, Hendrix or The Who lived in perfect harmony with touches of The Incredible String Band imagery in their lyrics. Reflections On A Life is the album in which all the contrasts that make the Blonde On Blonde sound go further ahead in adventure and experimentation, includig surreal out of this world touches a la Syd Barrett. It is an album that plays with the contrast between countryside and big city, as Dave Thomas himself remembers :

"There was something very special about being able to live a life split between two worlds, one quiet and countrified, and the other - on the road or in the heart of London's nightlife!

I think you can hear that contrast in the music itself: a mixture of focused energy and laid-back calm. It was a reflection of the way we lived and worked. We all came from a heavily industrialised Welsh seaport that was closely surrounded by mountains and wild romantic countryside, it was the contrast that inspired us.

And it still inspires me. I am about to release a new Blonde On Blonde album. The music's already 'in the can' and includes songs from Blonde On Blonde's live performances that were not previously released. It also includes some very recent material. The new album is called "Coldharbour" (another name for my hometown Newport). It was hearing "Rebirth" again that brought me determination to complete the project."



..::TRACK-LIST::..

1. Gene Machine 2:04
2. I Don't Care 2:41
3. Love Song 6:41
4. Bar Room Blues 5:25
5. Sad Song For An Easy Lady 4:13
6. Ain't It Sad Too 4:23
7. The Bargain 4:14
8. The Rut 5:22
9. Happy Families 3:44
10. No. 2 Psychological Decontamination Unit 3:09
11. Chorale (Forever) 4:41



..::OBSADA::..

Gareth Johnson - lead guitar, sitar, lute, electronic effects
David Thomas - vocals, guitar, bass
Graham Davies - vocals, guitar, bass, banjo
Les Hicks - drums, percussion




https://www.youtube.com/watch?v=pojQfnBFDK4



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Po lekkim wakacyjnym wydawniczym marazmie sezon przedświąteczny prezentuje się całkiem bogato. Wśród wielu zapowiedzianych pozycji, o których będę sukcesywnie pisał, szczególnie interesująco wygląda imponujący box, jakże uwielbianej przeze mnie grupy Camel. Wydawnictwo „Air Born: The MCA & Decca Years 1973-1984” przygotowano z okazji 50-lecia ukazania się pierwszego longplaya formacji. Będzie ono zawierać aż 27 płyt CD (!!!) oraz 5 Blu-Ray’ów.

Zestaw wypełnią zremasterowane wersje wszystkich albumów studyjnych, koncertowych oraz singli zrealizowanych przez Camel dla wytwórni MCA i Decca. Do tego dojdą trzy recitale dla BBC: BBC Radio One „In Concert” – 6 czerwiec 1974, BBC Radio One „In Concert” – 22 kwiecień 1975 oraz BBC „In Concert” – Golders Green Hippodrome – 29 wrzesień 1977. Kolejne trzy koncerty to na nowo zmiksowane występy: „Live at Marquee Club, London” – 20 czerwiec 1974, „Live at Hammersmith Odeon” – 14 kwiecień 1976 oraz „Live at Hammersmith Odeon” – 1 październik 1977. Wszystkie te zapisy były co prawda już publikowane jako bonusy na poprzednich edycjach albumów zespołu, ale w nieco chaotyczny i nieuporządkowany sposób. Teraz będzie można ich wysłuchać w całości. Nader ciekawie i obiecująco przestawiają się studyjne (w większości niepublikowane) bonusy, pochodzące z sesji do poszczególnych albumów. Nie ma ich dużo, ale na pewno przysporzą sporo radości fanom formacji. Odrzutem z pierwszego albumu jest utwór „Sarah”. Aż pięć nagrań, które trafiły na płytę „Mirage”, otrzymamy dodatkowo także we wczesnych wersjach demo z 15 czerwca 1973r. Dwa mniej znane nagrania „Autumn” i „Riverman”, zespół zrealizował gdzieś pomiędzy longplayami „Mirage” i „The Snow Goose”. Krążek „Moonmadness” uzupełnią m.in. trzy studyjne dema. I wreszcie utwór „Captured” z płyty „Nude” usłyszymy we wczesnej, nieznanej dotąd wersji.

Jakby tego było mało, albumy „Camel”, „Mirage”, „The Snow Goose”, „Moonmadness” i „Nude” otrzymujemy także w zupełnie nowych miksach stereo oraz 5.1. Ogromna szkoda, że w podobny sposób nie opracowano pozostałych płyt. Być może nie udało się odnaleźć taśm z zapisami wielośladowymi?

Jeśli chodzi o materiały wideo, to poza paroma klipami i fragmentami występów z TV znajdą się tam koncerty: BBC TV „The Old Grey Whistle Test” – 21 czerwiec 1975, Live at Hammersmith Odeon – 1 październik 1977 oraz film „Pressure Points”. Pudełko uzupełni oczywiście gruba książka oraz plakat.

Paweł Nawara



The box features 27 CDs & five blu-rays and includes newly remastered versions of every Camel album and single issued between 1973 and 1984, but also includes new stereo and 5.1 Surround Sound versions of five albums, as well as new mixes of three concerts; The Marquee Club, London 1974, Hammersmith Odeon 1976 and Hammersmith Odeon 1977.

The package also features previously unreleased outtakes from album recording sessions and BBC Radio ‘In Concert’ appearances from 1974, 1975, 1977 and 1981.




Emerging just in time to honour the 50th anniversary of their debut album, Air Born is a sprawling boxed set which, as the title implies, celebrates their years spent with MCA and Decca. This was not always a happy time in terms of the band's relationship with Decca; in particular, after Andy Ward suffered a mental health crisis and attempted suicide, Andrew Latimer wanted to put the band on hiatus for a while to give Ward a chance to recuperate, but heartlessly Decca demanded that Camel put out a new studio album anyway - and pressured them to make it commercially friendly on top of that - which is what led to the critical stumble of The Single Factor.
Still, musically speaking this covers the music which Camel built their legacy on and more besides. Full remasters (and, for some select albums, additional stereo remixes) of all the Camel studio releases from their debut to Stationary Traveller are, naturally, included, along with a range of supplementary material ranging from unreleased studio tracks through to full live performances.

Much of this stuff has emerged in one form or another as bonus tracks over time, but there are a few significant bits of material which are new to this release. The major scoop of the collection is the full demo tape the band recorded in between their debut album and Mirage, which finds early versions of almost all the Mirage tracks present - only Freefall from that album is missing, and instead we get The Traveller, a Uriah Heep-ish piece which seems to have been abandoned as being more in keeping with their debut album's sound than Mirage's. In terms of sound quality, the demo is top notch, and captures the band's musical growth since they recorded their self-titled album marvellously, forming a hitherto-missing link between that and Mirage.

As for the live material, this is largely a mixture of BBC sessions and material released elsewhere, though there are enhancements and additions here and there. Early live performances include the take on God of Light Revisited originally recorded for the Greasy Truckers - Live At Dingwalls Dance Hall release, a funky, Santana-influenced piece. Again, this has been fairly widely repackaged as a bonus track on some issue or other over the years.

BBC sessions here include a June 1974 recording showcasing the band fresh from the release of Mirage, a more expansive 1975 offering giving extensive extracts from The Snow Goose (with the band on excellent form and proving they didn't need the orchestra to evoken the album's magic live), their excellent appearance on The Old Grey Whistle Test, and a 1977 Sight and Sound In Concert appearance from the Rain Dances lineup primarily focused on that album but also including great takes on Snow Goose material, Never Let Go from the debut, and an absolutely stellar take on Lunar Sea from Moonmadness. Much of this material has shown up as bonus tracks or on bootlegs over the years, but it's nice to get it in fairly definitive versions here.

Rather than presenting A Live Record in either its original or expanded configurations, the box instead offers the complete original live recordings from the different shows which made up that release. This includes a full set from the Marquee Club in October 1974, in which the band both burn through excellent renditions of Mirage-era material and road test compositions which would later make it onto The Snow Goose. The sound quality on this is remarkably good - perhaps the best of any of the pre-Goose live offerings here - and it's interesting how the Snow Goose compositions differ to account for the lack of an orchestra in tow.

Naturally, there's also the Royal Albert Hall full performance of The Snow Goose with orchestra from 1975, which would form the basis of the second disc of A Live Record; this is enhanced by an encore performance of Lady Fantasy, skillfully adapted to account for the orchestra.

We also get a full concert set from the Hammersmith Odeon in 1976; previously only smatterings of this had been borrowed for the extended CD version of A Live Record or on some reissues of Moonmadness, but having the full show to hand in its original running order is excellent. There's a few technical issues audible - notably some faint buzzing on a few tracks which could be down to the original tapes having an issue or might be indicative of some of the band's equipment having a bit of a moment, but this is a mild blemish easily overlooked, especially since some care seems to have been taken here to tidy up the lives tapes as best as possible.

This live set is especially valuable since it provides a final showcase for the original lineup of Camel - some would say the classic lineup - prior to personnel shifts and their Rain Dances-era drift into a Canterbury-influenced direction. You get Latimer, Ward, Ferguson, and Bardens at the absolute top of their game, with a setlist drawn from some of the greatest albums not just in the Camel discography but in the progressive rock pantheon as a whole, with the setlist finally presented on disc more or less as it was conceived to be delivered onstage; when you think about it, that's absolutely fantastic.

The band return to the Odeon in 1977 for a barnstorming set which, along with some stray tracks from other venues rounding off the Live Record material. The 1977 Odeon show is the fullest document of the Rain Dances lineup live on this set, and it's absolutely superb. Between that and the tracks from Bristol and Leeds, the Rain Dances period ends up being the era of the band that's perhaps best-represented by live material here (with The Snow Goose period a close second).

Other live material in the collection includes a tightened-up reissue of the BBC session previously released as On the Road 1981 (including two tracks - Summer Lightning and Ice - not included on previous releases of the BBC session) and, lastly, a remaster of Pressure Points.

Most prog fans will have at least some of the material here - though the new mixes of Camel, Mirage, The Snow Goose, Moonmadness, and Nude are good enough to be worth dipping into (and the previous mixes are also presented so you can judge which you prefer) - but even Camel fanatics probably won't have all of it. If you've got significant gaps to fill in your Camel collection - or if the prospect of all those live goodies have you salivating - it's highly worthwhile, offering the lion's share of their output in one package.

Warthur



..::TRACK-LIST::..

CD 27 - Nude (New Stereo Mix):
1. City Life
2. Nude
3. Drafted
4. Docks
5. Beached
6. Landscapes
7. Changing Places
8. Pomp And Circumstance
9. Please Come Home
10. Reflections
11. Captured
12. The Homecoming
13. Lies
14. The Last Farewell (The Birthday Cake)
15. The Last Farewell (Nude's Return)



..::OBSADA::..

Andy Latimer - guitar, flute, vocals
- see Camel 1973-1984 line-ups



https://www.youtube.com/watch?v=NxjBjdij-W0



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Po lekkim wakacyjnym wydawniczym marazmie sezon przedświąteczny prezentuje się całkiem bogato. Wśród wielu zapowiedzianych pozycji, o których będę sukcesywnie pisał, szczególnie interesująco wygląda imponujący box, jakże uwielbianej przeze mnie grupy Camel. Wydawnictwo „Air Born: The MCA & Decca Years 1973-1984” przygotowano z okazji 50-lecia ukazania się pierwszego longplaya formacji. Będzie ono zawierać aż 27 płyt CD (!!!) oraz 5 Blu-Ray’ów.

