Il Cerchio Medianico - Un'Opera Prop Di Stefano Agnini

Bitrate: 320K/s
Year: 2017
Time: 48:23
Size: 111,8 MB
Label: AMS Records
Styles: Progressive Rock/RPI
Art: Front

Tracks Listing:
 1. Introduzione - 1:38
 2. Un Attimo Di Vita - 5:03
 3. Canzone Della Bambina Senza Testa - 4:09
 4. Canzone Delle Colpe - 5:28
 5. Arrivo dello Spirito Guida - 3:18
 6. Canzone delle Cose Vietate - 5:27
 7. Canzone della Realta Disidratata - 4:37
 8. Canzone del Cantautore - 5:05
 9. Canzone della Fanciulla di Paglia - 3:49
10. Morte e Distruzione - 5:18
11. Canzone delle Poche Cose - 3:14
12. Enoizudortni - 1:10


For Stefano Agnini's first solo album he has release what he calls ‘a prop opera’, where the word ‘prop’ is simply a curious expression contraction ‘prog-pop’. Il Cerchio Medianico contains in fact traces of Canterbury sound, jazz-rock, funk, Italian songwriting, spoken word, popular music, classic Italian progressive rock, even moments clearly inspired by Frank Zappa (“Arrivo dello spirito guida”, “Canzone delle cose vietate”).

There are multiple guests from other Italian bands on this recording:
Fabio Zuffanti (Finisterre, Höstsonaten, La Curva di Lesmo, La Maschera Di Cera)
Luca Scherani (Höstsonaten, Fabio Zuffanti, La Coscienza di Zeno, La Curva di Lesmo)
Stefano Lupo Galifi (Museo Rosenbach, Il Tempio delle Clessidre)
Martin Grice (Delirium, Z-Band)
Matteo Nahum (Höstsonaten)
Boris Savoldelli (Società Anonima Decotruzionismi Organici )
Melissa Del Lucchese (La Coscienza di Zeno)
Daniele Sollo (Höstsonaten)
Andrea Orlando (Finisterre, Höstsonaten, La Curva di Lesmo, La Coscienza di Zeno)
Marco Callegari (Höstsonaten)

Un'Opera Prop Di Stefano Agnini

Midas - Midas II

Bitrate: 320K/s
Year: 1996
Time: 51:18
Size: 118,3 MB
Label: Belle Antique
Styles: Progressive Rock/Symphonic Prog
Art: Full

Tracks Listing:
 1. Beginning -  1:06
 2. Flying Denture -  2:59
 3. Live To Die -  6:21
 4. Pure Days -  4:18
 5. Into The Silence -  5:43
 6. La Festa -  5:15
 7. The Night Sky Lies Without A Word -  6:22
 8. Future Life -  6:32
 9. Line-Line II - 12:38

Musicians:
Kenjiro Kawakatsu -drums, percussion
Eishyo Lynn - keyboards
Shohei Matsuura - Chapman Stick, bass, acoustic guitar
Eigo Utoh - lead vocals, electric violin, electric guitar

Midas were seemingly falling in hiatus after the release of ''Beyond the clear air'', as Eigo Utoh was too busy with his normal job as a dentist to handle both a demanding occupation and the needs of a regular group.Three years would pass before his passion for music would come again on surface, reforming Midas with Eishyo Lynn again on keyboards and newcomers Kenjiro Kawakatsu (drums) and Shohei Matsuura (bass) (formerly of Mugen) joining in.Changing label, the group would now land on the endless list of Belle Antique bands and this way the new album ''Midas II'' sees the light in 1996.
The new album does not offer any significant changes in the style of Midas, which play an intricate mix of Symphonic Rock with touches from a U.K.-influenced Fusion, close to the sound of compatriots OUTER LIMITS.The violin work of Utoh with his instant Classical melodies is again on evidence with the most significant change coming in the keyboards section, where Lynn's performance is now a bit sharper and less grandiose.Vocals are still in Japanese and they are least bearable, the music on the other hand ranges from good to great, always delivered through fascinating arrangements, complex breaks and solos and pure, symphonic melodies.Both the synthesizers and the rhythm section sound a bit thin at moments, but generally the song structures follow Midas' familiar style, shifting from bombastic instrumentals to more elaborate and smooth plays.You often get the feeling the keyboards edges come from a Neo Prog album, the next time though Lynn's offerings get back to a very Classical-inspired mood along the principles of THE ENID.The romantic ''La festa'' with the alternating violin/synthesizers themes is propably on of the best example for the fascinating sound of Midas. The first two albums of Midas could have been easily released in reverse order, as this one has a more 80's-like vibe overall.But the music is great, polished and well-executed and the group avoids any of the cheesiness met in the mass of Japanese bands.Great album, strongly recommended...

