Providence were the only American band signed to the Moody Blues' Threshold label back in the seventies. The group hailed from the Pacific Northwest, and distinguished themselves by their lack of a drummer, featuring instead nothing but various stringed instruments and a keyboardist. The keyboardist played piano, harpsichord, and sometimes organ, rather than ARP or Mellotron like so many of the band's contemporaries. The band's lone released album was produced by longtime Moody Blues producer Tony Clarke, and the band's music, particularly the vocals, reveal the strong influence of that band. The band recorded original compositions that featured languid string arrangements, sometimes psychedelic guitar as well as acoustic, and a bass that pretty much comprised the rhythm section for the band…
Celebrating its eleventh anniversary this year, Hungarian fusion metal quartet Special Providence is undoubtedly one of a few most cherished, consistent and enjoyed bands in the genre today. Just about every one of the band’s previous three albums has been utterly remarkable, as the group never ceases to blend simplicity with technicality, straightforward with complex. On its fourth opus, “Essence of Change,” the Hungarians once again exceed expectations with another thrilling, powerful and delightful ride full of intricate arrangements, colourful sound, and stunning songwriting. Following the success of their 2012 release “Soul Alert,” Special Providence expand their horizons by demonstrating how unique, confident, and focused the band is, regardless the keyboardist change.
Clive Langham (Sir John Gielgud) spends one tormenting night in his bed suffering from health problems and thinking up a story based on his relatives. He is a bitter man and he shows, through flashbacks, how spiteful, conniving and treacherous his family is. But is this how they really are or is it his own vindictive slant on things?
Dan Lampinski recorded over 100 concerts in the Providence/Boston area, mostly between 1974 and 1978. His earliest recordings were made with an internal microphone deck, and though they are somewhat lo-fi compared to his later work, some very great moments in rock history were captured for posterity. In late 1974 he bought a Sony TC-152SD tape recorder, a Sony ECM-99 stereo microphone, and began using Maxell cassettes. He was also fortunate enough to have a friend who provided excellent taping seats for many shows, resulting in high quality recordings.