Nada Mamula (9 January 1927 – 11 October 2001) was a professional singer of Radio Sarajevo, born during the time of the Kingdom of Yugoslavia.. She started her career on Radio Beograd, where she passed an audition in 1946 (as Nada Vukicevic). In 1946 she delivered her first ever professional performances as Nada Vukicevic, she moved to Sarajevo and started to work on Radio Sarajevo. She was one of the most popular singers of Yugoslavia in the second half of the twentieth century. Her discography includes three LPs records released by Jugoton, four LPs released in America, Canada, The Netherlands and Bulgaria and a few dozen singles. She died and was buried in Belgrade in 2001. She left about 500 recordings as well as traditional Montenegro, Macedonian, Slavonian, Serbian and Bosnian songs in the archives of Radio Beogard, Radio Novi Sad and Radio Sarajevo. Some of them are not saved or deleted, and we will never hear it again, until scientists find a method to capture an echo from the stars of radio waves emited 50s and 60s
Excellent addition to any prog rock music collection
What a mindblowing debut-album this is! The very melodic and harmonic music from this five-piece band is based upon an incredible dynamic and propulsive rhythm-section and splendid, very exciting Hammond organ work, often accompanied by a powerful and fiery electric guitar. The interplay between the musicians is magnificent and the excertions on keyboards and guitar are very compelling, in the spirit of the late Sixties and early Seventies.
Flushed with the success of his first solo effort and the continuing adulation from his role in the supergroup CSNY, Stephen Stills must have felt like he could do no wrong, and in many instances, his second solo disc proves him right.
Essential: A masterpiece of progressive rock music
Back in 1970, whilst browsing in my favorite used record store, i came across this album. Despite the ghastly sleeve art (not the cover pictured above), i turned it over and noticed “Sympathy” included in the track listings, a song i had heard many times on the radio in the office but had never really taken much notice of, despite it being a huge hit single. The photo of the band clinched it – in those days any strange album i found depicting “four hippies in a field / park / wood” was worth investigating as part of my “scene”.
Limited Edition Japanese pressing of this album comes housed in a miniature LP sleeve with the latest 24bit/96kHz mastering. Michael "Dodo" Marmarosa, born Pittsburgh, December 12, 1925, died September 17, 2002, jazz piano player, a link between swing and bebop, recorded with (among others) Lester Young, Charlie Parker, Lucky Thompson, Barney Kessel, Charlie Barnet and Slim Gaillard; retired from music, early sixties; died 76. That's what you surely will read in many books about him. Of course, Dodo disappeared from music when he was only 36; but he'll forever remain as one essential link between the swing era and bebop. Maybe he was one of the founders of bebop. Just a great musician.
Essential: a masterpiece of Folk music
Brady’s first solo album, Welcome Here Kind Stranger is his second (and final) folk recording prior to his embarking on a successful, long-term foray into the realm of mainstream rock. Its title is a phrase taken from one of the album’s songs: “The Lakes of Pontchartrain”. The album was initially released (vinyl and cassette) on Dónal Lunny’s Mulligan label (LUN024) in 1978 and was voted “Folk Album of the Year” by Melody Maker magazine. The album was never officially released on CD due to a breakdown in the relationship between Brady and the Mulligan label and remained out of print for many years, until finally re-mastered and released in 2009 on Brady’s own label, PeeBee Music.
Essential: a masterpiece of progressive rock music
The traditional oriented “Soldiers Three” opens this extraordinary wonderful psychedelic folk album, and it’s vocal arrangements for several voices and medieval like guitar interludes gives a strong first impression.
Like the sublimely seedy roadside joints of America’s rural South — where you can shoot pool, buy fishing worms and have your lawnmower repaired all in the same room — Fetchin Bones are dedicated to the sort of unexpected variety that somehow seems to work. On their debut album, the North Carolina quintet peddles an exciting mix of revved-up rock, country twang, folk, blues and swing, driving it all home with unrestrained energy and unpolished charm. The crazed quaver in singer Hope Nicholls’ voice provides the heart of the Bones’ sound; three songs without her lead vocals are the album’s weakest cuts. Producer Don Dixon admirably translates the group’s wild-eyed persona to vinyl, but this is a band that must be seen live for a full grasp of their eclectic frenzy. Delightfully different graduates of the R.E.M.-inspired school of Southern pop. (The CD and cassette add three tracks.)
Essential: a masterpiece of progressive rock music
No illusion here…don't miss this beauty
If you've even been confused about the two line-ups of Renaissance and how the story played out, you need to look no further than our band page here which has a forum thread called "A Renaissance confusion" written by Joolz which spells out this complete history in full detail. This first version of the band which produced the first two albums is considered somewhat illegitimate by some fans of the famous second line-up. In a way, the feel of the albums is bit like that of the Yes discography, where those first two Yes albums are often overlooked by casual fans. And like those first two Yes albums, the first two Renaissance albums stand on their own, delivering music that by all means should appeal to Haslam-era fans and symphonic fans in general.
Essential: a masterpiece of progressive-rock music.
As Nice As Mother Makes It
After two very robust but patchy albums the Nice adopted a slightly different approach to their third by exploiting a half live/half studio hybrid. They felt that this (on the advice of their new manager Tony Stratton-Smith) would showcase the 'best of both worlds' as the studio precedents were not felt to do justice to their live performances.