Nurses Song With Elephants (BLOW OUT PRICE!)

"Recorded at Marquee studios in London, the album was released on John Peel sDandelion label in 1972. At the time Bedford was reaching a wider public through his work with Kevin Ayers (as a member of Ayers group The Whole World), and also as an arranger working with Roy Harper and The Edgar Broughton Band among others. For his first album David Bedford engaged the services of Kevin Ayers (who provided vocals on Sad and Lonely Faces ), Mike Oldfield and John Peel."

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  • Third album from this New Jersey symphonic rock band.  All of the band's albums are conceptual pieces based around literary works.  In fact the band's name is derived from a Ray Bradbury story.  On A Dark And Stormy Night is based on Madeleine L'Engle's fantasy novel of the same name.  The album is a wet dream for any fan of symphonic prog.  As I make my way through the album I'm frequently reminded of some similarities to Glass Hammer.  This is very keyboard driven music with a healthy amount of guitar leads.  There are even some nice Mellotron sounds popping up now and then.  These guys dream big and hit the mark.  Highly recommended.
  • Mind blowing set from this early 70s German jazz rock band culled from the vaults of SWF radio.  Dzyan was formed by bassist Reinhard Karwatky but the emerging star was guitarist Eddy Marron.  The lineup for these sessions is a quintet consisting of guitar, sax, bass, drums, and percussion.  High energy jazz rock with a psychedelic undercurrent is the order of the day.  Think Mahavishnu Orchestra crossed with Guru Guru.  Percussionist Jochen Leuschner also handles the occassional vocal.  He's got a great soulful voice that fits in comfortably.  High level of musicianship throughout but I have to mention Marron again - his playing really blows my mind.  Typical superb job from Long Hair Music - previously unavaialbe photos and detailed liner notes.  BUY OR DIE!
  • "One of Colombia's better known 60's & 70's groups is Los Flippers. But few people outside Colombia knows about this wonderful 1973 album they did. It's probably because it was self- released by their leader Arturo Astudillo's own label rather than the bigger labels they used before, hence low sales. But in any case, it's no doubt a great album that must be heard.The music on this album is quite special, as it blends psychedelia with progressive sound and soul as well. With a very good production, here we find Los Flippers at their peak of inspiration and being now a bunch of very experimented musicians. The result is much more mature than any of their previous works of course, and they really achieved a sound that ranges with any supergroup.With all original compositions except a Buddy Miles cover, they used a good dose of psychedelic effects and some tasty horns as well. As an addition, this first ever reissue comes with a killer bonus track from an earlier 45, with a killer sound reminiscent of Iron Butterfly.Remastered sound from tapes (except the bonus track), and insert with liners by Arturo Astudillo."
  • "Originally released as a demo pressing in 1973, "Paloma Mensajera" by Peruvian band Grupo Amigos is without doubt one of the rarest albums from the South American psych scene. Only a handful of copies were pressed for the band members and needless to say, an original copy is impossible to find now. The band was formed by some long- time friends of Saúl and Manuel Cornejo, both from legendary Peruvian bands Laghonia and We All Together. Manuel Cornejo played drums on the album recordings and Saúl was the session engineer.Influenced by groups like Beatles, Byrds, Stones, Badfinger, Shakers and of course Laghonia and We All Together, the music ranges from terrific guitar psych- rock like "Dirty Girl" (which sounds like an outtake from Laghonia's first album) to British sounding pop- psych ("Mr. Taylor's Train", "Psychiatrist") harmony pop á la Byrds on "Looking for home", a few rockin' tunes and some beautiful mid- tempos which show their We All Together influence. They alternate English & Spanish in their lyrics.On this Guerssen reissue, you'll find the complete recordings of Grupo Amigos, including their only album and a killer non- LP 45 recorded the same year. Features a booklet with liner notes and rare pictures. Taken from the original master tapes."
  • Budget priced 2CD set includes Dirty Diamonds (with bonus track) and The Eyes Of Alice Cooper.
  • "Mega- rare private pressing from France, 1975, with only 300 copies made. Pretty unknown album, and a killer!!! Nothing you would expect from a French record, really….this is 100% USA early 70's sounding stuff, West Coast folk- rock with a psychedelic edge, CSNY feel, acoustic & electric guitars, some fierce fuzz assaults, English vocals… an incredible discovery!The original pressing came with plain white cover, and a few copies were later pasted- on with a few very low quality photos. For this reissue we've used this artwork (restored) and also included a booklet with infos and photos. Fantastic remastered sound."