Zestaw wypełnią zremasterowane wersje wszystkich albumów studyjnych, koncertowych oraz singli zrealizowanych przez Camel dla wytwórni MCA i Decca. Do tego dojdą trzy recitale dla BBC: BBC Radio One „In Concert” – 6 czerwiec 1974, BBC Radio One „In Concert” – 22 kwiecień 1975 oraz BBC „In Concert” – Golders Green Hippodrome – 29 wrzesień 1977. Kolejne trzy koncerty to na nowo zmiksowane występy: „Live at Marquee Club, London” – 20 czerwiec 1974, „Live at Hammersmith Odeon” – 14 kwiecień 1976 oraz „Live at Hammersmith Odeon” – 1 październik 1977. Wszystkie te zapisy były co prawda już publikowane jako bonusy na poprzednich edycjach albumów zespołu, ale w nieco chaotyczny i nieuporządkowany sposób. Teraz będzie można ich wysłuchać w całości. Nader ciekawie i obiecująco przestawiają się studyjne (w większości niepublikowane) bonusy, pochodzące z sesji do poszczególnych albumów. Nie ma ich dużo, ale na pewno przysporzą sporo radości fanom formacji. Odrzutem z pierwszego albumu jest utwór „Sarah”. Aż pięć nagrań, które trafiły na płytę „Mirage”, otrzymamy dodatkowo także we wczesnych wersjach demo z 15 czerwca 1973r. Dwa mniej znane nagrania „Autumn” i „Riverman”, zespół zrealizował gdzieś pomiędzy longplayami „Mirage” i „The Snow Goose”. Krążek „Moonmadness” uzupełnią m.in. trzy studyjne dema. I wreszcie utwór „Captured” z płyty „Nude” usłyszymy we wczesnej, nieznanej dotąd wersji.

Jakby tego było mało, albumy „Camel”, „Mirage”, „The Snow Goose”, „Moonmadness” i „Nude” otrzymujemy także w zupełnie nowych miksach stereo oraz 5.1. Ogromna szkoda, że w podobny sposób nie opracowano pozostałych płyt. Być może nie udało się odnaleźć taśm z zapisami wielośladowymi?

Jeśli chodzi o materiały wideo, to poza paroma klipami i fragmentami występów z TV znajdą się tam koncerty: BBC TV „The Old Grey Whistle Test” – 21 czerwiec 1975, Live at Hammersmith Odeon – 1 październik 1977 oraz film „Pressure Points”. Pudełko uzupełni oczywiście gruba książka oraz plakat.

Paweł Nawara



The box features 27 CDs & five blu-rays and includes newly remastered versions of every Camel album and single issued between 1973 and 1984, but also includes new stereo and 5.1 Surround Sound versions of five albums, as well as new mixes of three concerts; The Marquee Club, London 1974, Hammersmith Odeon 1976 and Hammersmith Odeon 1977.

The package also features previously unreleased outtakes from album recording sessions and BBC Radio ‘In Concert’ appearances from 1974, 1975, 1977 and 1981.




Emerging just in time to honour the 50th anniversary of their debut album, Air Born is a sprawling boxed set which, as the title implies, celebrates their years spent with MCA and Decca. This was not always a happy time in terms of the band's relationship with Decca; in particular, after Andy Ward suffered a mental health crisis and attempted suicide, Andrew Latimer wanted to put the band on hiatus for a while to give Ward a chance to recuperate, but heartlessly Decca demanded that Camel put out a new studio album anyway - and pressured them to make it commercially friendly on top of that - which is what led to the critical stumble of The Single Factor.
Still, musically speaking this covers the music which Camel built their legacy on and more besides. Full remasters (and, for some select albums, additional stereo remixes) of all the Camel studio releases from their debut to Stationary Traveller are, naturally, included, along with a range of supplementary material ranging from unreleased studio tracks through to full live performances.

Much of this stuff has emerged in one form or another as bonus tracks over time, but there are a few significant bits of material which are new to this release. The major scoop of the collection is the full demo tape the band recorded in between their debut album and Mirage, which finds early versions of almost all the Mirage tracks present - only Freefall from that album is missing, and instead we get The Traveller, a Uriah Heep-ish piece which seems to have been abandoned as being more in keeping with their debut album's sound than Mirage's. In terms of sound quality, the demo is top notch, and captures the band's musical growth since they recorded their self-titled album marvellously, forming a hitherto-missing link between that and Mirage.

As for the live material, this is largely a mixture of BBC sessions and material released elsewhere, though there are enhancements and additions here and there. Early live performances include the take on God of Light Revisited originally recorded for the Greasy Truckers - Live At Dingwalls Dance Hall release, a funky, Santana-influenced piece. Again, this has been fairly widely repackaged as a bonus track on some issue or other over the years.

BBC sessions here include a June 1974 recording showcasing the band fresh from the release of Mirage, a more expansive 1975 offering giving extensive extracts from The Snow Goose (with the band on excellent form and proving they didn't need the orchestra to evoken the album's magic live), their excellent appearance on The Old Grey Whistle Test, and a 1977 Sight and Sound In Concert appearance from the Rain Dances lineup primarily focused on that album but also including great takes on Snow Goose material, Never Let Go from the debut, and an absolutely stellar take on Lunar Sea from Moonmadness. Much of this material has shown up as bonus tracks or on bootlegs over the years, but it's nice to get it in fairly definitive versions here.

Rather than presenting A Live Record in either its original or expanded configurations, the box instead offers the complete original live recordings from the different shows which made up that release. This includes a full set from the Marquee Club in October 1974, in which the band both burn through excellent renditions of Mirage-era material and road test compositions which would later make it onto The Snow Goose. The sound quality on this is remarkably good - perhaps the best of any of the pre-Goose live offerings here - and it's interesting how the Snow Goose compositions differ to account for the lack of an orchestra in tow.

Naturally, there's also the Royal Albert Hall full performance of The Snow Goose with orchestra from 1975, which would form the basis of the second disc of A Live Record; this is enhanced by an encore performance of Lady Fantasy, skillfully adapted to account for the orchestra.

We also get a full concert set from the Hammersmith Odeon in 1976; previously only smatterings of this had been borrowed for the extended CD version of A Live Record or on some reissues of Moonmadness, but having the full show to hand in its original running order is excellent. There's a few technical issues audible - notably some faint buzzing on a few tracks which could be down to the original tapes having an issue or might be indicative of some of the band's equipment having a bit of a moment, but this is a mild blemish easily overlooked, especially since some care seems to have been taken here to tidy up the lives tapes as best as possible.

This live set is especially valuable since it provides a final showcase for the original lineup of Camel - some would say the classic lineup - prior to personnel shifts and their Rain Dances-era drift into a Canterbury-influenced direction. You get Latimer, Ward, Ferguson, and Bardens at the absolute top of their game, with a setlist drawn from some of the greatest albums not just in the Camel discography but in the progressive rock pantheon as a whole, with the setlist finally presented on disc more or less as it was conceived to be delivered onstage; when you think about it, that's absolutely fantastic.

The band return to the Odeon in 1977 for a barnstorming set which, along with some stray tracks from other venues rounding off the Live Record material. The 1977 Odeon show is the fullest document of the Rain Dances lineup live on this set, and it's absolutely superb. Between that and the tracks from Bristol and Leeds, the Rain Dances period ends up being the era of the band that's perhaps best-represented by live material here (with The Snow Goose period a close second).

Other live material in the collection includes a tightened-up reissue of the BBC session previously released as On the Road 1981 (including two tracks - Summer Lightning and Ice - not included on previous releases of the BBC session) and, lastly, a remaster of Pressure Points.

Most prog fans will have at least some of the material here - though the new mixes of Camel, Mirage, The Snow Goose, Moonmadness, and Nude are good enough to be worth dipping into (and the previous mixes are also presented so you can judge which you prefer) - but even Camel fanatics probably won't have all of it. If you've got significant gaps to fill in your Camel collection - or if the prospect of all those live goodies have you salivating - it's highly worthwhile, offering the lion's share of their output in one package.

Warthur



..::TRACK-LIST::..

CD 27 - Nude (New Stereo Mix):
1. City Life
2. Nude
3. Drafted
4. Docks
5. Beached
6. Landscapes
7. Changing Places
8. Pomp And Circumstance
9. Please Come Home
10. Reflections
11. Captured
12. The Homecoming
13. Lies
14. The Last Farewell (The Birthday Cake)
15. The Last Farewell (Nude's Return)



..::OBSADA::..

Andy Latimer - guitar, flute, vocals
- see Camel 1973-1984 line-ups



https://www.youtube.com/watch?v=NxjBjdij-W0



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Po lekkim wakacyjnym wydawniczym marazmie sezon przedświąteczny prezentuje się całkiem bogato. Wśród wielu zapowiedzianych pozycji, o których będę sukcesywnie pisał, szczególnie interesująco wygląda imponujący box, jakże uwielbianej przeze mnie grupy Camel. Wydawnictwo „Air Born: The MCA & Decca Years 1973-1984” przygotowano z okazji 50-lecia ukazania się pierwszego longplaya formacji. Będzie ono zawierać aż 27 płyt CD (!!!) oraz 5 Blu-Ray’ów.

Zestaw wypełnią zremasterowane wersje wszystkich albumów studyjnych, koncertowych oraz singli zrealizowanych przez Camel dla wytwórni MCA i Decca. Do tego dojdą trzy recitale dla BBC: BBC Radio One „In Concert” – 6 czerwiec 1974, BBC Radio One „In Concert” – 22 kwiecień 1975 oraz BBC „In Concert” – Golders Green Hippodrome – 29 wrzesień 1977. Kolejne trzy koncerty to na nowo zmiksowane występy: „Live at Marquee Club, London” – 20 czerwiec 1974, „Live at Hammersmith Odeon” – 14 kwiecień 1976 oraz „Live at Hammersmith Odeon” – 1 październik 1977. Wszystkie te zapisy były co prawda już publikowane jako bonusy na poprzednich edycjach albumów zespołu, ale w nieco chaotyczny i nieuporządkowany sposób. Teraz będzie można ich wysłuchać w całości. Nader ciekawie i obiecująco przestawiają się studyjne (w większości niepublikowane) bonusy, pochodzące z sesji do poszczególnych albumów. Nie ma ich dużo, ale na pewno przysporzą sporo radości fanom formacji. Odrzutem z pierwszego albumu jest utwór „Sarah”. Aż pięć nagrań, które trafiły na płytę „Mirage”, otrzymamy dodatkowo także we wczesnych wersjach demo z 15 czerwca 1973r. Dwa mniej znane nagrania „Autumn” i „Riverman”, zespół zrealizował gdzieś pomiędzy longplayami „Mirage” i „The Snow Goose”. Krążek „Moonmadness” uzupełnią m.in. trzy studyjne dema. I wreszcie utwór „Captured” z płyty „Nude” usłyszymy we wczesnej, nieznanej dotąd wersji.

Jakby tego było mało, albumy „Camel”, „Mirage”, „The Snow Goose”, „Moonmadness” i „Nude” otrzymujemy także w zupełnie nowych miksach stereo oraz 5.1. Ogromna szkoda, że w podobny sposób nie opracowano pozostałych płyt. Być może nie udało się odnaleźć taśm z zapisami wielośladowymi?

Jeśli chodzi o materiały wideo, to poza paroma klipami i fragmentami występów z TV znajdą się tam koncerty: BBC TV „The Old Grey Whistle Test” – 21 czerwiec 1975, Live at Hammersmith Odeon – 1 październik 1977 oraz film „Pressure Points”. Pudełko uzupełni oczywiście gruba książka oraz plakat.

