Excellent addition to any prog-rock music collection.
It is not possible to overestimate the Nice's importance to Progressive Rock. In their moment, they were prog and if the eye-opening debut Thoughts of Emerlist Davjack didn't show that, this dazzling follow-up did. Sure they're so old and dated you'd never put them on unless alone in the house.
Excellent addition to any rock music collection.
Shadowdance confidently strides into the Windham Hill catalog with the showstopping New Electric India, electric guitar and thundering bass resounding.
Excellent addition to any prog rock music collection.
SHADOWFAX. Nice name for a progressive rock band. At least that's how they started off. Named after Gandalf's a horse in Tolkien's The Lord Of The Rings. They are often classified as new age, but their first album really wasn't, it was rather quite like a more rocking version of OREGON and had a mixture of hard and soft songs. And really their latter albums weren't completely although they lost some of their harder edge and devoted themselves to more mellow fair.
The result of the meeting of Michael McCartney (brother of Beatle Paul), who would work as Mike McGear to avoid accusations of coat-tailing, and Post Office engineer John Gorman, the Scaffold took a blend of absurd humor and catchy songs to chart-topping glory throughout the 1960s. Their lineup filled out with Roger McGough and Adrian Henri, the group was briefly known as the Liverpool One Fat Lady All Electric Show, to the horror of everyone around them. Henri soon departed. A change of name later, they were gaining a reputation as one of the most amusing outfits on the scene, with a residency at Peter Cook's Establishment Club (where the Bonzo Dog Doo-Dah Band also held court). The Scaffold's biggest successes were their cheerfully silly singles, starting with "Thank U Very Much" and continuing with "Lily the Pink" (a sterilized adaptation of an old rugby song, featuring Jack Bruce on bass) and the somewhat incomprehensible "Gin Gan Goolie," all of which had a knack for sticking in the mind on endless repeat without causing undue annoyance. These three songs, in particular, are well remembered even as the 1990s draw to a close.
Essential: a masterpiece of ancient music
Here is a dream gem for those who like the lute music, Hopkinson Smith (UK) and Paul O’Dette (US), together!
Bruce Cockburn's self-titled debut's blend of diversity, enthusiasm, and innocence never quite resurfaced again in his work, especially in his more clinical, politically inclined tracts of later decades. The opening number, "Going to the Country," still evokes that hippie-esque, back-to-the-earth movement as well as any song ever recorded, complete with a sly wink that keeps it fresh to this day. And since this was 1970, the album also comes equipped with some of those quaint excesses of the period; try the nasal tone poem gracing "The Bicycle Trip." "Musical Friends" remains a lively, happy-go-lucky classic with piano signature lifted from Paul McCartney's playbook; it's difficult to picture the dour Cockburn of more recent years ever having this much fun. In contrast, "Thoughts on a Rainy Afternoon" offers a trance-like, introspective atmosphere reminiscent of British folkie legend Nick Drake.
Here are sets of Pictures to suit almost every personal art gallery. The newest issue (though not the most recently recorded—it has a 1979 analogue source) is the least memorable. The orchestral playing is excellent and certain portrayals are striking, the ”Ballet of Unhatched Chicks”, for instance and ”Samuel Goldenberg and Schmuyle”, while the closing sequence is strongly projected.
This is the real stuff, the very best of the group’s early albums and the best representation of the Chieftains’ original sound.
After a five-year hiatus, singer/songwriter Laura Nyro returned with Smile in 1976. On this disc, Nyro's somewhat idiosyncratic writing and performance style is decidedly subdued. In its stead is a light pop and jazz feel similar to that of Maria Muldaur's mid-'70s recordings. Supporting Nyro instrumentally is virtually a who's who of New York and Los Angeles studio stalwarts. While the prowess of folks like Will Lee (bass), brothers Randy Brecker (trumpet) and Michael Brecker (flute/sax), Hugh McCracken (guitar), and Rick Marotta (drums) certainly strengthens Nyro's already laid-back material, it likewise reduces her to sounding like a Joni Mitchell ripoff. The undeniable highlight of Smile is the maturity in the songwriting. It becomes obvious that the half-decade away has done some significant good in revealing a decidedly positive evolution in Nyro's approach to her own life. What's more is that the material on this album seems to come from a place of contentment.