Midas II

Rikard Sjoblom's Gungfly - On Her Journey To The Sun

Bitrate: 320K/s
Year: 2017
Time: 74:37
Size: 172,0 MB
Label: Inside Out Music/Sony Music
Styles: Progressive Rock/Crossover Prog
Art: Full

Tracks Listing:
 1. Of The Orb - 10:43
 2. On Her Journey To The Sun -  5:00
 3. He Held An Axe -  4:49
 4. My Hero -  7:46
 5. If You Fall (Pt. 1) -  3:09
 6. Polymixia - 11:38
 7. Over My Eyes -  4:39
 8. Old Demons Die Hard -  6:56
 9. Keith (The Son Of Sun) -  5:33
10. The River Of Sadness - 12:02
11. All A Dream -  2:17

Sweden’s multi instrumentalist Rikard Sjoblom has made quite the name for himself over the past decade with his band Beardfish, rising to rather high echelons of the modern progressive rock scene before calling it quits last year. Not one to sit on his laurels, he soon got to work on solo material under the moniker of Gungfly (Swedish for “unsecured ground”). Sjoblom had previously released material under the name in 2009, and then again last year. This year’s ‘On Her Journey to the Sun’ marks the third release under the Gungfly name, and it is likely to please fans across the genre.
Bringing together a barrage of gifted musicians to work with him (including Beardfish guitarist David Zackrisson), the band begins the album in great flair with “Of the Orb.” The song is classic Sjoblom, meaning it’s very heavy on keys, and very much of the 70s vein of prog. Unsurprisingly it’s also very reminiscent of his material with Beardfish. An honest confession, I’ve never been a big fan of Beardfish, thinking the music is a bit too much of the 1970s; vintage is fine, but I prefer modern bands to branch out a bit more and do something new. I’m not sure if anything on here is newer, but I like it a lot more than I do any Beardfish record. And “Of the Orb” is an especially good start to an album.  After a quiet ambient spoken word opening saying “this is all a dream” it grabs the listener by both ears with the tasty, swirling key work, and crunchy guitars as well. The lyrics are also deeply personal, dealing with loss, a topic Sjoblom has written much on due his own personal tragedies, but with the lines “I would have died for you, why couldn’t I die instead of you?” sung with the emotion he puts into them are simply chilling. Frankly if you’re not moved in some way by his performance on this track I’d question if you were human.
The rest of the album moves along swiftly and pleasantly with a nice mix of prog and jazz as well. The vocals are very good throughout, and the playing tight. That being said, my favorite piece on the album (aside from the opening track) is the 11 minute instrumental “Polymixia” which allows the whole band to stretch out and play. Besides Sjoblom on keys (and also guitar) the band has two additional keyboardists Sverker Magnusson and Martin Borgh, that many keyboardists on an album/song could easily become a soupy, headache–inducing mess, but it never does. While keys dominate the song (and much of the album),  drummer Petter Diamant and bassist Rasmus Diamant anchor everything down with their solid, often jazzy playing. And the above mentioned guitarist David Zackrisson has some wonderful playing on this particular track as well.The album continues in a somewhat calmer fashion with “Over my Eyes” and “Keith (The Son of Sun)” before picking back up with the final throat grabbing track, a guitar driven (which is not to say the keys take a back seat, but the guitar is more present) “The River of Sadness.” At just over 12 minutes it’s the longest track on the album and musically sums up the album as a whole. Vintage prog, with flashes of tightly played jazz, all topped with the impassioned vocals of Sjoblom which ties it all together. Like the rest of the album, the song doesn’t break any real new ground, either in the overall sound, or prog in general. But it is well executed and, above all, fun and exciting to listen to, and the vocal melody is catchy enough to get stuck in your head for the rest of the day. The album closes the way it began with “All a Dream,” ambient music with spoken word ending with “this is all a dream,” a fitting bookend that ends the album nicely. With ‘On Her Journey to the Sun,’ Rikard Sjoblom’s Gungfly have put out a fine example of progressive rock, with strong vintage 70s sounds. It’s an often emotional and stirring journey, accompanied by vibrant and lush keyboard work and solid, tight playing by all the musicians involved.  It is sure to please fans of his previous band Beardfish and fans of classic 70s progressive rock in general. Recommended.