Paweł Nawara



The box features 27 CDs & five blu-rays and includes newly remastered versions of every Camel album and single issued between 1973 and 1984, but also includes new stereo and 5.1 Surround Sound versions of five albums, as well as new mixes of three concerts; The Marquee Club, London 1974, Hammersmith Odeon 1976 and Hammersmith Odeon 1977.

The package also features previously unreleased outtakes from album recording sessions and BBC Radio ‘In Concert’ appearances from 1974, 1975, 1977 and 1981.




Emerging just in time to honour the 50th anniversary of their debut album, Air Born is a sprawling boxed set which, as the title implies, celebrates their years spent with MCA and Decca. This was not always a happy time in terms of the band's relationship with Decca; in particular, after Andy Ward suffered a mental health crisis and attempted suicide, Andrew Latimer wanted to put the band on hiatus for a while to give Ward a chance to recuperate, but heartlessly Decca demanded that Camel put out a new studio album anyway - and pressured them to make it commercially friendly on top of that - which is what led to the critical stumble of The Single Factor.
Still, musically speaking this covers the music which Camel built their legacy on and more besides. Full remasters (and, for some select albums, additional stereo remixes) of all the Camel studio releases from their debut to Stationary Traveller are, naturally, included, along with a range of supplementary material ranging from unreleased studio tracks through to full live performances.

Much of this stuff has emerged in one form or another as bonus tracks over time, but there are a few significant bits of material which are new to this release. The major scoop of the collection is the full demo tape the band recorded in between their debut album and Mirage, which finds early versions of almost all the Mirage tracks present - only Freefall from that album is missing, and instead we get The Traveller, a Uriah Heep-ish piece which seems to have been abandoned as being more in keeping with their debut album's sound than Mirage's. In terms of sound quality, the demo is top notch, and captures the band's musical growth since they recorded their self-titled album marvellously, forming a hitherto-missing link between that and Mirage.

As for the live material, this is largely a mixture of BBC sessions and material released elsewhere, though there are enhancements and additions here and there. Early live performances include the take on God of Light Revisited originally recorded for the Greasy Truckers - Live At Dingwalls Dance Hall release, a funky, Santana-influenced piece. Again, this has been fairly widely repackaged as a bonus track on some issue or other over the years.

BBC sessions here include a June 1974 recording showcasing the band fresh from the release of Mirage, a more expansive 1975 offering giving extensive extracts from The Snow Goose (with the band on excellent form and proving they didn't need the orchestra to evoken the album's magic live), their excellent appearance on The Old Grey Whistle Test, and a 1977 Sight and Sound In Concert appearance from the Rain Dances lineup primarily focused on that album but also including great takes on Snow Goose material, Never Let Go from the debut, and an absolutely stellar take on Lunar Sea from Moonmadness. Much of this material has shown up as bonus tracks or on bootlegs over the years, but it's nice to get it in fairly definitive versions here.

Rather than presenting A Live Record in either its original or expanded configurations, the box instead offers the complete original live recordings from the different shows which made up that release. This includes a full set from the Marquee Club in October 1974, in which the band both burn through excellent renditions of Mirage-era material and road test compositions which would later make it onto The Snow Goose. The sound quality on this is remarkably good - perhaps the best of any of the pre-Goose live offerings here - and it's interesting how the Snow Goose compositions differ to account for the lack of an orchestra in tow.

Naturally, there's also the Royal Albert Hall full performance of The Snow Goose with orchestra from 1975, which would form the basis of the second disc of A Live Record; this is enhanced by an encore performance of Lady Fantasy, skillfully adapted to account for the orchestra.

We also get a full concert set from the Hammersmith Odeon in 1976; previously only smatterings of this had been borrowed for the extended CD version of A Live Record or on some reissues of Moonmadness, but having the full show to hand in its original running order is excellent. There's a few technical issues audible - notably some faint buzzing on a few tracks which could be down to the original tapes having an issue or might be indicative of some of the band's equipment having a bit of a moment, but this is a mild blemish easily overlooked, especially since some care seems to have been taken here to tidy up the lives tapes as best as possible.

This live set is especially valuable since it provides a final showcase for the original lineup of Camel - some would say the classic lineup - prior to personnel shifts and their Rain Dances-era drift into a Canterbury-influenced direction. You get Latimer, Ward, Ferguson, and Bardens at the absolute top of their game, with a setlist drawn from some of the greatest albums not just in the Camel discography but in the progressive rock pantheon as a whole, with the setlist finally presented on disc more or less as it was conceived to be delivered onstage; when you think about it, that's absolutely fantastic.

The band return to the Odeon in 1977 for a barnstorming set which, along with some stray tracks from other venues rounding off the Live Record material. The 1977 Odeon show is the fullest document of the Rain Dances lineup live on this set, and it's absolutely superb. Between that and the tracks from Bristol and Leeds, the Rain Dances period ends up being the era of the band that's perhaps best-represented by live material here (with The Snow Goose period a close second).

Other live material in the collection includes a tightened-up reissue of the BBC session previously released as On the Road 1981 (including two tracks - Summer Lightning and Ice - not included on previous releases of the BBC session) and, lastly, a remaster of Pressure Points.

Most prog fans will have at least some of the material here - though the new mixes of Camel, Mirage, The Snow Goose, Moonmadness, and Nude are good enough to be worth dipping into (and the previous mixes are also presented so you can judge which you prefer) - but even Camel fanatics probably won't have all of it. If you've got significant gaps to fill in your Camel collection - or if the prospect of all those live goodies have you salivating - it's highly worthwhile, offering the lion's share of their output in one package.

Warthur



..::TRACK-LIST::..

CD 26 - Moonmadness (New Stereo Mix):
1. Aristillus
2. Song Within A Song
3. Chord Change
4. Spirit Of The Water
5. Another Night
6. Air Born
7. Lunar Sea



..::OBSADA::..

Andy Latimer - guitar, flute, vocals
- see Camel 1973-1984 line-ups




https://www.youtube.com/watch?v=dSzEJ3X-HC4



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Po lekkim wakacyjnym wydawniczym marazmie sezon przedświąteczny prezentuje się całkiem bogato. Wśród wielu zapowiedzianych pozycji, o których będę sukcesywnie pisał, szczególnie interesująco wygląda imponujący box, jakże uwielbianej przeze mnie grupy Camel. Wydawnictwo „Air Born: The MCA & Decca Years 1973-1984” przygotowano z okazji 50-lecia ukazania się pierwszego longplaya formacji. Będzie ono zawierać aż 27 płyt CD (!!!) oraz 5 Blu-Ray’ów.

Zestaw wypełnią zremasterowane wersje wszystkich albumów studyjnych, koncertowych oraz singli zrealizowanych przez Camel dla wytwórni MCA i Decca. Do tego dojdą trzy recitale dla BBC: BBC Radio One „In Concert” – 6 czerwiec 1974, BBC Radio One „In Concert” – 22 kwiecień 1975 oraz BBC „In Concert” – Golders Green Hippodrome – 29 wrzesień 1977. Kolejne trzy koncerty to na nowo zmiksowane występy: „Live at Marquee Club, London” – 20 czerwiec 1974, „Live at Hammersmith Odeon” – 14 kwiecień 1976 oraz „Live at Hammersmith Odeon” – 1 październik 1977. Wszystkie te zapisy były co prawda już publikowane jako bonusy na poprzednich edycjach albumów zespołu, ale w nieco chaotyczny i nieuporządkowany sposób. Teraz będzie można ich wysłuchać w całości. Nader ciekawie i obiecująco przestawiają się studyjne (w większości niepublikowane) bonusy, pochodzące z sesji do poszczególnych albumów. Nie ma ich dużo, ale na pewno przysporzą sporo radości fanom formacji. Odrzutem z pierwszego albumu jest utwór „Sarah”. Aż pięć nagrań, które trafiły na płytę „Mirage”, otrzymamy dodatkowo także we wczesnych wersjach demo z 15 czerwca 1973r. Dwa mniej znane nagrania „Autumn” i „Riverman”, zespół zrealizował gdzieś pomiędzy longplayami „Mirage” i „The Snow Goose”. Krążek „Moonmadness” uzupełnią m.in. trzy studyjne dema. I wreszcie utwór „Captured” z płyty „Nude” usłyszymy we wczesnej, nieznanej dotąd wersji.

Jakby tego było mało, albumy „Camel”, „Mirage”, „The Snow Goose”, „Moonmadness” i „Nude” otrzymujemy także w zupełnie nowych miksach stereo oraz 5.1. Ogromna szkoda, że w podobny sposób nie opracowano pozostałych płyt. Być może nie udało się odnaleźć taśm z zapisami wielośladowymi?

Jeśli chodzi o materiały wideo, to poza paroma klipami i fragmentami występów z TV znajdą się tam koncerty: BBC TV „The Old Grey Whistle Test” – 21 czerwiec 1975, Live at Hammersmith Odeon – 1 październik 1977 oraz film „Pressure Points”. Pudełko uzupełni oczywiście gruba książka oraz plakat.

Paweł Nawara



The box features 27 CDs & five blu-rays and includes newly remastered versions of every Camel album and single issued between 1973 and 1984, but also includes new stereo and 5.1 Surround Sound versions of five albums, as well as new mixes of three concerts; The Marquee Club, London 1974, Hammersmith Odeon 1976 and Hammersmith Odeon 1977.

The package also features previously unreleased outtakes from album recording sessions and BBC Radio ‘In Concert’ appearances from 1974, 1975, 1977 and 1981.




Emerging just in time to honour the 50th anniversary of their debut album, Air Born is a sprawling boxed set which, as the title implies, celebrates their years spent with MCA and Decca. This was not always a happy time in terms of the band's relationship with Decca; in particular, after Andy Ward suffered a mental health crisis and attempted suicide, Andrew Latimer wanted to put the band on hiatus for a while to give Ward a chance to recuperate, but heartlessly Decca demanded that Camel put out a new studio album anyway - and pressured them to make it commercially friendly on top of that - which is what led to the critical stumble of The Single Factor.
Still, musically speaking this covers the music which Camel built their legacy on and more besides. Full remasters (and, for some select albums, additional stereo remixes) of all the Camel studio releases from their debut to Stationary Traveller are, naturally, included, along with a range of supplementary material ranging from unreleased studio tracks through to full live performances.

Much of this stuff has emerged in one form or another as bonus tracks over time, but there are a few significant bits of material which are new to this release. The major scoop of the collection is the full demo tape the band recorded in between their debut album and Mirage, which finds early versions of almost all the Mirage tracks present - only Freefall from that album is missing, and instead we get The Traveller, a Uriah Heep-ish piece which seems to have been abandoned as being more in keeping with their debut album's sound than Mirage's. In terms of sound quality, the demo is top notch, and captures the band's musical growth since they recorded their self-titled album marvellously, forming a hitherto-missing link between that and Mirage.

As for the live material, this is largely a mixture of BBC sessions and material released elsewhere, though there are enhancements and additions here and there. Early live performances include the take on God of Light Revisited originally recorded for the Greasy Truckers - Live At Dingwalls Dance Hall release, a funky, Santana-influenced piece. Again, this has been fairly widely repackaged as a bonus track on some issue or other over the years.

