Finally the legit remastered version on deluxe vinyl-replica of one of the most legendary Italian prog records ever. Maxophone, released on the Produttori Associati label (along with Duello Madre) is a marvellous and timeless album, full of dreamy atmospheres and complex horn arrangements, with good vocal parts in a Genesis style. Other influences may be PFM and Gentle Giant, tough Maxophone keep a very distinctive and unique sound. This remastered edition faithfully reproduces the sound of the original master tape of the version with English lyrics, while the cover and artwork is the exact replica of the vinyl version of 1976, including extended liner notes in a separate booklet.
Maxophone are an Italian Progressive rock band formed in Milan in 1973. They released one self-titled album in 1975. The group was one of the few rock artists signed by the Produttori Associati record label, which focused mostly on film soundtracks and Jazz. Maxophone have since acquired a minor cult following that has endured for over three decades, long after their short career had ended. Among fans of the Italian progressive rock genre Maxophone is today widely regarded as one of the top groups, along with PFM, Le Orme, and Banco. The group and their record label thought they had tremendous potential for success. They were one of only a handful of such groups to have the opportunity to record an English language version of their album. more..
Intense, is a word that comes to mind when listen to this YES-influenced classic from the seventies. The band simply doesn't slow down for a minute as they rush through the multiple sections in each song. My only complaint is that they should have considered releasing an Italian version (like the MAXOPHONE album) of the album. The English vocals are okay (the accents are fine), but the music is really screaming for some Italian. If you're in the mood for YES-influenced music done with the energy, and optimism, of the 70's Italian prog scene then you will love this CD. ~ Steve Hegede
This is a very good live album from Alan Price which features a good mix of his old and new original material and a nice set of covers, such as Simon Smith and I Put a Spell on You. While the songs from O Lucky Man would be the best known, there are other gems here, such as Between Today and Yesterday (the LP which followed O Lucky Man) and the set as a whole is great listening. The musicians are top-notch and the production sounds really good; the drum sound is well captured, for example. Alan is in fine voice and sounds as if he's really enjoying the show(s). Highly recommended for fans of Alan Price, R&B or Randy Newman type songwriters.
When Rolled Gold was initially released in 1975, there was no shortage of Rolling Stone compilations — hell, there were two others released that year, the useful Decca/London-era rarities compilation Metamorphosis and the slapped-together Rolling Stones Records singles comp Made in the Shade, containing the American singles released on Rolling Stones Records in the early ’70s, along with assorted album tracks.
This Norwegian folk outfit started out in the early 70s mixing acoustic instruments (fiddle, mandolin, banjo and piano) with the electric guitar, bass and keyboards. They created an earthy music made up of playful, catchy melodies with male/female vocal interplay. Despite important personnel changes over the years (their first-rate lead female singer was replaced, among others), they have managed to remain true to their sound and have churned out over ten fine albums between 1974 and 1998. Their highest rated album is their third, entitled "Vardøger", closely followed by their first two, "Folque" and "Kjempene på Dovrefjell" released in the mid-70s, and by "Fredløs" and "Sort messe" released in the early 80s…
Reuniting with Larry Mizell, the man behind his last three LPs, Donald Byrd continues to explore contemporary soul, funk, and R&B with Places and Spaces. In fact, the record sounds more urban than its predecessor, which often played like a Hollywood version of the inner city. Keeping the Isaac Hayes, Curtis Mayfield, and Sly Stone influences of Street Lady, Places and Spaces adds elements of Marvin Gaye, Earth, Wind & Fire, and Stevie Wonder, which immediately makes the album funkier and more soulful. Boasting sweeping string arrangements, sultry rhythm guitars, rubbery bass, murmuring flügelhorns, and punchy horn charts, the music falls halfway between the cinematic neo-funk of Street Lady and the proto-disco soul of Earth, Wind & Fire. Also, the title Places and Spaces does mean something – there are more open spaces within the music, which automatically makes it funkier. Of course, it also means that there isn't much of interest on Places and Spaces for jazz purists, but the album would appeal to most fans of Philly soul, lite funk, and proto-disco.