On Her Journey To The Sun

The Silos - Laser Beam Next Door

Bitrate: 320K/s
Year: 2001
Time: 37:06
Size: 85,3 MB
Label: Checkered Past Records
Styles: Rock
Art: Front

Tracks Listing:
 1. Satisfied - 3:14
 2. Drunken Moon - 4:25
 3. Sangre Y Lagrimas - 2:55
 4. Where Ya Been - 3:07
 5. I Believe - 3:48
 6. The Title Of This Song - 3:14
 7. Four On The Floor - 3:04
 8. One World - 3:26
 9. Disfrute - 2:46
10. Jean-Marie - 4:18
11. Wooky Do - 2:44

Distilling their personnel and their sound down to that of a basic guitar trio, the Silos followed up 1998's reconstructing Heater with Laser Beam Next Door, a rushing collection of garage-style rock & roll tunes the group had been road testing for at least a year. Leader Walter Salas-Humara focuses his energy like on no other previous Silos effort, but perhaps the laser's target is a bit too small. His lyrics are direct, and even at times a bit too simple. The fuzzy guitar attack that launches "Satisfied" sounds predictably tame by the fourth track. "Where Ya Been" sports your run-of-the-mill derivative classic rock power riff, and comes of sounding a bit like a poor man's Foo Fighters. Even so, the off-kilter charm of tunes like "Title of This Song" and "Wooky-Do" (in addition to perhaps betraying a large quotient of N.R.B.Q. in Salas-Humara's record collection) can easily make up for it. Requisite Spanish numbers "Sangre Y Lagrimas" and "Disfrute" are more successful that many of their English counterparts -- not so much for their lingual uniqueness, but for the fact that they are supported by the two best melodies of the entire album. Still, this is a rocking album that breezes by easily.

Laser Beam Next Door

Rascal Flatts - Back To Us

Bitrate: 320K/s
Year: 2017
Time: 45:14
Size: 103,7 MB
Label: Big Machine
Styles: Country
Art: Front

Tracks Listing:
 1. Yours If You Want It - 3:26
 2. Hopin' You Were Lookin' - 2:55
 3. I Know You Won't - 3:52
 4. Dance - 3:21
 5. Back to Us - 3:58
 6. Kiss You While I Can - 3:14
 7. Vandalized - 3:21
 8. Are You Happy Now (feat. Lauren Alaina) - 3:58
 9. Hands Talk - 3:34
10. Thieves - 3:10
11. Love What You've Done with the Place - 3:31
12. Roller Rink - 3:11
13. Our Night to Shine - 3:37

Back to Us is the tenth studio album[a] by American country music trio Rascal Flatts. It was released on May 19, 2017 through Big Machine Records. The group produced the album themselves, save one track on the deluxe edition, which was produced by busbee. "Yours If You Want It" was released in January 2017 as the album's lead single. The album serves as a follow up to 2014's Rewind.
Country singer Lauren Alaina features on the track "Are You Happy Now", which was co-written by all three members of Rascal Flatts. "I Know You Won't" was previously recorded by Carrie Underwood on her 2007 album, Carnival Ride.
The record's lead single, "Yours If You Want It", was released on January 9, 2017. One of the song's writers, Andrew Dorff, notably passed away shortly before its release.