BBC sessions here include a June 1974 recording showcasing the band fresh from the release of Mirage, a more expansive 1975 offering giving extensive extracts from The Snow Goose (with the band on excellent form and proving they didn't need the orchestra to evoken the album's magic live), their excellent appearance on The Old Grey Whistle Test, and a 1977 Sight and Sound In Concert appearance from the Rain Dances lineup primarily focused on that album but also including great takes on Snow Goose material, Never Let Go from the debut, and an absolutely stellar take on Lunar Sea from Moonmadness. Much of this material has shown up as bonus tracks or on bootlegs over the years, but it's nice to get it in fairly definitive versions here.

Rather than presenting A Live Record in either its original or expanded configurations, the box instead offers the complete original live recordings from the different shows which made up that release. This includes a full set from the Marquee Club in October 1974, in which the band both burn through excellent renditions of Mirage-era material and road test compositions which would later make it onto The Snow Goose. The sound quality on this is remarkably good - perhaps the best of any of the pre-Goose live offerings here - and it's interesting how the Snow Goose compositions differ to account for the lack of an orchestra in tow.

Naturally, there's also the Royal Albert Hall full performance of The Snow Goose with orchestra from 1975, which would form the basis of the second disc of A Live Record; this is enhanced by an encore performance of Lady Fantasy, skillfully adapted to account for the orchestra.

We also get a full concert set from the Hammersmith Odeon in 1976; previously only smatterings of this had been borrowed for the extended CD version of A Live Record or on some reissues of Moonmadness, but having the full show to hand in its original running order is excellent. There's a few technical issues audible - notably some faint buzzing on a few tracks which could be down to the original tapes having an issue or might be indicative of some of the band's equipment having a bit of a moment, but this is a mild blemish easily overlooked, especially since some care seems to have been taken here to tidy up the lives tapes as best as possible.

This live set is especially valuable since it provides a final showcase for the original lineup of Camel - some would say the classic lineup - prior to personnel shifts and their Rain Dances-era drift into a Canterbury-influenced direction. You get Latimer, Ward, Ferguson, and Bardens at the absolute top of their game, with a setlist drawn from some of the greatest albums not just in the Camel discography but in the progressive rock pantheon as a whole, with the setlist finally presented on disc more or less as it was conceived to be delivered onstage; when you think about it, that's absolutely fantastic.

The band return to the Odeon in 1977 for a barnstorming set which, along with some stray tracks from other venues rounding off the Live Record material. The 1977 Odeon show is the fullest document of the Rain Dances lineup live on this set, and it's absolutely superb. Between that and the tracks from Bristol and Leeds, the Rain Dances period ends up being the era of the band that's perhaps best-represented by live material here (with The Snow Goose period a close second).

Other live material in the collection includes a tightened-up reissue of the BBC session previously released as On the Road 1981 (including two tracks - Summer Lightning and Ice - not included on previous releases of the BBC session) and, lastly, a remaster of Pressure Points.

Most prog fans will have at least some of the material here - though the new mixes of Camel, Mirage, The Snow Goose, Moonmadness, and Nude are good enough to be worth dipping into (and the previous mixes are also presented so you can judge which you prefer) - but even Camel fanatics probably won't have all of it. If you've got significant gaps to fill in your Camel collection - or if the prospect of all those live goodies have you salivating - it's highly worthwhile, offering the lion's share of their output in one package.

Warthur



..::TRACK-LIST::..

CD 26 - Moonmadness (New Stereo Mix):
1. Aristillus
2. Song Within A Song
3. Chord Change
4. Spirit Of The Water
5. Another Night
6. Air Born
7. Lunar Sea



..::OBSADA::..

Andy Latimer - guitar, flute, vocals
- see Camel 1973-1984 line-ups




https://www.youtube.com/watch?v=dSzEJ3X-HC4



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Po lekkim wakacyjnym wydawniczym marazmie sezon przedświąteczny prezentuje się całkiem bogato. Wśród wielu zapowiedzianych pozycji, o których będę sukcesywnie pisał, szczególnie interesująco wygląda imponujący box, jakże uwielbianej przeze mnie grupy Camel. Wydawnictwo „Air Born: The MCA & Decca Years 1973-1984” przygotowano z okazji 50-lecia ukazania się pierwszego longplaya formacji. Będzie ono zawierać aż 27 płyt CD (!!!) oraz 5 Blu-Ray’ów.

Zestaw wypełnią zremasterowane wersje wszystkich albumów studyjnych, koncertowych oraz singli zrealizowanych przez Camel dla wytwórni MCA i Decca. Do tego dojdą trzy recitale dla BBC: BBC Radio One „In Concert” – 6 czerwiec 1974, BBC Radio One „In Concert” – 22 kwiecień 1975 oraz BBC „In Concert” – Golders Green Hippodrome – 29 wrzesień 1977. Kolejne trzy koncerty to na nowo zmiksowane występy: „Live at Marquee Club, London” – 20 czerwiec 1974, „Live at Hammersmith Odeon” – 14 kwiecień 1976 oraz „Live at Hammersmith Odeon” – 1 październik 1977. Wszystkie te zapisy były co prawda już publikowane jako bonusy na poprzednich edycjach albumów zespołu, ale w nieco chaotyczny i nieuporządkowany sposób. Teraz będzie można ich wysłuchać w całości. Nader ciekawie i obiecująco przestawiają się studyjne (w większości niepublikowane) bonusy, pochodzące z sesji do poszczególnych albumów. Nie ma ich dużo, ale na pewno przysporzą sporo radości fanom formacji. Odrzutem z pierwszego albumu jest utwór „Sarah”. Aż pięć nagrań, które trafiły na płytę „Mirage”, otrzymamy dodatkowo także we wczesnych wersjach demo z 15 czerwca 1973r. Dwa mniej znane nagrania „Autumn” i „Riverman”, zespół zrealizował gdzieś pomiędzy longplayami „Mirage” i „The Snow Goose”. Krążek „Moonmadness” uzupełnią m.in. trzy studyjne dema. I wreszcie utwór „Captured” z płyty „Nude” usłyszymy we wczesnej, nieznanej dotąd wersji.

Jakby tego było mało, albumy „Camel”, „Mirage”, „The Snow Goose”, „Moonmadness” i „Nude” otrzymujemy także w zupełnie nowych miksach stereo oraz 5.1. Ogromna szkoda, że w podobny sposób nie opracowano pozostałych płyt. Być może nie udało się odnaleźć taśm z zapisami wielośladowymi?

Jeśli chodzi o materiały wideo, to poza paroma klipami i fragmentami występów z TV znajdą się tam koncerty: BBC TV „The Old Grey Whistle Test” – 21 czerwiec 1975, Live at Hammersmith Odeon – 1 październik 1977 oraz film „Pressure Points”. Pudełko uzupełni oczywiście gruba książka oraz plakat.

Paweł Nawara



The box features 27 CDs & five blu-rays and includes newly remastered versions of every Camel album and single issued between 1973 and 1984, but also includes new stereo and 5.1 Surround Sound versions of five albums, as well as new mixes of three concerts; The Marquee Club, London 1974, Hammersmith Odeon 1976 and Hammersmith Odeon 1977.

The package also features previously unreleased outtakes from album recording sessions and BBC Radio ‘In Concert’ appearances from 1974, 1975, 1977 and 1981.




Emerging just in time to honour the 50th anniversary of their debut album, Air Born is a sprawling boxed set which, as the title implies, celebrates their years spent with MCA and Decca. This was not always a happy time in terms of the band's relationship with Decca; in particular, after Andy Ward suffered a mental health crisis and attempted suicide, Andrew Latimer wanted to put the band on hiatus for a while to give Ward a chance to recuperate, but heartlessly Decca demanded that Camel put out a new studio album anyway - and pressured them to make it commercially friendly on top of that - which is what led to the critical stumble of The Single Factor.
Still, musically speaking this covers the music which Camel built their legacy on and more besides. Full remasters (and, for some select albums, additional stereo remixes) of all the Camel studio releases from their debut to Stationary Traveller are, naturally, included, along with a range of supplementary material ranging from unreleased studio tracks through to full live performances.

Much of this stuff has emerged in one form or another as bonus tracks over time, but there are a few significant bits of material which are new to this release. The major scoop of the collection is the full demo tape the band recorded in between their debut album and Mirage, which finds early versions of almost all the Mirage tracks present - only Freefall from that album is missing, and instead we get The Traveller, a Uriah Heep-ish piece which seems to have been abandoned as being more in keeping with their debut album's sound than Mirage's. In terms of sound quality, the demo is top notch, and captures the band's musical growth since they recorded their self-titled album marvellously, forming a hitherto-missing link between that and Mirage.

As for the live material, this is largely a mixture of BBC sessions and material released elsewhere, though there are enhancements and additions here and there. Early live performances include the take on God of Light Revisited originally recorded for the Greasy Truckers - Live At Dingwalls Dance Hall release, a funky, Santana-influenced piece. Again, this has been fairly widely repackaged as a bonus track on some issue or other over the years.

BBC sessions here include a June 1974 recording showcasing the band fresh from the release of Mirage, a more expansive 1975 offering giving extensive extracts from The Snow Goose (with the band on excellent form and proving they didn't need the orchestra to evoken the album's magic live), their excellent appearance on The Old Grey Whistle Test, and a 1977 Sight and Sound In Concert appearance from the Rain Dances lineup primarily focused on that album but also including great takes on Snow Goose material, Never Let Go from the debut, and an absolutely stellar take on Lunar Sea from Moonmadness. Much of this material has shown up as bonus tracks or on bootlegs over the years, but it's nice to get it in fairly definitive versions here.

Rather than presenting A Live Record in either its original or expanded configurations, the box instead offers the complete original live recordings from the different shows which made up that release. This includes a full set from the Marquee Club in October 1974, in which the band both burn through excellent renditions of Mirage-era material and road test compositions which would later make it onto The Snow Goose. The sound quality on this is remarkably good - perhaps the best of any of the pre-Goose live offerings here - and it's interesting how the Snow Goose compositions differ to account for the lack of an orchestra in tow.

Naturally, there's also the Royal Albert Hall full performance of The Snow Goose with orchestra from 1975, which would form the basis of the second disc of A Live Record; this is enhanced by an encore performance of Lady Fantasy, skillfully adapted to account for the orchestra.

We also get a full concert set from the Hammersmith Odeon in 1976; previously only smatterings of this had been borrowed for the extended CD version of A Live Record or on some reissues of Moonmadness, but having the full show to hand in its original running order is excellent. There's a few technical issues audible - notably some faint buzzing on a few tracks which could be down to the original tapes having an issue or might be indicative of some of the band's equipment having a bit of a moment, but this is a mild blemish easily overlooked, especially since some care seems to have been taken here to tidy up the lives tapes as best as possible.

This live set is especially valuable since it provides a final showcase for the original lineup of Camel - some would say the classic lineup - prior to personnel shifts and their Rain Dances-era drift into a Canterbury-influenced direction. You get Latimer, Ward, Ferguson, and Bardens at the absolute top of their game, with a setlist drawn from some of the greatest albums not just in the Camel discography but in the progressive rock pantheon as a whole, with the setlist finally presented on disc more or less as it was conceived to be delivered onstage; when you think about it, that's absolutely fantastic.

The band return to the Odeon in 1977 for a barnstorming set which, along with some stray tracks from other venues rounding off the Live Record material. The 1977 Odeon show is the fullest document of the Rain Dances lineup live on this set, and it's absolutely superb. Between that and the tracks from Bristol and Leeds, the Rain Dances period ends up being the era of the band that's perhaps best-represented by live material here (with The Snow Goose period a close second).

