Original Album Classics (3CD)

SKU: 886919016321
Label:
Sony Music
Category:
Progressive Rock
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Slipcase budget priced collection of the first three Journey albums.  This is the really awesome pre-Steve Perry jazz rock proggy stuff.

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  • Man o man - does this one define obscure? Woodoo is a one-off Finnish prog band from 1971 released on the equally obscure UFO label. Their music is an eclectic mix of strong African rhythms and Finnish folk. Its the percussion that really drives the album, underpinning leads of flute, sax, and guitar. Vocals are in Finnish and don't ask me what they are about. Pretty cool stuff.
    $21.00
  • New edition housed in a mini-lp sleeve."Vita sul pianeta" is a concept album released in 1973 by Car Juke-Box record label - the same of the first Le Orme's LP's - and recorded by Laser, a five-piece band from Rome previously named "Il Laser di Elvezio Sbardella" after their founder's name.Even if most people is interested in the album because it is extremely rare - one of the rarest ones in the Italian progressive rock field, printed in few hundred copies - music has to be re-estimated here, especially if we consider that the LP was recorded with a very limited budget and in just one take. Music is really varied, a hard rock guitar and keyboard-based, with hints of beat and blues.The band sadly split up right after the release of "Vita sul pianeta", due to the lack of support from the record label and the keyboard player leaving to join the military service. Very difficult to find also in its 2000 reissue, the album is now available again as a papersleeve CD and vinyl replica."
    $15.00
  • In Hoc Signo is the blowtorch debut from this Italian band playing in the "Rock Progressivo Italiano" style.  Its a young band based out of Rome.  Their goal was to use vintage sounds and replicate the sounds of the 70s and they do it in spades.  Mellotron M400, Hammond B3 Organ, Mini Moog Voyager, Electric Piano, Elka Synthex - all the good keyboard stuff that will send chills down your spine.  Killer lead licks on violin and guitar fight for space with the keys.  I'm reminded of Quella Vecchia Locanda, PFM, King Crimson and Le Orme!  If this isn't enough the band added a couple of guests: Anglagard's Mattias Olsson plays on a track and helped with arrangements.  The legendary David Jackson plays sax and flute.  This one kills and it kills and it doesn't stop killing.  BUY OR DIE!
    $16.00
  • 4th album now remastered in a deluxe edition at a budget price (go figure...). Only bonus is a dispensable remix of "The Bells Of Notre Dame". Perhaps the band's most underappreciated album. A space rock classic.
    $13.00
  • Masterfully played German fusion classic. Brilliant Moog-work and of course Mr. Doldinger. Essential.
    $13.00
  • The band's second album is the better of the two - it features Lucio Fabbri and is more progressive sounding. This edition features 3 bonus tracks and arrives in a mini-lp sleeve. From italianprog.com: "This band from Bergamo was formed around 1970, and had a long life that lasted until 1978. Their name means dawn in spanish. The group derived from some 60's beat bands like I Condor, that included bass player Alessandro Zanelli and keyboardist Franco Orlandini (from Mat 65 and who later worked with Equipe 84 and Claudio Rocchi), and later changed name to Le Lunghe Storie, and along them from Le Bugie and Gruppo 3. But the basic nucleus came from Terza Classe, which also gave birth to Perdio. Though not properly a progressive rock album, their first one, only released in 1974 by Philips, contains some interesting parts. It contains seven tracks, some of which were arranged and signed by Roberto Vecchioni (a singer-songwriter that's still very popular nowadays), while three songs were composed by Mauro Paoluzzi. The first side shows some influences by a West Coast styled sound, with multivocal parts very well executed but not particularly original. Second side contains the long Mandrax, led by Gianfranco Pinto's keyboards, that's probably the best album track. Except for a limited use of acoustic guitar on Uomo blu the band didn't use guitars and their sound was strongly based on keyboards and richly arranged vocal parts. Second album came three years later, this time the trio was helped by some guest musicians like Lucio Fabbri on violin (Piazza delle Erbe and later PFM), the jazz saxophonist Gianluigi Trovesi, and Luciano Ninzatti (from Eugenio Finardi's band Crisalide) on guitar. With a much better production and sound, this can be considered the best of their two albums, with long tracks like the opening Romanzen or Aragon showing a very good composition quality. Another nice song was È triste il vento, that had previously been played by another group from Bergamo that had a close connection with Madrugada, Perdio. Like in the first album there are some odd different-styled tracks, like the folky Noter de Berghem and the silly Katmandu (that was also released on single with È triste il vento, but with no success), but Incastro can be surely appreciated by progressive music fans. In concert, Madrugada played on tour with Area, Claudio Rocchi and Biglietto per l'Inferno, and in Lugano (Switzerland) with Kevin Ayers. Moreover they played in many concerts for political movements like Avanguardia Operaia and the Radical Party and the Re Nudo magazine. The band split at the end of the 70's, keyboardist Pinto has collaborated with many italian and international artists (Patty Pravo, Roberto Vecchioni, Adriano Pappalardo, Riccrado Fogli, Gianna Nannini, Brian Auger), and in the late 90's with the reformed progressive group Perdio. He works in a music school in the Parma area and still plays now in studio, with live bands and in the piano bar circuit. Bass player Billy Zanelli formed the semi-punk group Judas, with an album on Spaghetti label in 1978, and later played with Roberto Vecchioni."
