Essential: a masterpiece of progressive rock music.
The metal of the medal in a medley
Even though it (sort of) copied its layout AHM's successor did not top the charts, but instead it brought Floyd on the brink of greatness, just behind the bend. For some reasons, Meddle doesn't suffer of the same controversy than AHM did, which is rather strange, because it if has much higher and outstanding peaks, it is also much less even, because the lows on this album are simply awful. With that bizarre yet fascinating Hypgnosis artwork of mixing an ear and waterdrops on rippling the surface of calm waters, Meddle has not only a weird unnatural name, but the album was released in early 71 like its predecessor with the name and title on the cover, something that Crimson or Zep were also doing with success.
Excellent addition to any prog rock music collection
More or less?
With the commercial pop side now eluding Floyd's attempts, French cineaste Shroeder's proposition to create the soundtrack for his first film must've fallen from the skies, a bit as Zeus' gift. This project is instrumental in Floyd's middle career, definitely turning its back from the pop single market. Some progheads have problems considering this album a real Floyd album (some even pointing the group did as well), mostly due to the OSF letters printed on the intriguing psychedelic artwork. But there are a lot of real gems on More, some are even classic Floyd songs. If some people are put off by this, the shorter song format and the word Soundtrack are the culprits. Do indulge as this is a real Floyd album, because it is quite instrumental and experimental and very representative of Floyd's then-actual soundscapes.
Here are sets of Pictures to suit almost every personal art gallery. The newest issue (though not the most recently recorded—it has a 1979 analogue source) is the least memorable. The orchestral playing is excellent and certain portrayals are striking, the ”Ballet of Unhatched Chicks”, for instance and ”Samuel Goldenberg and Schmuyle”, while the closing sequence is strongly projected.
This is the real stuff, the very best of the group’s early albums and the best representation of the Chieftains’ original sound.
The debut album by the Chieftains, recorded when they were still a semi-professional outfit, is more restrained than their subsequent efforts. The opening number introduces each of the bandmembers, Paddy Moloney and Sean Potts on pipes, followed by Michael Tubridy on flute and David Fallon on bodhran, Martin Fay on the fiddle, and then Tubridy on the concertina. The group would later acquire what can only be called a more soulful approach, but the playing here was a revelation at the time, if only for its stripped-down authenticity.
Essential: a masterpiece of rock music
WHAM BAM THANK YOU MAM
Deeply inspired by the rise and fall of Vince Taylor (whom Bowie incidentally met in 1971). David/Ziggy will mix this story with science-fiction themes, the atmosphere of the star rock system mixing the whole stuff with his androgynous look. Ziggy will appear as such on stage. Intelligent glam rock? Probably.
Essential: a masterpiece of progressive rock music
There’s no question that Billy Cobham is one of the most talented and influencial drummers on the planet. I had high hopes going into this one that it would be another “Birds Of Fire” shred-fest. Not quite, although the first song delivers big time in that style. Jan Hammer, his old MAHIVISHNU ORCHESTRA band mate helps out, while Tommy Bolin doesn’t disappoint on guitars. We also get some bass, sax, flugelhorn, trumpet and flute to round out this mostly jazzy sounding album.
James Taylor had scored eight Top 40 hits by the fall of 1976 when Warner Brothers marked the end of his contract with this compilation. One of those hits, the Top Ten gold single “Mockingbird,” a duet with his wife Carly Simon, was on Elektra Records, part of the Warner family of labels and presumably available, but it was left off.
The first solo David Gates's album.
“If you have an ear for creativity, listen to Sonya, whose phrasing and
chromatic chords are reminiscent of Stuff Smith and Ray Nance.
Watch out for her.” Miles Davis