Other live material in the collection includes a tightened-up reissue of the BBC session previously released as On the Road 1981 (including two tracks - Summer Lightning and Ice - not included on previous releases of the BBC session) and, lastly, a remaster of Pressure Points.

Most prog fans will have at least some of the material here - though the new mixes of Camel, Mirage, The Snow Goose, Moonmadness, and Nude are good enough to be worth dipping into (and the previous mixes are also presented so you can judge which you prefer) - but even Camel fanatics probably won't have all of it. If you've got significant gaps to fill in your Camel collection - or if the prospect of all those live goodies have you salivating - it's highly worthwhile, offering the lion's share of their output in one package.

Warthur



..::TRACK-LIST::..

CD 25 - Music Inspired By 'The Snow Goose' (New Stereo Mix):
1. The Great Marsh
2. Rhayader
3. Rhayader Goes To Town
4. Sanctuary
5. Fritha
6. The Snow Goose
7. Friendship
8. Migration
9. Rhayader Alone
10. Flight Of The Snow Goose
11. Preparation
12. Dunkirk
13. Epitaph
14. Fritha Alone
15. La Princesse Perdue
16. The Great Marsh (Reprise)

Bonus Track:
17. Riverman



..::OBSADA::..

Andy Latimer - guitar, flute, vocals
- see Camel 1973-1984 line-ups




https://www.youtube.com/watch?v=mvLrrGlvXhM



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Po lekkim wakacyjnym wydawniczym marazmie sezon przedświąteczny prezentuje się całkiem bogato. Wśród wielu zapowiedzianych pozycji, o których będę sukcesywnie pisał, szczególnie interesująco wygląda imponujący box, jakże uwielbianej przeze mnie grupy Camel. Wydawnictwo „Air Born: The MCA & Decca Years 1973-1984” przygotowano z okazji 50-lecia ukazania się pierwszego longplaya formacji. Będzie ono zawierać aż 27 płyt CD (!!!) oraz 5 Blu-Ray’ów.

Zestaw wypełnią zremasterowane wersje wszystkich albumów studyjnych, koncertowych oraz singli zrealizowanych przez Camel dla wytwórni MCA i Decca. Do tego dojdą trzy recitale dla BBC: BBC Radio One „In Concert” – 6 czerwiec 1974, BBC Radio One „In Concert” – 22 kwiecień 1975 oraz BBC „In Concert” – Golders Green Hippodrome – 29 wrzesień 1977. Kolejne trzy koncerty to na nowo zmiksowane występy: „Live at Marquee Club, London” – 20 czerwiec 1974, „Live at Hammersmith Odeon” – 14 kwiecień 1976 oraz „Live at Hammersmith Odeon” – 1 październik 1977. Wszystkie te zapisy były co prawda już publikowane jako bonusy na poprzednich edycjach albumów zespołu, ale w nieco chaotyczny i nieuporządkowany sposób. Teraz będzie można ich wysłuchać w całości. Nader ciekawie i obiecująco przestawiają się studyjne (w większości niepublikowane) bonusy, pochodzące z sesji do poszczególnych albumów. Nie ma ich dużo, ale na pewno przysporzą sporo radości fanom formacji. Odrzutem z pierwszego albumu jest utwór „Sarah”. Aż pięć nagrań, które trafiły na płytę „Mirage”, otrzymamy dodatkowo także we wczesnych wersjach demo z 15 czerwca 1973r. Dwa mniej znane nagrania „Autumn” i „Riverman”, zespół zrealizował gdzieś pomiędzy longplayami „Mirage” i „The Snow Goose”. Krążek „Moonmadness” uzupełnią m.in. trzy studyjne dema. I wreszcie utwór „Captured” z płyty „Nude” usłyszymy we wczesnej, nieznanej dotąd wersji.

Jakby tego było mało, albumy „Camel”, „Mirage”, „The Snow Goose”, „Moonmadness” i „Nude” otrzymujemy także w zupełnie nowych miksach stereo oraz 5.1. Ogromna szkoda, że w podobny sposób nie opracowano pozostałych płyt. Być może nie udało się odnaleźć taśm z zapisami wielośladowymi?

Jeśli chodzi o materiały wideo, to poza paroma klipami i fragmentami występów z TV znajdą się tam koncerty: BBC TV „The Old Grey Whistle Test” – 21 czerwiec 1975, Live at Hammersmith Odeon – 1 październik 1977 oraz film „Pressure Points”. Pudełko uzupełni oczywiście gruba książka oraz plakat.

Paweł Nawara



The box features 27 CDs & five blu-rays and includes newly remastered versions of every Camel album and single issued between 1973 and 1984, but also includes new stereo and 5.1 Surround Sound versions of five albums, as well as new mixes of three concerts; The Marquee Club, London 1974, Hammersmith Odeon 1976 and Hammersmith Odeon 1977.

The package also features previously unreleased outtakes from album recording sessions and BBC Radio ‘In Concert’ appearances from 1974, 1975, 1977 and 1981.




Emerging just in time to honour the 50th anniversary of their debut album, Air Born is a sprawling boxed set which, as the title implies, celebrates their years spent with MCA and Decca. This was not always a happy time in terms of the band's relationship with Decca; in particular, after Andy Ward suffered a mental health crisis and attempted suicide, Andrew Latimer wanted to put the band on hiatus for a while to give Ward a chance to recuperate, but heartlessly Decca demanded that Camel put out a new studio album anyway - and pressured them to make it commercially friendly on top of that - which is what led to the critical stumble of The Single Factor.
Still, musically speaking this covers the music which Camel built their legacy on and more besides. Full remasters (and, for some select albums, additional stereo remixes) of all the Camel studio releases from their debut to Stationary Traveller are, naturally, included, along with a range of supplementary material ranging from unreleased studio tracks through to full live performances.

Much of this stuff has emerged in one form or another as bonus tracks over time, but there are a few significant bits of material which are new to this release. The major scoop of the collection is the full demo tape the band recorded in between their debut album and Mirage, which finds early versions of almost all the Mirage tracks present - only Freefall from that album is missing, and instead we get The Traveller, a Uriah Heep-ish piece which seems to have been abandoned as being more in keeping with their debut album's sound than Mirage's. In terms of sound quality, the demo is top notch, and captures the band's musical growth since they recorded their self-titled album marvellously, forming a hitherto-missing link between that and Mirage.

As for the live material, this is largely a mixture of BBC sessions and material released elsewhere, though there are enhancements and additions here and there. Early live performances include the take on God of Light Revisited originally recorded for the Greasy Truckers - Live At Dingwalls Dance Hall release, a funky, Santana-influenced piece. Again, this has been fairly widely repackaged as a bonus track on some issue or other over the years.

BBC sessions here include a June 1974 recording showcasing the band fresh from the release of Mirage, a more expansive 1975 offering giving extensive extracts from The Snow Goose (with the band on excellent form and proving they didn't need the orchestra to evoken the album's magic live), their excellent appearance on The Old Grey Whistle Test, and a 1977 Sight and Sound In Concert appearance from the Rain Dances lineup primarily focused on that album but also including great takes on Snow Goose material, Never Let Go from the debut, and an absolutely stellar take on Lunar Sea from Moonmadness. Much of this material has shown up as bonus tracks or on bootlegs over the years, but it's nice to get it in fairly definitive versions here.

Rather than presenting A Live Record in either its original or expanded configurations, the box instead offers the complete original live recordings from the different shows which made up that release. This includes a full set from the Marquee Club in October 1974, in which the band both burn through excellent renditions of Mirage-era material and road test compositions which would later make it onto The Snow Goose. The sound quality on this is remarkably good - perhaps the best of any of the pre-Goose live offerings here - and it's interesting how the Snow Goose compositions differ to account for the lack of an orchestra in tow.

Naturally, there's also the Royal Albert Hall full performance of The Snow Goose with orchestra from 1975, which would form the basis of the second disc of A Live Record; this is enhanced by an encore performance of Lady Fantasy, skillfully adapted to account for the orchestra.

We also get a full concert set from the Hammersmith Odeon in 1976; previously only smatterings of this had been borrowed for the extended CD version of A Live Record or on some reissues of Moonmadness, but having the full show to hand in its original running order is excellent. There's a few technical issues audible - notably some faint buzzing on a few tracks which could be down to the original tapes having an issue or might be indicative of some of the band's equipment having a bit of a moment, but this is a mild blemish easily overlooked, especially since some care seems to have been taken here to tidy up the lives tapes as best as possible.

This live set is especially valuable since it provides a final showcase for the original lineup of Camel - some would say the classic lineup - prior to personnel shifts and their Rain Dances-era drift into a Canterbury-influenced direction. You get Latimer, Ward, Ferguson, and Bardens at the absolute top of their game, with a setlist drawn from some of the greatest albums not just in the Camel discography but in the progressive rock pantheon as a whole, with the setlist finally presented on disc more or less as it was conceived to be delivered onstage; when you think about it, that's absolutely fantastic.

The band return to the Odeon in 1977 for a barnstorming set which, along with some stray tracks from other venues rounding off the Live Record material. The 1977 Odeon show is the fullest document of the Rain Dances lineup live on this set, and it's absolutely superb. Between that and the tracks from Bristol and Leeds, the Rain Dances period ends up being the era of the band that's perhaps best-represented by live material here (with The Snow Goose period a close second).

Other live material in the collection includes a tightened-up reissue of the BBC session previously released as On the Road 1981 (including two tracks - Summer Lightning and Ice - not included on previous releases of the BBC session) and, lastly, a remaster of Pressure Points.

Most prog fans will have at least some of the material here - though the new mixes of Camel, Mirage, The Snow Goose, Moonmadness, and Nude are good enough to be worth dipping into (and the previous mixes are also presented so you can judge which you prefer) - but even Camel fanatics probably won't have all of it. If you've got significant gaps to fill in your Camel collection - or if the prospect of all those live goodies have you salivating - it's highly worthwhile, offering the lion's share of their output in one package.

Warthur


..::TRACK-LIST::..

CD 25 - Music Inspired By 'The Snow Goose' (New Stereo Mix):
1. The Great Marsh
2. Rhayader
3. Rhayader Goes To Town
4. Sanctuary
5. Fritha
6. The Snow Goose
7. Friendship
8. Migration
9. Rhayader Alone
10. Flight Of The Snow Goose
11. Preparation
12. Dunkirk
13. Epitaph
14. Fritha Alone
15. La Princesse Perdue
16. The Great Marsh (Reprise)

Bonus Track:
17. Riverman



..::OBSADA::..

Andy Latimer - guitar, flute, vocals
- see Camel 1973-1984 line-ups




https://www.youtube.com/watch?v=mvLrrGlvXhM



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

After an exceptionally long year full of personal change and near manic levels of creative activity, Canadian musician Devin Townsend releases his follow up to 2019’s acclaimed ‘Empath’ album. Assembled from a barrage of material written during the pandemic ‘Lightwork’ represents a new level,and has ended up being one of the most accessible, yet ambitious releases of his storied career. A project that has been on Devin’s mind since he was a teen, (and flirted with throughout his career) is a more melodic and direct album with a great producer to help guide the work. Enter Garth Richardson: A Vancouver based producer with a long resume and a friend of Devin’s for many years. And the goal? To provide something beautiful, cathartic, powerful and clear. A sense of optimism and power through what can be commonly known as a ‘depressing period’. Its about strength, love, acceptance, fear, and overcoming together. Guests on the record include friends and stalwarts from his past (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women’s Choir) as well as some newer friends and faces (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg).

This Deluxe Edition also features ten additional tracks, which are the "Nightwork" companion album.



..::TRACK-LIST::..

