It may be hard to believe, but this is the CD debut of this little-known, British progressive record. Released on Decca Records in 1977, the only First Aid album offer a varied, well-arranged and pompous concept album (very often recorded with studio orchestra) based on Nostradamus and his prophecies. The strongest moment of the entire record is 13-minute closing track, the real progressive monster full of inventive guitar and keyboards interplay. This memorable music will surely appeal to all fans of Camel, Yes, Strange Days and Emerson, Lake & Palmer. It should be noted, that 8 years earlier drummer Dave Freeman had played (together with guitarist Allan Holdworth) in very fine, jazzy-progressive band 'Igginbottom.
Despite its title, this set does not feature trumpeter Jan Allan at the age of seventy. Actually, it consists of a couple sessions from 1968-1969 that were originally released as an LP in 1970 that gained very good reviews in Europe at the time. Allan is featured with a Swedish orchestra that plays six originals (three by Nils Lindberg) and includes on various selections altoist Arne Domnérus, pianist Bobo Stenson, guitarist Rene Gustafsson, and bassist Palle Danielsson in the personnel. The music is tonal and generally swinging but unpredictable in spots, challenging Allan to play at his best. Well worth searching for.
Doté d'une voix chaleureuse et envoûtante, Kim Vinter vous convie à explorer l'imaginaire foisonnant et débridé d'un des maîtres du fantastique. …
…Stockfish continues to shine with its groundbreaking SACD technology. The precision and clarity of the stringed instrumentation is flawless, augmenting the acoustics without compromising the intended starkness. (…) Songs For The Road is an engaging album.
Allan Taylor is one of England's most-respected singer/songwriters. His songs have been covered by artists on both sides of the Atlantic, including Don Williams, Frankie Miller, Fairport Convention, Dick Gaughan, the McCalmans, the Fureys, the Clancy Brothers, and De Dannan. Folk Roots praised him for his "ability to crystallize a mood and evoke an era with the ease of a computer memory access, crafting perfect songs with dramatic changes in the spirit of Brecht, Bikel, and Brel." The Oxford Book of Traditional Verse felt as strongly, writing that Taylor was "one of the most literate and sensitive of contemporary songwriters in terms of words and music and one who is capable of exploring more complex subjects than most of his contemporaries."