  • "The sophomore effort from the extraordinary drummer Sebastiaan Cornelissen featuring an all-star lineup - guitarists Alex Machacek, Mike Otram, Susan Weinert, Richard Hallebeek; keyboardists Gary Husband, Scott Kinsey, and Steve Hunt; and bassists Hadrien Feraud, Jimmy Earl, Gary Willis, and Tom Kennedy among others. Since first coming on the scene in the early 2000s, composer and drummer Sebastiaan Cornelissen has emerged as one of the most distinctive new voices on the European fusion scene. Whether acting as a leader, sideman, or group member, Cornelissen's playing combines a sharp sense of empathy and staggering technique with impressive improvisational grace and intensity."
  • Its been six years since the last release from this Louisiana band.  Years ago I mentioned how much they sound like Porcupine Tree.  Well not a lot has changed in this respect.  If you are a fan of Steven Wilson and Porcupine Tree you'll find that Abigail's Ghost drinks from the same well.  In fact, of all the bands that bear the musicial DNA of Mr. Wilson, I would say that Abigail's Ghost do it the best.  So getting this out of the way I'm pleased to say that Black Plastic Sun is the band's best work.  Its what contemporary progressive music should be.  Melodic through out with room for stunning solos.  Overall the album is very dynamic - a nice contrast of heavy guitar driven music and heartfelt balladry.  This is not your father's prog.  BUY OR DIE!
  • Its been quite some time since we've heard from Guy LeBlance and Nathan Mahl.  He's been busy touring with Camel and now having to deal with some serious health related issues.Justify finds Nathan Mahl with a reconstituted lineup.  Guy displays his prodigious keyboard abilities once again but this time he's also playing drums.  The new lineup features a twin guitar attack and bass.  For a keyboard player he sure as hell gives a lot of room for the two guitarists to stretch out and shred.  The album is split about 50/50 between instrumental and vocal oriented tracks.  You can tell his time in Camel has rubbed off on him - just check out the albums finale "Infinite Light".  It features a guest appearance on guitar and keys from none other than Andy Latimer!  Highly recommended.
  • "The story gets kind of complicated, so stick with me. In 2010, then-Iowa-based psych/prog five-piece Mondo Drag released their Alive Naturalsound debut, New Rituals (review here), which was full of ’70s-style lysergic serenity, open spaced guitars and heady vibes. It was, in short, a winner. The next year, Mondo Drag‘s labelmates Radio Moscow — who also have their roots in Iowa — imploded. It was the stuff of viral video. Radio Moscow bassist Zack Anderson and drummer Cory Berry moved home shortly thereafter, to Iowa, and got together with Mondo Drag vocalist/keyboardist John Gamino, guitarist Nolan Girard (also synth), and guitarist Jake Sheley. At the same time they were recording as the new rhythm section of Mondo Drag, Anderson and Berry were also putting together Blues Pills with Swedish vocalist Elin Larsson. That band took off, and the bass player and drummer moved to Sweden as a result, but not before Mondo Drag had recorded — mostly live — the seven tracks of their self-titled sophomore outing, which also found Gamino taking the vocalist role, using a host of vintage gear and analog tape to further play into a classic feel. After the departure of the rhythm section, the remaining three members of Mondo Drag picked up and headed for the West Coast, where swing-drummers and warm-toned bassists looking for psych rock acts to join rule the land, and in Oakland, California, they met up with bassist Ventura Garcia and drummer Andrew O’Neil, who along with Gamino, Girard and Sheley, comprise the current lineup of the band.Got all that?When you whittle down all the complexities of comings, goings and relocatings, what you’re left with is the fact that Mondo Drag‘s Mondo Drag (released on wax by Bilocation Records) captures a very special moment in the life of the group. It’s a credit to Mondo Drag that it exists at all, and not just because Anderson and Berry would go on to attain a higher profile in Blues Pills (Berry has since left that band as well), but also for the cohesion they managed to make out of all that flux. With ultra-organic atmosphere across the board — guitar, bass, keys, drums, vocals — the seven-song/35-minute run of Mondo Drag is gripping on side A, hypnotic on side B and wonderfully progressive throughout. Later moments like the penultimate instrumental “Pillars of the Sky” call to mind a wash of keys Astra might be able to conjure, but the analog spirit of the recording is relentless, and