    $19.00
  • "Esoteric Recordings are proud to announce the release of a deluxe 2CD edition of The Crazy World Of Arthur Brown. The Psychedelic Rock classic burst forth in 1968, topping the albums charts on both sides of the Atlantic and spawning the hit single Fire. The rock world discovered the delights of rocks supreme showman Arthur Brown and his influence would be felt the following decade when Alice Cooper acknowledged his debt to Arthur’s genius. Produced by WHO manager Kit Lambert and Who guitarist Pete Townshend, this classic album has been re-mastered and expanded to a two disc edition by the inclusion of rare single tracks, a BBC Radio One session from April 1968, alternate Mono mixes from the album sessions, and a version of Nightmare from the 1968 film, The Committee . Lavishly packaged in a slipcase with an extensively illustrated booklet with new essay, this is the ultimate edition of The Crazy World of Arthur Brown."
    $20.00
  • From the defunct Radioactive Records bootleg label. "Originally released in 1974 (P.G. 101), The Unicorn is considered to be one of the prime examples of what is now known as 'Outsider Music'. Its creator, New Yorker Peter Grudzien, grew up in the '50s listening to Hank Williams, Johnny Cash and other country music artists. By the '60s he was writing and recording his own country styled tunes and had added rising star Bob Dylan to his list of performers to aspire to. Comprising a selection of lo-fi home recordings made over several years (the earliest being from 1960), The Unicorn has songs of religious visions and redemption, life's struggles, and tales of romance gone wrong (brief references are made to Grudzien's own gay affairs, he 'came out' in song in the '60s). Predominantly rooted in country and bluegrass picking, the music also features electronic experiments, and borrows a few 'classic' tunes here and there in an early attempt at sampling. Intense, claustrophobic, eccentric, challenging, overwhelming, but about all, honest. These are all words that have been used to describe this album. You can add 'unique' too... for all those who prefer their country music with a twist."
    $9.00
  • Remastered edition of the iconic first album from Ritchie Blackmore's Rainbow. At the time frontman Ronnie James Dio was an unknown singer from an upstate New York band called Elf. This released turned the hard rock world upside down. "Man On The Silver Mountain", "Catch The Rainbow", "Still I'm Sad"....it didn't get better than this...ever!
    $5.00
  • "In 1972 Jethro Tull were riding high on the crest of a popularity wave. They sold out huge arenas on the back of their critically acclaimed fifth album Thick As A Brick. The question was, how do you follow a concept album comprising a single 44-minute piece of music? The answer was, with a double album of separate songs of course.For the first time in their five year career Tull went into the studio with an unchanged line-up. Founder member and undisputed leader Ian Anderson was still writing songs on flute, acoustic guitar and now saxophone, and he was again joined by guitarist Martin Barre, bassist Jeffrey Hammond-Hammond, drummer Barriemore Barlow and keyboard player John Evans. But which studio to use?The first criterion was that it had to be abroad. The second criterion was that the studio of choice had to have a good reputation. The 18th century Château d'Hérouville near Paris had previously been used by Elton John to record Honky Château and by Pink Floyd for Obscured By Clouds. It contained living accommodation as well as studio facilities, and so seemed the ideal choice. What could possibly go wrong?The choice was a disaster. First up, there were technical problems with the studio itself. Then there was the accommodation... the band all slept in a dormitory, it was very basic which might have been tolerable, had they been the sole occupants of the rooms. Unfortunately, they had unwelcome company, of a bed-bug variety. And then to make matters infinitely worse everybody got food poisoning from the in-house catering.Unsurprisingly the band decided to go home and the decision was made to ditch the hour or so s worth of music recorded in France. They decided to start from scratch and write a whole new album, instead of trying to somehow regenerate everybody s interest and commitment to something that had already struggled.And so to A Passion Play, an album that evolved into a 45-minute piece of quasi-prog rock, with complex time-signatures, complex lyrics and, well, complex everything, really. With a mere nine days left in the studio before the next tour, the pressure was on to produce something quickly. The concept explored the notion that choices might still be faced in the afterlife. It recognizes that age-old conflict between good and bad, God and the Devil.This beautifully packaged 2CD/2DVD case-bound book expanded edition of A Passion Play includes the original album and earlier Château d'Hérouville Sessions both of which have been mixed to 5.1 surround sound and new stereo mixes by Steven Wilson."Disc: 11. Lifebeats /Prelude2. The Silver Cord3. Re-Assuring Tune4. Memory Bank5. Best Friends6. Critique Oblique7. Forest Dance #18. The Story Of The Hare Who Lost His Spectacles9. Forest Dance #210. The Foot Of Our Stairs11. Overseer Overture12. Flight From Lucifer13. 10.08 to Paddington14. Magus Perde15. EpilogueDisc: 21. The Big Top2. Scenario3. Audition4. Skating Away5. Sailor6. No Rehearsal7. Left Right8. Solitaire9. Critique Oblique (Part I)10. Critique Oblique (Part II)11. Animelee (1st Dance) [Instrumental]12. Animelee (2nd Dance) [Instrumental]13. Law Of The Bungle (Part I)14. Tiger15. Law Of The Bungle (Part II)Disc: 31. A Passion Play mixed to 5.1 DTS and AC3 Dolby Digital surround sound and PCM 96/24 PCM stereo.2. A flat transfer from the original master at PCM 96/24 stereo3. Video clips of The Story Of The Hare Who Lost His Spectacles an intro and outro film used in the Passion Play tour of 1973.Disc: 41. The Château d'Hérouville Sessions mixed to 5.1 DTS and AC3 Dolby Digital surround sound
    $40.00
  • New edition of one of the most gorgeous psychedelic folk albums of all time. Comes with detailed liner notes. Fans of Trees and Fairport Convention must own this. Actually everyone must own this.
