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.
Essential: A masterpiece of Progressive-Folk music
The Young Tradition was formed on 18 April 1965 by Peter Bellamy (8 September 1944 – 19 September 1991), Royston Wood (born 1935 died 8 April 1990) and Heather Wood (born Arielle Heather Wood, 31 March 1945, Attercliffe, Sheffield, Yorkshire) (who was unrelated to Royston Wood). Most of their repertoire was traditional British folk music, sung without instrumental accompaniment, and was drawn especially from the music of the Copper Family from Sussex, who had a strong oral musical tradition. They augmented the pure folk music with some composed songs which were strongly rooted in the English folk tradition, such as sea shanties written by Cyril Tawney, of which “Chicken on a Raft” was the most notable.
Poco’s biggest-selling album of all time also presented the biggest personnel change at one time for the then-decade-old group, whose lineup had hardly been a model of stability up to that time. Co-founding drummer/singer George Grantham and longtime bassist/singer Timothy B. Schmit were both gone, the latter off to the Eagles. Listening to parts of this album, one gets the sense that, with the arrival of Charlie Harrison (bass, harmony vocals) and Steve Chapman (drums) in the group, Poco was deliberately adopting a change in sound similar to what the Eagles went through when Joe Walsh joined, into much harder rocking territory, at least part of the time.
Excellent addition to any Prog-Rock music collection
Really good follow up to Heavy Horses despite all the difficulty surrounding the band, and reminds us not only how prolific and accomplished Ian Anderson is, but the impact Jethro Tull’s music has had on everything from folk rock and pop to minstrel metal and symphonic cheese. It doesn’t chart much new territory, the songs resembling classic Anderson shanties more than something thematic, leaner than previous work and though not outstanding like Horses, it’s one of those albums that catches you off-guard with the quality of the material. Thanks, Ian, for being there in hard times and good.
Excellent addition to any Prog-Rock music collection
Now, it must be said, I’m inclined to love just about anything Gentle Giant ever released or even breathed on. Thus, with the following praise in mind, unprepared fans of the band’s earlier work may get to this album, and a song like “I’m Turning Around,” and laugh their pants off. This would be an unfortunate reaction. Okay, so there is definitely a shift in direction evident on this album — there are less overtly “proggy” songs, more purely rocking songs, and a general lifting of the intense burden of creating “yet another insane experimental masterpiece!!!” that every album preceding seemed to bear.
After the Buffalo Springfield imploded, Neil Young recorded his first, eponymous solo album, an elaborately overdubbed affair that cast him in the role of brooding singer-songwriter. But soon after that record was released, in January 1969, Young began jamming in Los Angeles with a band called the Rockets, redubbed Crazy Horse, and started a relationship that would change guitar rock forever and form the foundation of his career. If Neil Young had an aura of careful subtlety bordering on tentativeness, Everybody Knows This Is Nowhere felt raw, rushed, energized. Indeed, Young dashed off the album’s three central songs — “Cinnamon Girl,” “Down by the River” and “Cowgirl in the Sand” — in a single fever-addled afternoon, and Young and the band play with an almost reckless disregard for prettiness, precision, clarity.
Essential: A masterpiece of progressive rock music.
THE POWER AND THE GLORY is one of Gentle Giant’s more “difficult” albums, there’s no doubt about that. It’s also one of my favourites from this highly inventive and influential English prog band.
Dating from 1974, this concept piece delves — with fitting cynicism — into the political experience, and the compromise, corruption, betrayal and egotism that go hand-in-hand with high office. (The cover, depicting a glowering, playing card king, is a classic.)
In 1975, Poco left Epic Records after six years and jumped to ABC Records. Less than a year later, Epic released this 38-minute live album recorded at a series of November 1974 shows. By this time in their history, Richie Furay and Jim Messina were long gone, and steel guitar player Rusty Young and guitarist Paul Cotton were the dominant musical personalities in the group, between them providing all but one of the songs represented here.
Excellent addition to any Progressive-Rock music collection.
A hugely successful album on its release, “How Dare You” spawned two monster hits “I’m Mandy Fly Me” and “Art for Art’s Sake”. I remember I hardly had this off the turntable at the time. Each song is a gem, there is no filler on this brilliant album.