the album winds up with its own character, warm and welcoming. No need for pretense here, whether it’s the key-led fade-in and shuffle of “Zephyr” or the organ-soaked build of side A closer “Plumajilla,” which comes brilliantly to an instrumental head after swinging verses and choruses that foreshadow the sleazier side B finale “Snakeskin,” the guitars providing a highlight solo to transition into the quiet start of the build. Second cut “Crystal Visions Open Eyes” brings Gamino‘s vocals forward to create an immediately memorable impression, moving quickly through verses of subtle intricacy toward a descending instrumental finish in an early showing of how well the guitar and synth work together throughout, and of course how well that work rests atop the rhythmic foundation of the bass and drums.Some jabbing starts and stops pervade the three-minute “The Dawn,” but nothing about its garage psych roll is abrasive or interrupting the overarching flow, a boogie solo and run emerging in the midsection to help ease the way into “Plumajilla”‘s two-movement run, which in linear form — i.e. digital — makes a fitting centerpiece solid transition into the second half of the record, which slips into more exploratory material with the tense undercurrent of synth and bass on “Shifting Sands” and the interwoven lines of keys and synth on “Pillars of the Sky,” which follows, taking the best of pre-noodling progressive heavy psych and topping it with a bluesy-but-not-overdone plotted guitar lead. A peaceful mood emerges, the song in conversation with the back half of “Plumajilla,” and the richness of Mondo Drag‘s layering becomes a hook unto itself, despite no actual chorus present. Closer “Snakeskin” arrives quietly but unfolds a Doors-style throb given bluesy fervor not unlike the echoing output of Maryland’s The Flying Eyes, but perhaps more atmospherically dense. A final reaffirmation of swagger at the heart of Mondo Drag‘s Mondo Drag only makes the album more impressive, both in the actual listening experience and in context when one considers how quickly such fluid chemistry emerged between the five players involved, two of whom would soon enough be gone. As Mondo Drag was recorded in 2011/2012, and since the band has moved to the fertile psych ground of the West Coast, one can’t help but wonder what conjurations they may have come up with since these songs were written, and when those might appear and follow-up the lush but humble resonance of this self-titled. More important right now, however, is the achievement Mondo Drag managed in capturing this fleeting incarnation of the band, which will be plainly evident to any among the converted whose ears it reaches." - The Obelisk
  • wrote an amazing review (better than I ever could):"In 2008, Building An Empire was released by French multi-instrumentalist Nicolas Chapel, brainchild of his solo project Demians. Chapel’s sprawling 65-minute effort was as ambitious as it was effective, and garnered immediate recognition from progressive music icon Steven Wilson. After touring in support of landmark bands such as Porcupine Tree and Marillion (with the help of a few session members), Chapel fled to a lake house on the shores of Normandy to record his sophomore LP. The finished product, Mute, is an intelligent and logical progression from Building An Empire, which tightens up the song writing whist retaining the ingenuity and passion which emulates from Chapel’s words.Mute, much like its predecessor, is broken down into nine songs which expand upon a number of genres. However, where as Building An Empire had the tendency to ramble and plod along in its 65-minute run-time, Mute is completely focused on the individuality of each of its nine songs, and clocks in at a digestible run time barely eclipsing 50 minutes. The individual track lengths are much more manageable - two songs approached the nine-minute mark and another stretched beyond 16 minutes on “Empire,” yet only one song on Mute has a run-time over seven minutes long. This works to the album’s advantage - the flow and cohesion between each of the nine tracks is not once broken up with unnecessarily drawn-out bouts of ambient drivel. Instead, the listener is treated to nine focused pieces of marvelous progressive music, with each song being unique and individual to itself.Mute evolves along with Chapel’s growing confidence and maturity as a songwriter, and includes much more dynamic and refined influences from outside genres. Alongside the typical progressive-rock sound, there is a noticeable influence of folk, electronica, post-rock, metal, and even shoegaze present with more definition than ever before. The climax of the haunting