    $17.00
  • "First album (1970) of underrated Dutch band. A powerful collection of freaky, powerful progressive rock tracks with psychedelic leanings, dominated by composer, vocalist flute and sax player Bertus Borgers. Their music style was quite original and reminds sometimes to early Colosseum with frenetic sax and fuzz guitar riffing; also good use of organ and electric piano. A well done album which should have a wider audience. Informative booklet with band history by Bertus Borgers. From the masters."
    $21.00
  • Produced by Billy Cobham, Forest Of Feelings is the first solo album from David Sancious, originally released in 1975.  It was recorded after his exit from the E Street Band.  Its an incredible blend of prog rock and fusion.  Its a trio format with the rhythm section held down by his former bandmate Ernest "Mad Dog" Carter on drums and Gerald Carboy on bass.  As proficient as he is as a keyboardist, most people overlook his attributes as a guitarist.  The man can play!This was briefly available on CD in 1992, and if I recall the story correctly, was withdrawn for sale due to legal threats by Mr. Sancious.  Its always been a tough disc to find.  Highly recommended.
    $18.00
  • One of the crazier albums to be released on the MPS label - now given the deluxe treatment."Mention the name Barney Wilen and many people will associate it with “L’ascenseur pour l’échafaud”. Indeed, the man of French and American lineage (his real name was Bernard Jean Wilen) is the sax player in the legendary Miles Davis soundtrack. But aside from that popular collaboration, Wilen, who died in 1996, contributed to the history of jazz in many other ways.Perhaps the most interesting chapter in Wilen’s recording career are the late 1960s, when he led a group called the Amazing Free Rock Band. In this band we can find a young Joachim Kuehn on keyboards and Aldo Romano on drums, as well as guitarist Mimi Lorenzini, bass player Guenter Lenz and Wolfgang Paap as the second drummer, adding the rhythm’n’blues-side to Romanos’s free perspective. Already expressed by the name of his band, Wilen and his team show their extraordinary capacity of a tightrope walk between jazz rock and free jazz, a very natural crossover at that time. As “Dear Prof. Leary” shows, the “free rock” he plays with his colleagues is full of tongue-in-cheek hints, picks up classics from pop and soul and always gets his grounding from the blues.The LP starts with Lennon / McCartney’s “Fool on the Hill” with Wilen slipping into the skin of the fool with a slightly ironical touch, and Lorenzini alternately breaking out with crazy wah-wah effects. In the closing track, Otis Redding’s famous “Respect” riff is almost rendered in a non-chalant way and then gradually deconstructed on a high-energy level, including a unique, bluesy and at the same time free solo by Kuehn. In between those classic corner pillars Wilen’s quintet embarks on a journey which gets its driving force from the meeting of beat and jazz: The title track includes Kuehn’s wild organ escapades, duelled by Wilen’s tenor and based on a thumping groove, with an anarchic interplay of freaked out voices – greetings to Timothy! “Ode To Billie Joe” once again shows Kuehn’s bluesy vein, while “Dur Dur Dur” explodes with a rocky mood, gathering the whole band in one groove, causing the listener to remember Hendrix as soon as Lorenzini treats his guitar. But it is their version of the Motown hit “Why Do You Keep Me Hanging On” which underlines the rock-jazz encounter in the most striking way – as the beat part of the band plays the original material on the left channel and then getting the direct answer with Wilen and Kuehns’ contribution from the right. In contrast, Coleman’s “Lonely Woman” reflects a rather additive technique of beat drums and collective impro.As J.E.Berendt states in his liner notes, jazz has always influenced the development of pop music. Wilen allowed himself to fetch back something – in a truly multi-faceted, amazing, free and rocking way. "
    $21.00