"Magic Christian Music" is an debut album by the British rock band Badfinger, released in early 1970 on Apple Records. Three tracks from the LP are featured in the film The Magic Christian, which also gives the album its title. However, Magic Christian Music is not an official soundtrack album for the film.
Official reissue of the 1976 debut by SPRIGUNS (previously known as Spriguns of Tolgus). The band adopted a Fairport-like electric folk-rock sound, capped by Mandy Morton's silky velvet vocals. Electric violin and electric guitars evoke misty ancient moorlands and create a suitable backing for Mandy's beautiful voice. Fabulous.This is one superb UK folk rock album that until now has been only available via bootlegs or expensive Japanese imports.
After the dissolution of Savage Grace, John Seanor and Ron Koss released this album with the help of King Errisson (congas, percussion), John Seiter (drums), and John Sebastian (harmonica). The album is described by timeshifter at RYM as “semi-funky A.O.R. with some bluesy cuts, some horns and harmonica, Jagger influenced vocals, decent song writing, and some rural moves”.
After a decade in the business playing with Yes, King Crimson, Genesis and UK, Bill Bruford's first solo album finds him going in the jazz direction his career would eventually exclusively become. The music on this album was written between January and June 1977 rehearsed for three weeks and recorded and mixed at Trident Studios in London, August 1977.
In the '80s, Jethro Tull was no longer the dominant force on the rock scene they had been throughout much of the previous decade, but the indomitable Ian Anderson continued to make ambitious records based on themes of ages past, even in an era of skinny ties and drum machines. BROADSWORD AND THE BEAST has a marked swords-and-sorcery motif; Anderson is depicted as a winged elfin creature on the cover. Despite such leanings, producer Paul Samwell-Smith–original bassist for the Yardbirds–gives the record a modern gloss, weaving the synthesizer playing of Peter-John Vettesse and the out-sized guitars of Tull stalwart Martin Barre through BROADSWORD's vaguely medieval-sounding romps.
The astonishing technical variety and wide emotional range contained in Domenico Scarlatti’s keyboard sonatas make each and every encounter a rewarding adventure in which the listener is seldom left untouched. This is Pierre Hantaï’s third solo disc of Scarlatti’s sonatas though only the second in his current series for the Mirare label. It contains several pieces less frequently performed than others and with which many readers may find themselves unfamiliar. The first item, in fact, is one of only seven sonatas of Scarlatti’s that is a straightforward fugue. It is an uncharacteristically didactic piece, even a shade austere compared to the rest of Hantaï’s recital which contains a kaleidoscope of colourful images. What Hantaï seems to be emphasising in his choice is that elusive, somewhat abstracted improvisatory quality present in so many of the pieces and of which the Sonata in E major K 215 provides a well-sustained example. Generally speaking, Hantaï follows Ralph Kirkpatrick’s suggestion that Scarlatti probably intended to group his sonatas into pairs or occasionally threes according to key.