penultimate track, Hesitation Waltz, slowly manifests itself into a frightening wall of guitar distortion and pounding tribal drums which brings sludge-metal titans Neurosis to mind, a stark contrast to the warm, lush electronics of Porcelain or the Dredg-esque alternative rocker of Tidal.This heightened recognition of confluence also seems to have spread out to Chapel’s musicianship and vocal-work, both of which have improved and matured considerably since “Empire.” Chapel’s vocals have taken a more natural tenor range, but at the opposite end of the spectrum his higher-register vocals are conveyed with much more strength and confidence than before. On songs such as the energetic Feel Alive, Chapel’s honest lyrics and passionate delivery soar with an unrivaled intensity since the closing minutes of “Sand,” where as tracks such as the absolutely gorgeous Black Over Gold, or the fiercely draining and melancholic denouement of Falling From the Sun feature some of the most moving and hopeless vocal performances i’ve heard all year.The distorted guitars have become much more metallic since “Empire.” Album opener Swing of the Airwaves fades in with a down-tuned sludge/stoner riff which would not sound out of place on a Mastodon, Neurosis, or even Deftones album, and chugs along as such for seven and a half minutes. Overhead begins with an acoustic folk lick (think “Naive” off his previous album but more technical and mature) but explodes towards the end in a complex metallic riff-fest and guitar solo. Much like “Empire,” the synths provide much of the album’s mysterious air by taking their place in the background, whether it be contrasting the sludgy riffs of Swing of the Airwaves with grandiose splendor, providing effective psuedo-symphonic violin riffs on rocker Feel Alive, or complimenting the reverb-soaked drums of the melodramatic Porcelain. The conventional piano is also utilized more proficiently on tracks such as the ironically dark Rainbow Ruse, where minor chords are pounded out as the driving force of the song, or the sombre Black Over Gold, which begins as a piano and vocal duet before tremelo-picked guitars join for the climax.Does Mute surpass it’s predecessor? In many ways, the answer is a resounding “yes.” Nicholas Chapel’s song writing has become much more focused and coherent, and his vocal performance is subsequently much more powerful and convincing. The instrumentation has also matured and improved, best shown in the expanded use of the guitar and synths. The lack of the ambiance present on Building an Empire subtracts from the atmospheric quality of the album, but at the same time does not hinder the aesthetics of the music’s most exciting points. I applaud Nicholas Chapel for improving upon his already impressive debut with the curious and insightful work of art that is Mute, an album that is anything but.Recommended Listening:Feel Alive - The most aggressive and energetic song off of Mute. A guitar-driven rocker backed by an infectious synthetic string section and punchy metallic-guitar riffs. The chorus brings previous tracks such as “Naive” or “Earth” to mind but with added balls. After the second chorus, the instrumentation takes the back seat to a well-executed bass-riff, before slowly building back up and climaxing with Chapel screaming the song’s title and ending with the guitar and strings motif from earlier in the song. A fantastic energetic-rocker.Black Over Gold - This is the most moving and beautiful song I have heard all year. The song begins as a sombre piano/vocal duet with Chapel presenting the lyrics in low, grief-stricken manner which is entirely effective and empathetic. The six-minute song continues to grow in true Sigur Ros fashion as the instruments buildup with pendulous drums and aqueous tremelo picking. At 4:20, Chapel’s vocals and instrumentation climax and cascade over the listener’s ears in an overwhelming, but ultimately comforting wave of powerful mystique. The song then fades out into nothingness, losing all hope.Hesitation Waltz - Begins with a soft droning and short bursts of tribal drumming and cymbal claps. The guitar and vocals enter about a minute in with a soft-crooning, beckoning the listener into the song. This Tool/Neurosis melding of sound grows as synths and glockenspiel are added to the background. The storm continues to pick up intensity - the drums pound louder, the guitar becomes more sinister, and Chapel’s vocals become more pronounced and frantic. After four minutes of building up, Chapel’s vocals are completely lost and drowned out to a sound wall of monolithic proportions, before fading out as if nothing had happened at all. A stunning performance on all fronts."
