Using his mysterious Economic Confidence Model, Martin Armstrong predicted financial market crises and global conflicts with incredible precision. When some big New York bankers asked him to join "The Club" to help them to take over Russia, he refused to join the manipulation. A few days later the FBI stormed his offices accusing him of a 3 billion dollar Ponzi Scheme and put him in prison for twelve years. Was it an attempt to silence him and prevent him from initiating a public discourse on the real Ponzi scheme of debts that the world has been building up for decades? Now he's back—with his scariest prediction yet.
The Monkees formed in 1966 when Micky Dolenz, Davy Jones, Mike Nesmith, and Peter Tork were picked out of a mass casting call to portray a band on a zany T.V. sit-com designed to mimic the madcap spirit of the Beatles' A Hard Day's Night. The brainchild of producer/directors Bob Rafelson and Bert Schneider, the show was a ratings phenomenon and won 1967's Outstanding Comedy Series Emmyr. Through the efforts of music industry legend Don Kirshner, who employed the biggest Brill Building songwriters of the day to pen hits for the group, The Monkees' records were a smash as well.
Italian composer and musician Marco Ragni has been a presence in the Italian music scene for a quarter of a century or thereabouts, and following a couple of decades in various band constellations he decided to venture out as a solo artist a few years back, launching his first solo album back in 2010. "Mother from the Sun" is his fourth studio recording, released towards the end of 2014. To give you an idea, think of the Pink Floyd albums A Saucerful of Secrets, More, Ummagumma, Atom Heart Mother (side two), Meddle, and Obscured By Clouds as major inspirations. Add to this the late sixties California hippy scene and the fact that Marco is Italian, and you have three strong foundations for a unique blend of psychedelic music with folk and funk and classic prog.
The group's first U.S. release in two years featured ornate playing from Kerry Minnear on keyboards and Gary Green's loudest guitar work up to that time. The Power and the Glory is also a fairly dissonant album, yet it made the charts, albeit pretty low…