CD 1 - Lightwork:
1. Moonpeople 4:33
2. Lightworker 5:29
3. Equinox 4:38
4. Call Of The Void 5:53
5. Heartbreaker 6:59
6. Dimensions 5:23
7. Celestial Signals 5:12
8. Heavy Burden 4:22
9. Vacation 3:10
10. Children Of God 10:05


CD 2 - Nightwork:
1. Starchasm Pt 2 4:34
2. Stampys Blaster 0:37
3. Factions 5:12
4. Yogi 3:59
5. Precious Sardine 10:13
6. Hope Is In The World 4:15
7. Children Of Dog 6:45
8. Sober 4:36
9. Boogus 3:33
10. Carry Me Home 4:04



..::OBSADA::..

Devin Townsend - guitar, bass guitar, vocals, synths
Darby Todd - drums
Morgan Ågren - additional drums
Federico Paulovich - additional drums
Diego Tejeida - additional keyboards
Nathan Navarro - additional bass guitar
Elektra Women's Choir - additional vocals (on Heavy Burden), choir vocals
Echo Picone - additional vocals (on Heavy Burden)
Jonas Hellborg - additional bass guitar (on Dimensions)
Mike Keneally - guitar solo (on Dimensions)
Rhys Fulber - additional programming (on Equinox)
Hutch Hutchinson - bass guitar (on Vacation)
Joy Lapps - steel pan drums (on Vacation)
Ché Aimee Dorval - additional vocals
Anneke van Giersbergen - additional vocals
Aman Khosa - additional vocals (on Heavy Burden)
Tanya Ghosh - additional vocals (on Heavy Burden)
Elizabeth Zharoff - additional choir vocals
Tia Rose Maxfield - additional choir vocals
Brian Diamond - additional choir vocals
Ram Dass - voice sample (on Lightworker)




https://www.youtube.com/watch?v=VZ7wvbapx8c



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

After an exceptionally long year full of personal change and near manic levels of creative activity, Canadian musician Devin Townsend releases his follow up to 2019’s acclaimed ‘Empath’ album. Assembled from a barrage of material written during the pandemic ‘Lightwork’ represents a new level,and has ended up being one of the most accessible, yet ambitious releases of his storied career. A project that has been on Devin’s mind since he was a teen, (and flirted with throughout his career) is a more melodic and direct album with a great producer to help guide the work. Enter Garth Richardson: A Vancouver based producer with a long resume and a friend of Devin’s for many years. And the goal? To provide something beautiful, cathartic, powerful and clear. A sense of optimism and power through what can be commonly known as a ‘depressing period’. Its about strength, love, acceptance, fear, and overcoming together. Guests on the record include friends and stalwarts from his past (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women’s Choir) as well as some newer friends and faces (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg).

This Deluxe Edition also features ten additional tracks, which are the "Nightwork" companion album.



..::TRACK-LIST::..

CD 1 - Lightwork:
1. Moonpeople 4:33
2. Lightworker 5:29
3. Equinox 4:38
4. Call Of The Void 5:53
5. Heartbreaker 6:59
6. Dimensions 5:23
7. Celestial Signals 5:12
8. Heavy Burden 4:22
9. Vacation 3:10
10. Children Of God 10:05


CD 2 - Nightwork:
1. Starchasm Pt 2 4:34
2. Stampys Blaster 0:37
3. Factions 5:12
4. Yogi 3:59
5. Precious Sardine 10:13
6. Hope Is In The World 4:15
7. Children Of Dog 6:45
8. Sober 4:36
9. Boogus 3:33
10. Carry Me Home 4:04



..::OBSADA::..

Devin Townsend - guitar, bass guitar, vocals, synths
Darby Todd - drums
Morgan Ågren - additional drums
Federico Paulovich - additional drums
Diego Tejeida - additional keyboards
Nathan Navarro - additional bass guitar
Elektra Women's Choir - additional vocals (on Heavy Burden), choir vocals
Echo Picone - additional vocals (on Heavy Burden)
Jonas Hellborg - additional bass guitar (on Dimensions)
Mike Keneally - guitar solo (on Dimensions)
Rhys Fulber - additional programming (on Equinox)
Hutch Hutchinson - bass guitar (on Vacation)
Joy Lapps - steel pan drums (on Vacation)
Ché Aimee Dorval - additional vocals
Anneke van Giersbergen - additional vocals
Aman Khosa - additional vocals (on Heavy Burden)
Tanya Ghosh - additional vocals (on Heavy Burden)
Elizabeth Zharoff - additional choir vocals
Tia Rose Maxfield - additional choir vocals
Brian Diamond - additional choir vocals
Ram Dass - voice sample (on Lightworker)




https://www.youtube.com/watch?v=VZ7wvbapx8c



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Wzruszająca i intensywna...
Krucha i pełna emocji...
Ta płyta to moment, w którym można się zatrzymać i dać się porwać do świata muzyki wykraczającego poza moc riffów.



..::TRACK-LIST::..

1. Improv
2. Blood on the Rooftops
3. The Barren Land
4. Black Light
5. Horizons
6. Jacuzzi
7. Supper's Ready (Excerpt)
8. After the Ordeal
9. Hairless Heart
10. Jazz on a Summer's Night
11. Gnossienne No. 1
12. Walking Away from Rainbows
13. Poulenc Organ Concerto (excerpt)
14. The Red Flower of Tai Chi Blooms Everywhere
15. Hands of the Priestess
16. Memory Lane
17. Only Happy When it Rains
18. Ace of Wands
19. The Journey



..::OBSADA::..

Flute - John Hackett
Flute, Whistle, Soprano Saxophone - Rob Townsend
Guitar, Harmonica - Steve Hackett
Guitar, Vocals - Amanda Lehmann
Keyboards - Roger King




https://www.youtube.com/watch?v=zfnwYd2IyYs


SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Wzruszająca i intensywna...
Krucha i pełna emocji...
Ta płyta to moment, w którym można się zatrzymać i dać się porwać do świata muzyki wykraczającego poza moc riffów.



..::TRACK-LIST::..

1. Improv
2. Blood on the Rooftops
3. The Barren Land
4. Black Light
5. Horizons
6. Jacuzzi
7. Supper's Ready (Excerpt)
8. After the Ordeal
9. Hairless Heart
10. Jazz on a Summer's Night
11. Gnossienne No. 1
12. Walking Away from Rainbows
13. Poulenc Organ Concerto (excerpt)
14. The Red Flower of Tai Chi Blooms Everywhere
15. Hands of the Priestess
16. Memory Lane
17. Only Happy When it Rains
18. Ace of Wands
19. The Journey



..::OBSADA::..

Flute - John Hackett
Flute, Whistle, Soprano Saxophone - Rob Townsend
Guitar, Harmonica - Steve Hackett
Guitar, Vocals - Amanda Lehmann
Keyboards - Roger King




https://www.youtube.com/watch?v=zfnwYd2IyYs


SEED 15:00-22:00.
POLECAM!!!

..::INFO::..

---------------------------------------------------------------------
Kapitan Nemo - The Best Of
---------------------------------------------------------------------

Artist...............: Kapitan Nemo
Album................: The Best Of
Genre................: Elektro-rock
Source...............: CD
Year.................: 1992
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: (FLAC)
Quality..............: Lossless, (avg. bitrate: 57 %kbps)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Reedycja 1998 Sonic Records

Included.............: NFO, PLS, M3U, CUE
Covers...............: Front Back CD

---------------------------------------------------------------------
Tracklisting
---------------------------------------------------------------------

1. Kapitan Nemo - Słodkie słowo wolność [04:42]
2. Kapitan Nemo - SOS dla planety [03:38]
3. Kapitan Nemo - Elektroniczna cywilizacja [04:25]
4. Kapitan Nemo - Zimne kino [03:47]
5. Kapitan Nemo - Twoja Lorelei [04:01]
6. Kapitan Nemo - Bar Paradise [04:34]
7. Kapitan Nemo - Samotność jest jak bliski brzeg [04:44]
8. Kapitan Nemo - Wideonarkomania [04:16]
9. Kapitan Nemo - Najbliższy czas [05:05]
10. Kapitan Nemo - Kurs tańca [05:43]
11. Kapitan Nemo - Idę wciąż do ciebie [04:25]
12. Kapitan Nemo - Do ciebie wołam [03:39]
13. Kapitan Nemo - In a Little While [03:27]
14. Kapitan Nemo - Zawsze kochaj mnie [04:37]
15. Kapitan Nemo - Nic się nie zmienia [04:14]
16. Kapitan Nemo - To jest kłamstwo [03:28]

Playing Time.........: 01:08:51
Total Size...........: 395,88 MB

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

To wspaniałe wydawnictwo przygotowano dla uczczenia 40. rocznicy powstania zespołu. Pięknie wydany zestaw zawiera 21 CD (zremasterowanych i opakowanych jak LP), 36-stronicową książeczkę z historią zespołu i szczegółowymi opisami każdego albumu oraz 32-stronicową książkę ze wspomnieniami Manfreda, anegdotami i plakatem przedstawiającym aktualny skład zespołu.

Atrakcją jest bez wątpienia album 'Live In Ersingen' zarejestrowany 22 lipca 2011r. z nowym wokalistą Robertem Hartem oraz kompilacja 'Leftovers' zawierająca przebojowe single, nie publikowane wcześniej nagrania oraz rarytasy.
Nakład zestawu jest limitowany!



..::TRACK-LIST::..

CD 4 - Solar Fire (1973):
1. Father Of Day, Father Of Night 9:54
2. In The Beginning, Darkness 5:22
3. Pluto The Dog 2:51
4. Solar Fire 5:19
5. Saturn, Lord Of The Ring / Mercury, The Winged Messenger 6:34
6. Earth The Circle (Part 2) 3:25
7. Earth The Circle (Part 1) 3:50



..::OBSADA::..

Manfred Mann - organ, Mellotron, Minimoog synthesiser, vocals on 'Earth, the Circle Part 1'
Mick Rogers - guitar, vocals
Colin Pattenden - bass guitar
Chris Slade - drums

Additional musicians:
Irene Chanter - backing vocals
Doreen Chanter - backing vocals
Grove Singers - backing vocals
Paul Rutherford - trombone
Peter Miles - additional percussion on 'In the Beginning, Darkness'




https://www.youtube.com/watch?v=o7gmEzzXzpA



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

To wspaniałe wydawnictwo przygotowano dla uczczenia 40. rocznicy powstania zespołu. Pięknie wydany zestaw zawiera 21 CD (zremasterowanych i opakowanych jak LP), 36-stronicową książeczkę z historią zespołu i szczegółowymi opisami każdego albumu oraz 32-stronicową książkę ze wspomnieniami Manfreda, anegdotami i plakatem przedstawiającym aktualny skład zespołu.

Atrakcją jest bez wątpienia album 'Live In Ersingen' zarejestrowany 22 lipca 2011r. z nowym wokalistą Robertem Hartem oraz kompilacja 'Leftovers' zawierająca przebojowe single, nie publikowane wcześniej nagrania oraz rarytasy.
Nakład zestawu jest limitowany!



..::TRACK-LIST::..

CD 4 - Solar Fire (1973):
1. Father Of Day, Father Of Night 9:54
2. In The Beginning, Darkness 5:22
3. Pluto The Dog 2:51
4. Solar Fire 5:19
5. Saturn, Lord Of The Ring / Mercury, The Winged Messenger 6:34
6. Earth The Circle (Part 2) 3:25
7. Earth The Circle (Part 1) 3:50



..::OBSADA::..