  • "As a historical document, this release takes some beating. Recorded during the short – and only – tour that Fripp & Eno undertook as a duo, it captures a pivotal moment, not only in the development of both players, but in the live music experience itself. Here was a "rock concert" (or "superstar show" as the poster for the less glamourous Tunbridge Wells gig had it) where two of the leading lights of the art prog scene sat in near darkness improvising a series of dronic, ectoplasmic mood pieces for an hour and a half. No hits, no big riffs, no exotic costumes. In 2014, that description could be analogous to any number of live electronica events, but in 1975, it led to booing, walkouts and open hostility.Yes, there had been precedents for this type of proto-ambient music before, specifically the kosmische of Tangerine Dream and Klaus Schulze, and most pertinently, the systems music of Terry Riley, which had inspired Eno to start experimenting with tape loops in the first place. And it wasn't as if the duo hadn't already signalled their musical intentions with the release of (No Pussyfooting) in 1973. But in a pre-online world, music travelled more slowly, and a lot of people went to these shows expecting Roxy Music and King Crimson numbers. What they got instead, was an intriguing, and for some discomfiting, glimpse into the future.1975 was a liminal year for rock music in the UK. It saw the end of glam, the fading of prog and the first stirrings of punk. It also saw the biggest band of the day release one of the bleakest, most alienated albums in the rock canon, Pink Floyd's Wish You Were Here. While operating much further along the spectrum than Floyd, there's a similarly immersive, almost enervating feel to the sounds that Fripp & Eno produce during this performance, suggesting that we're at the start of a new way of listening to and experiencing music, an opening up of new possibilities in aural pleasure. With its use of repetition and egoless explorations of sonic space, there's also a strong argument for Fripp & Eno creating the UK's only indigenous strain of krautrock.The performance begins before Fripp & Eno have even arrived on stage, with the cold, aqueous drone of 'Water On Water'. Quizzical voices can be heard in the audience, then cheers, but these soon subside as a tide of alien soundwaves continues to wash over them. As a listening experience, it goes beyond the point of nothing happening into a new realm of uncertainty, and the audience sound as much relieved as delighted when Fripp & Eno finally take their places and begin playing 'A Radical Representative Of Pinsnip' (a version of 'The Heavenly Music Corporation'). Fripp's guitar seems to intuitively tune into the wavelength that Eno is broadcasting on, a huge, ever-growing pulsating brain weaving tessellations of holy noise around the fabric of the drone. Over a pattern of discordant notes, like an evil fairground pipe organ, Fripp solos at his most atonal and nightmarish, before calmly sliding into 'Swastika Girls'. Eno's backing loop seems to mutate from the ringing of wind chimes to the squealing of pigs, while Fripp's unmistakeable shredding alternates from placid to fiercely angular. 'Wind On Wind' signals an intermission – there's no crowd noise (other than the sound of someone choking on a magic cigarette), so it's difficult to say whether the audience remains rapt with attention or have already departed en masse to the bar.The performance re-starts with 'Wind On Water', its gentle beginning leading gradually to an ecstatic ascension, Fripp's guitar like dazzlingly bright reflections of the sun on a rippled pool. We then get a series of anagrammatically-punning tracks unfeatured on any of the duo's studio albums. 'A Near Find In Rip Pop' is based on a simple loop of strummed guitar, which Fripp drops note clusters over, before peeling away to reveal (un)natural sounds of wind and distant animal cries. It's a point of mellowness midway through proceedings, soon disrupted by 'A Fearful Proper Din', its grinding chug like Sunn O))) heard at the end of a long tunnel. Fripp's soloing taps into the heaviness of Red-era King Crimson, faster, harder and more threatening than before as the track morphs into 'A Darn Psi Inferno'. Children's voices appear against the metallic breathing of Fripp's guitar at its scariest, the tension finally broken by the relative balm of 'Evening Star'.Fripp & Eno exit for a second time to 'An Iron Frappe' – another unaccompanied drone piece resembling the infinite echo of a struck bell – before returning to encore with 'Softy Gun Poison'. Here, the duo finally drift off into deep space in a trail of sinister voices and unhinged laughter, the whine and growl of their engines stretched and refracted, the ghost of a slow-motion explosion. The track culminates in perhaps the single most transcendent part of the show/recording, a warm plateau of dense drone that segues into the walk-off tape of 'An Index Of Metals', their ship caught on the lip of a black hole for all eternity, faintly transmitting back to earth.Over the entire length of this immaculately restored 3-CD set (which includes a disc of the unadorned tape loops that Eno prepared for these shows), I began to wonder if anybody needed this much Fripp & Eno in their lives – that such thoughts now feel positively iconoclastic compared with the righteous indignation that many people greeted this material with in 1975 shows just how far we've come, and how much Fripp & Eno (both as a duo and individually) helped to redefine our appreciation of what music could be." - The Quietus
  • "Unicorn Records, known normally for releasing CD's from quality Canadian progressive rock and fusion artists, have really hit a home run here with Norwegian band Retroheads. A brief history of the band sees Tore Bo Bendixen (who plays vocals/keyboards/guitar/bass/programming, and is also a former member of Fruitcake) putting together the pieces of the Retroheads project from early 2003-2004, writing much of the material and slowly putting together a band. Here he got together with singer Ann-Kristin Bedixen, guitarist Tommy Berre, guitarist Ole Staveteig, and drummer Harald Skutterlud (who has since been replaced by Istvan Pados), and Retroheads were born. The music of the band is firmly rooted in the sounds of the great prog music of the 70's, with a modern edge that hints ever so slightly at perhaps early Flower Kings. This is a group that realizes their influences, but has expanded on that to create something really fresh and enjoyable.One thing that becomes quickly apparent is the overabundance of vintage keyboard sounds throughout this album. "Earthsong" kicks off with cascades of Mellotron sounds and loads of wild MiniMoog passages, and brief moments of "Man" will instantly remind you of the vibe that we all used to get when listening to those old Genesis albums of the early 70's. Ann-Kristin's lovely vocals add a nice pastoral nature to "Judgement Day", a song also notable for the intricate fusion guitar leads from Berre and supple organ work from Bendixen. "Dreams" is just that, a dreamy yet symphonic number that sees both Ann-Kristin and Tore sharing lead vocals, with Tore's sounding very much like a fiery Roine Stolt, and the music is spacey and atmospheric, featuring gobs of keyboards and stinging guitar work. Drummer Skutterud adds in some nice drum fills on this one underneath the soaring Mellotron, MiniMoog, and Hammond sounds courtesy of Bendixen.The Flower Kings meet classic Gentle Giant on the raging "World Reveal", a song with rocking guitar licks, ARP keyboard leads rooted in counterpoint, and majestic male and female lead vocals. Plus, who can complain about the surplus of Mellotron and Taurus Bass Pedals? Certainly not me. Berre performs an excellent extended lead guitar solo here that is quite nice, and it reminded me a little of Steve Howe, especially in the fact that he mixed it up with some rock, fusion, and classical flavors. On "Urban Flight Delight", the band once again dips into their Gentle Giant bag a little, yet with a contemorary and harder edge, as they hit you with churning unison guitar/bass/keyboard lines before the main theme sets in with Tore's melodic vocals and haunting Hammond chords. Berre then jumps in with a wonderful solo that at first reeks of Steve Hackett, then progresses into a melodic, tasty, overdriven chops fest.The two final cuts, "Taking My Time" and "The Fool" are both moody symphonic numbers. The former has a strong Genesis feel to it, with Hackett inspired guitar leads, MiniMoog, Mellotron, Hammond, flute sounds, and a gentle guitar/keyboard duel between Staveteig and Bendixen, which then leads to monstrous Mellotron soundscapes before Staveteig comes back in for a ripping guitar solo. Tore's vocals on this one reminded me a lot of early Camel, adding in another surprising 70's influence, and his keyboard work on "The Fool" will also remind you of that band as well.Retroheads have done an amazing job utilizing modern technology and VST instruments to recreate all these vintage sounds, and progressive rock fans should undulge in the obvious "retro" experience and soak it all up, many times, for maximum satisfaction. In fact, I'll leave you now so I can pop on the headphones and hit the start button all over again." - Sea Of Tranquility
  • New German neoprog band.  Within My Recollection is a 70 minute conceptual work with a load of epic length tracks as the focal point.  This one will appeal to fans of Marillion and Saga but you can easily hear how old school Genesis was an influence on them.  Vocalist needs some work but there are long sweeping instrumental passages that helps you forget.  While keyboards dominate the overall sound the fluid guitar solos have a Rothery feel stamped them.