Manfred Mann - organ, Mellotron, Minimoog synthesiser, vocals on 'Earth, the Circle Part 1'
Mick Rogers - guitar, vocals
Colin Pattenden - bass guitar
Chris Slade - drums

Additional musicians:
Irene Chanter - backing vocals
Doreen Chanter - backing vocals
Grove Singers - backing vocals
Paul Rutherford - trombone
Peter Miles - additional percussion on 'In the Beginning, Darkness'




https://www.youtube.com/watch?v=o7gmEzzXzpA



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Pierwszy raz na CD! Drugi album doskonałej holenderskiej formacji, prowadzonej wcześniej przez dwóch późniejszych muzyków Focus. O tym, jak mało znany jest wydany w 1972 roku (przez EMI Harvest) LP "Parts", niech świadczy fakt, że w kultowej i bardzo poszukiwanej książce "Scented Gardens Of The Mind" (poświęconej europejskiej scenie progresywnej z lat 70-tych) autor wymienił tę katalogową płytę jako... kompilację! Tak więc warto zaznaczyć że jest to całkowicie premierowe, rockowe, zdecydowanie gitarowe granie (z dwoma balladami) bliskie stylistyce takich grup, jak Wishbone Ash, holenderskie Cargo i Livin' Blues - z domieszką jakże wówczas popularnych Crosby, Stills, Nash & Young.

Pomimo ze dwóch słabszych fragmentów jest to naprawdę świetna, bardzo zróżnicowana płyta która z pewnością zadowoli 80-90% fanów starego grania! Dodatkowo dołączono kilka rzadkich nagrań z singli (nieumieszczonych wśród dodatków do debiutu) oraz koncertowy numer pochodzący z megarzadkiej, kompilacyjnej (winylowej) ścieżki dźwiękowej do filmu 'Paradiso' (1971).



..::TRACK-LIST::..

1. A Face 4:23
2. You're Used To Be Warmer 3:55
3. Part Of Me Is A Part Of You 5:36
4. What It's All About 4:56
5. Scotch Ballad 2:03
6. Another Part 3:17
7. Dilemma 3:30
8. Drum And Thunder Suite 5:05
9. When I Was Poor 5:54

Bonus Tracks:
10. Virgin 3:40
11. Mobilae 5:38
12. Companion (Live At Paradiso 1971) 4:30
13. Sea Of Delight (Single Version) 3:03

Track 10: A-Side, 1971.
Track 11: B-Side, 1971.
Track 13: Single Version, 1969.



..::OBSADA::..

Vocals, Flute - Michel Van Dijk
Lead Guitar, Harmonica - Ron Meyjes
Piano, Organ - Robert Verwey
Percussion - Frans Smit



https://www.youtube.com/watch?v=SRuYPqlAHPQ



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Pierwszy raz na CD! Drugi album doskonałej holenderskiej formacji, prowadzonej wcześniej przez dwóch późniejszych muzyków Focus. O tym, jak mało znany jest wydany w 1972 roku (przez EMI Harvest) LP "Parts", niech świadczy fakt, że w kultowej i bardzo poszukiwanej książce "Scented Gardens Of The Mind" (poświęconej europejskiej scenie progresywnej z lat 70-tych) autor wymienił tę katalogową płytę jako... kompilację! Tak więc warto zaznaczyć że jest to całkowicie premierowe, rockowe, zdecydowanie gitarowe granie (z dwoma balladami) bliskie stylistyce takich grup, jak Wishbone Ash, holenderskie Cargo i Livin' Blues - z domieszką jakże wówczas popularnych Crosby, Stills, Nash & Young.

Pomimo ze dwóch słabszych fragmentów jest to naprawdę świetna, bardzo zróżnicowana płyta która z pewnością zadowoli 80-90% fanów starego grania! Dodatkowo dołączono kilka rzadkich nagrań z singli (nieumieszczonych wśród dodatków do debiutu) oraz koncertowy numer pochodzący z megarzadkiej, kompilacyjnej (winylowej) ścieżki dźwiękowej do filmu 'Paradiso' (1971).



..::TRACK-LIST::..

1. A Face 4:23
2. You're Used To Be Warmer 3:55
3. Part Of Me Is A Part Of You 5:36
4. What It's All About 4:56
5. Scotch Ballad 2:03
6. Another Part 3:17
7. Dilemma 3:30
8. Drum And Thunder Suite 5:05
9. When I Was Poor 5:54

Bonus Tracks:
10. Virgin 3:40
11. Mobilae 5:38
12. Companion (Live At Paradiso 1971) 4:30
13. Sea Of Delight (Single Version) 3:03

Track 10: A-Side, 1971.
Track 11: B-Side, 1971.
Track 13: Single Version, 1969.



..::OBSADA::..

Vocals, Flute - Michel Van Dijk
Lead Guitar, Harmonica - Ron Meyjes
Piano, Organ - Robert Verwey
Percussion - Frans Smit



https://www.youtube.com/watch?v=SRuYPqlAHPQ



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Zremasterowana edycja wydanego w 1975 roku, rewelacyjnego debiutu amerykańskiej progresywnej formacji. To jest zdecydowanie jedna z najlepszych tego typu płyt nagranych poza Europą i prawdopodobnie najlepszy, progresywny album powstały w Stanach!

Na płycie znajdują się 4 nagrania (w tym zajmująca całą stronę B oryginalnego LP 19-minutowa suita) utrzymane w klimacie dokonań Genesis, Van Der Graaf Generator, Yes, King Crimson, ELP, Egg czy też Refugee! Mnóstwo Hammondów, melotrony oraz fajne brzmienia analogowych syntezatorów. To jest brytyjskie brzmienie circa 1973-74! Wydaje nam się, że każdy fan progresywnego rocka powinien posiadać ten album w swojej kolekcji i z całą pewnością będzie tą muzyką oczarowany! To jest granie z najwyższej półki!

Całość wyprodukował Ian McDonald z King Crimson. Doskonały dźwięk!



Superbly crafted 70's mellotron/moog laden progressive rock gem with great artistic expressionism and full instrumental interplay. "Night On Bald Mountain" was produced by KING CRIMSON's Ian McDonald who also contributes some sax on the album. Musicianship on this album is simply awesome with some of the most scrumptious interplay you have ever heard. Opening number 'Les Cathedrales' is absolutely in the same brilliance as early GENESIS with the most captivating and delicate of melodies. This five member band incorporate some wonderful musical instrumentation including xylophone, glockenspiel, chineese bell tree, gong, finger cymbals, tubular bells, triangle, hammond organ, pipe organ, celeste, mellotron, moog , Taurus pedals, and everyone's favourite... electronic devices. Vocals are quite well done with some great lyrics as well. "Night On Bald Mountain" contains 2 epic tracks and a couple of shorter but well pieced tracks. For those lucky enough to have snagged a copy of Setticlavio Record's (Italy) re-released CD pressing can also enjoy their second album as well... 7 extra bonus tracks from the album titled "Two Too" (1976)... although it is always nice to have this bonus material is ranks much lower IMHO than "Night On Bald Mountain" which is a great album and in my opinion an essential piece of Prog Land history !

Loserboy


Another one of those little-known American prog rock bands, I noticed this country's prog rock scene consisted of very few bands that actually made it big, only KANSAS did, because they included uniquely American elements in their European-influenced prog sound. Most of the other bands were unlucky, only having small, local or regional labels back them up (good examples go to acts like CATHEDRAL or BABYLON) or they had to privately issue the album themselves. There were a few that were lucky to get on major labels, giving them at least a small chance for national exposure like STARCASTLE (Epic Records), HAPPY THE MAN (Arista) or ETHOS (Capitol), but of course, you know how American radio was to prog in the second half of the '70s (not exactly the most friendly, and they'd prefer the most AOR stuff from KANSAS).
FIREBALLET at least had the decency to record for Passport Records, a small label that at least was able to distribute nationwide, and had quite a few great prog acts on its roster (ARTHUR BROWN'S KINGDOM COME, CAPABILITY BROWN, NEKTAR, SYNERGY, BRAND X, etc.). As for the rule of American prog (with a few exceptions, of course), most of these bands were either from the Midwest or the East Coast, and FIREBALLET was no exception, they hailed from New Jersey, which was also the home to Passport Records. "A Night On Bald Mountain" was their debut, and best known for being produced by Ian McDonald, who was previously a member of KING CRIMSON, and later a member of the multi-platinum selling AOR act FOREIGNER (a band that I don't need to explain to those who have even the slightest knowledge in FM rock).

The band consisted of drummer Jim Cuomo, keyboardist Bryan Howe, guitarist Ryche Chlanda, keyboardist Frank Petto, and bassist Martyn Biglin, all credited to vocal duties aside from the bassist, and Cuomo was the guy responsible for the lead vocals. His vocals tended to be on the dramatic side, and he had to try to imitate a European accent.

To me, I thought the album sounded like GENESIS or YES playing the Mussorgsky and Debussy songbook. In fact the title track, of course, is the band doing a version of Mussorgsky's famous work, but they also included some Debussy in there too. I kept hearing how this album is a Mellotron masterpiece. Don't buy in to that, the Mellotron is used nowhere as many claim, I mostly hear it on the short "Atmospheres", that's it, really. I more hear the RMI electric piano/harpsichord, ARP 2600, and Hammond organ. "Les Cathedrales" find the band borring a theme from George Martin's "Theme One" (the one VAN DER GRAAF GENERATOR covered as a single they released in 1972, and included on the American LP of "Pawn Hearts"). "Centurion (Tales of the Fireball Kids)" is a prime example of Jim Cuomo being dramatic in his vocals. Somewhere you hear a theme from Holst's "The Planets". Of course the band went and tackled on Mussorgsky's famous work, stretching around 18 minutes, the title track is a prog version of that work, but near the end, the band seemed to abandoned rock and put emphasis on pipe organ and more classical structures.

Around this time, Passport Records started promoting the Sansui QS quad-stereo unit (you can see this promo also on Synergy's Electronic Realizations For Rock Orchestra), from my understanding you can only get quad stereo from these titles if you owned a Sansui quad (and also my understanding was that reel-to-reels were better at quad than LPs).

Unfortunately the only way you can get this on CD is through a Brazilian label called Rock Symphony which they also paired their second album Two, Too (which is usually regarded as not so good as their debut, but I hadn't heard that album). Passport Records went belly-up around 1988, making many titles difficult to get reissued if they weren't on other labels (BRAND X was on Charisma in the UK and NEKTAR was on BELLAPHON in Germany, so that's why those titles ended up on CD reissues).

To me, I think "A Night on Bald Mountain" is a decent enough prog album, but I wouldn't call it essential. I think my problem is I preferred the band when the classical influences aren't as so obvious.

Proghead



..::TRACK-LIST::..

1. Les Cathèdrales 10:18
2. Centurion (Tales Of Fireball Kids) 4:47
3. The Fireballet 5:19
4. Atmospheres 3:40
5. Night On Bald Mountain (Suite)
a-Night On Bald Mountain 2:20
b-Night-Tale 6:28
c-The Engulfed Cathedral 4:38
d-Night-Tale (Reprise) 2:34
e-Night On Bald Mountain (Finale) 2:50



..::OBSADA::..

Vocals, Drums, Timpani, Xylophone, Vibraphone, Glockenspiel, Bell Tree, Gong, Finger Cymbals, Bells [Tubular], Triangle - Jim Como
Organ [Hammond], Organ [Pipe], Celesta, Vocals - Bryan Howe
Piano, Electric Piano, Synthesizer, Mellotron, Vocals - Frank Petto
Bass, Guitar - Martyn Biglin
Electric Guitar, Acoustic Guitar, Vocals - Ryche Chlanda




https://www.youtube.com/watch?v=uLF4iSrsB1o



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Zremasterowana edycja wydanego w 1975 roku, rewelacyjnego debiutu amerykańskiej progresywnej formacji. To jest zdecydowanie jedna z najlepszych tego typu płyt nagranych poza Europą i prawdopodobnie najlepszy, progresywny album powstały w Stanach!

Na płycie znajdują się 4 nagrania (w tym zajmująca całą stronę B oryginalnego LP 19-minutowa suita) utrzymane w klimacie dokonań Genesis, Van Der Graaf Generator, Yes, King Crimson, ELP, Egg czy też Refugee! Mnóstwo Hammondów, melotrony oraz fajne brzmienia analogowych syntezatorów. To jest brytyjskie brzmienie circa 1973-74! Wydaje nam się, że każdy fan progresywnego rocka powinien posiadać ten album w swojej kolekcji i z całą pewnością będzie tą muzyką oczarowany! To jest granie z najwyższej półki!

Całość wyprodukował Ian McDonald z King Crimson. Doskonały dźwięk!



Superbly crafted 70's mellotron/moog laden progressive rock gem with great artistic expressionism and full instrumental interplay. "Night On Bald Mountain" was produced by KING CRIMSON's Ian McDonald who also contributes some sax on the album. Musicianship on this album is simply awesome with some of the most scrumptious interplay you have ever heard. Opening number 'Les Cathedrales' is absolutely in the same brilliance as early GENESIS with the most captivating and delicate of melodies. This five member band incorporate some wonderful musical instrumentation including xylophone, glockenspiel, chineese bell tree, gong, finger cymbals, tubular bells, triangle, hammond organ, pipe organ, celeste, mellotron, moog , Taurus pedals, and everyone's favourite... electronic devices. Vocals are quite well done with some great lyrics as well. "Night On Bald Mountain" contains 2 epic tracks and a couple of shorter but well pieced tracks. For those lucky enough to have snagged a copy of Setticlavio Record's (Italy) re-released CD pressing can also enjoy their second album as well... 7 extra bonus tracks from the album titled "Two Too" (1976)... although it is always nice to have this bonus material is ranks much lower IMHO than "Night On Bald Mountain" which is a great album and in my opinion an essential piece of Prog Land history !

Loserboy


Another one of those little-known American prog rock bands, I noticed this country's prog rock scene consisted of very few bands that actually made it big, only KANSAS did, because they included uniquely American elements in their European-influenced prog sound. Most of the other bands were unlucky, only having small, local or regional labels back them up (good examples go to acts like CATHEDRAL or BABYLON) or they had to privately issue the album themselves. There were a few that were lucky to get on major labels, giving them at least a small chance for national exposure like STARCASTLE (Epic Records), HAPPY THE MAN (Arista) or ETHOS (Capitol), but of course, you know how American radio was to prog in the second half of the '70s (not exactly the most friendly, and they'd prefer the most AOR stuff from KANSAS).
FIREBALLET at least had the decency to record for Passport Records, a small label that at least was able to distribute nationwide, and had quite a few great prog acts on its roster (ARTHUR BROWN'S KINGDOM COME, CAPABILITY BROWN, NEKTAR, SYNERGY, BRAND X, etc.). As for the rule of American prog (with a few exceptions, of course), most of these bands were either from the Midwest or the East Coast, and FIREBALLET was no exception, they hailed from New Jersey, which was also the home to Passport Records. "A Night On Bald Mountain" was their debut, and best known for being produced by Ian McDonald, who was previously a member of KING CRIMSON, and later a member of the multi-platinum selling AOR act FOREIGNER (a band that I don't need to explain to those who have even the slightest knowledge in FM rock).

The band consisted of drummer Jim Cuomo, keyboardist Bryan Howe, guitarist Ryche Chlanda, keyboardist Frank Petto, and bassist Martyn Biglin, all credited to vocal duties aside from the bassist, and Cuomo was the guy responsible for the lead vocals. His vocals tended to be on the dramatic side, and he had to try to imitate a European accent.

To me, I thought the album sounded like GENESIS or YES playing the Mussorgsky and Debussy songbook. In fact the title track, of course, is the band doing a version of Mussorgsky's famous work, but they also included some Debussy in there too. I kept hearing how this album is a Mellotron masterpiece. Don't buy in to that, the Mellotron is used nowhere as many claim, I mostly hear it on the short "Atmospheres", that's it, really. I more hear the RMI electric piano/harpsichord, ARP 2600, and Hammond organ. "Les Cathedrales" find the band borring a theme from George Martin's "Theme One" (the one VAN DER GRAAF GENERATOR covered as a single they released in 1972, and included on the American LP of "Pawn Hearts"). "Centurion (Tales of the Fireball Kids)" is a prime example of Jim Cuomo being dramatic in his vocals. Somewhere you hear a theme from Holst's "The Planets". Of course the band went and tackled on Mussorgsky's famous work, stretching around 18 minutes, the title track is a prog version of that work, but near the end, the band seemed to abandoned rock and put emphasis on pipe organ and more classical structures.

Around this time, Passport Records started promoting the Sansui QS quad-stereo unit (you can see this promo also on Synergy's Electronic Realizations For Rock Orchestra), from my understanding you can only get quad stereo from these titles if you owned a Sansui quad (and also my understanding was that reel-to-reels were better at quad than LPs).

Unfortunately the only way you can get this on CD is through a Brazilian label called Rock Symphony which they also paired their second album Two, Too (which is usually regarded as not so good as their debut, but I hadn't heard that album). Passport Records went belly-up around 1988, making many titles difficult to get reissued if they weren't on other labels (BRAND X was on Charisma in the UK and NEKTAR was on BELLAPHON in Germany, so that's why those titles ended up on CD reissues).

To me, I think "A Night on Bald Mountain" is a decent enough prog album, but I wouldn't call it essential. I think my problem is I preferred the band when the classical influences aren't as so obvious.

Proghead



..::TRACK-LIST::..

1. Les Cathèdrales 10:18
2. Centurion (Tales Of Fireball Kids) 4:47
3. The Fireballet 5:19
4. Atmospheres 3:40
5. Night On Bald Mountain (Suite)
a-Night On Bald Mountain 2:20
b-Night-Tale 6:28
c-The Engulfed Cathedral 4:38
d-Night-Tale (Reprise) 2:34
e-Night On Bald Mountain (Finale) 2:50



..::OBSADA::..

Vocals, Drums, Timpani, Xylophone, Vibraphone, Glockenspiel, Bell Tree, Gong, Finger Cymbals, Bells [Tubular], Triangle - Jim Como
Organ [Hammond], Organ [Pipe], Celesta, Vocals - Bryan Howe
Piano, Electric Piano, Synthesizer, Mellotron, Vocals - Frank Petto
Bass, Guitar - Martyn Biglin
Electric Guitar, Acoustic Guitar, Vocals - Ryche Chlanda




https://www.youtube.com/watch?v=uLF4iSrsB1o



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Zremasterowana i gustownie wydana edycja doskonałego, drugiego albumu z 1970 roku - dodatkowo z inną, singlową wersją 'Circles'! To jest klasyczne progresywne granie z bardzo wysokiej półki, z mnogością partii instrumentalnych (Hammondy, dość ostra gitara, częste zmiany nastroju) plus natchniony wokal. Najprościej umiejscowić tę muzykę pomiędzy twórczością Wishbone Ash, Procol Harum i Gnidrolog (z okresu LP 'Lady Lake'), a Genesis z okresu 'Trespass'. Bez wątpienia jest to najlepsza jak dotąd edycja pod względem dźwięku!



BLONDE ON BLONDE niezbyt zadowoleni ze współpracy z Pye wypowiedzieli kontrakt i związali się z Ember Records – niezależną wytwórnią fonograficzną Jeffreya Krugera, właściciela słynnego klubu Flamingo Jazz Club. W listopadzie rozpoczęli nagrywanie nowego krążka. Płyta „Rebirth” ukazała się w maju 1970 roku. Do dziś przez wielu uważana za najlepsze osiągnięcie zespołu, chociaż ja jestem w kropce - debiut jest jak dla mnie naprawdę ekscytujący...

Co tu dużo mówić – drugi album był już typową progresywną pozycją z bardzo wysokiej półki. Zwraca uwagę mnogość partii instrumentalnych (Hammondy, dość ostra gitara, częste zmiany nastrojów) oraz natchniony wokal. Najprościej umiejscowić tę muzykę pomiędzy twórczością takich grup jak Wishbone Ash, Procol Harum, Gnidrolog i wczesny Genesis. Z ośmiu kompozycji aż pięć to krótkie, ale jakże czarujące utwory o bogatej i fascynującej melodyce. Choćby jak ten, otwierający całość bardzo chwytliwy, utrzymany nieco w stylu The Moody Blues „Castle In The Sky” pochodzący z repertuaru szkockiej grupy Simon Dupree And The Big Sound, czy też następny – atmosferyczny i zmienny „Broken Hours”. Mój podziw i zachwyt budzą także kolejne kawałki – a to utrzymany w szybkim klimacie „Heart Without A Home” z pulsującym basem i fajną solówką gitarową, a to balladowy, przypominający stylem amerykański zespół Gary Puckett And The Union Gap „Time Is Passing”, czy pełen wdzięku, rytmiczny „November”.

Jednak to co najlepsze zespół umieścił na drugiej stronie oryginalnego albumu. Wypełniały ją dwie kapitalne, rozbudowane kompozycje: siedmiominutowy „Circles” i trwający dwanaście minut „Colour Questions”. Obie pełne intensywnych, głównie gitarowych improwizacji i ciekawych rozwiązań rytmicznych. W pierwszej czuć tę specyficzną psychodeliczną atmosferę tkaną poprzez ciągłe zmiany tempa i melodii, z kapitalnie grającą ciężką, „ołowianą” gitarą i ukrytymi gdzieś w tle, na dalszym planie drobnymi muzycznymi smaczkami. Druga to potwór, który rusza na nas z prędkością światła, brzmiąca jak alternatywa dla „Sabre Dance” Love Sculpture i nawet na moment nie odpuszcza. Nie mogę oderwać się od tego energetycznego nagrania, a jest przecież jeszcze fantastyczne zakończenie całości w postaci bardziej już stonowanego, dwuczęściowego „You’ll Never Know Me/Realease”. Ujmujący, kapitalny kawałek nawiązujący do stylistyki Procol Harum i bardzo wczesnego Genesis z okresu „Trespass”. Świetnie się tego słucha, choć jako całość trudno tę muzykę logicznie zdefiniować, bądź porównać. Jeśli już, to może z wczesnym Barclay James Harvest w połączeniu z mało znaną grupą Gnidrolog z okresu jej drugiej płyty „Lady Lake”.

Zibi



..::TRACK-LIST::..

1. Castles In The Sky
2. Broken Hours
3. Heart Without A Home
4. Time Is Passing
5. Circles
6. November
7. Colours Questions
8. You'll Never Know Me / Release

Bonus Track:
9. Circles (Single Version, A-side 1970)



..::OBSADA::..

Bass Guitar - Richard John
Drums - Leslie Hicks
Guitar - Gareth Johnson
Vocals - David Thomas




https://www.youtube.com/watch?v=ndUKzwV4sew



SEED 15:00-22:00.
POLECAM!!!