Back To Us

Bjorn Riis - Forever Comes To An End

Bitrate: 320K/s
Year: 2017
Time: 47:57
Size: 110,0 MB
Label: Karisma Records
Styles: Progressive Rock/Crossover Prog
Art: Front

Tracks Listing:
 1. Forever Comes to an End -  8:18
 2. Absence -  2:42
 3. The Waves -  7:24
 4. Getaway -  7:53
 5. Calm -  3:50
 6. Winter - 10:16
 7. Where Are You Now -  7:32

Musicians:
Bjorn Riis (Airbag) - guitar, vocals;
   With:
Henrik Fossum (Airbag) -  drums, percussion;
Asle Tostrup -  programming;
Simen Valldal Johannessen (OAK)- piano;
Sichelle Mcmeo Aksum - vocals.

Bjorn Riis has released the first track from their up coming new album of the same name. Forever Comes To An End is due to be released on May 19th, 2017 and will be released on CD, Double Vinyl and as a digital download.
A highly respected guitarist within the internet guitar community, and with his own blog, followed by thousands of fans each week, Riis’s musical journey started back in his very early teens when bands like KISS and BLACK SABBATH held sway along with the heavily guitar-oriented side of the classic rock era of the ’70’s. The subsequent emergence of Progressive Rock bands such as PINK FLOYD, PORCUPINE TREE, MARILLION and GENESIS, together with genres like Electronica and Movie Scores also played a huge role in the formation of the nascent guitarists’ musical direction.
Forever Comes To An End is the follow up to 2014’s highly acclaimed, and award-winning, Lullabies In A Car Crash and is set for release on the 19th of May.
Forever Comes To An End pays tribute to all these diverse influences. From the dark and dirty riffs of Toni Iommi and Zakk Wylde, to the emotional playing of David Gilmour and Steven Rothery. The melodic and sombre voice of Steven Wilson and Tim Bowness and the cinematic landscapes of composers like Thomas Newman and John Barry. And the whole is brought together by Riis very skilled and very individual touch.
Written and produced by Riis himself, and engineered and mastered by long-time collaborator Vegard Kleftas Sleipnes, Forever Comes To An End features guest appearances from AIRBAG’s Henrik Fossum on drums and Asle Tostrup on programming, Simen Valldal Johannessen from OAK on piano, and vocals from the Norwegian singer, SICHELLE MCMEO AKSUM.

Forever Comes To An End

Midas - Tough The Clear Air

Bitrate: 320K/s
Year: 2013
Time: 49:34
Size: 114,5 MB
Label: Belle
Styles: Progressive Rock/Symphonic Prog
Art: Full

Tracks Listing:
 1. Crimes In Confusion - 11:50
 2. The Nightsky Lies Without A Word -  6:00
 3. 7th February -  6:49
 4. Midasaurus -  6:04
 5. Destiny Warriors - 12:40
 6. Foundation -  6:10

Midas were one of the unheralded "Made In Japan" groups who recorded their debut album in 1988, before a long hiatus. It's unfortunate that Midas went by so unnoticed; Beyond The Clear Air is certainly one of the better late 80s Japanese symphonic albums. If you're familiar with bands like Teru's Symphonia, Pageant, Mr Sirius, and especially Outer Limits then you'll have a good idea of Midas' contemporaries. The Outer Limits comparison is important due to the violin; Midas' music is dominated by their excellent violinist as well as many of the keyboard sounds. The music is richly symphonic with a definite Genesis edge - the keyboard patterns are solidly within the Banks/Kelly/Orford style yet occasionally break out into Wakeman/Watkins like soloing. The vocals are similar to many of the Japanese groups of the time with male vocalists, decent, yet a bit shaky at times. With four tracks (two of them very long) on the album and a lengthy bonus track, this is a very nice reissue that most into symphonic or neo styles should certainly like.

Tough The Clear Air

Silverhawk - Hangover Bicycle Ride

Bitrate: 320K/s
Year: 2007
Time: 46:38
Size: 107,9 MB
Label: Mastan Music
Styles: Rock/Alt.Rock/Psych-Americana
Art: Front

Tracks Listing:
 1. Golden Screw - 2:34
 2. Fireflies - 2:52
 3. All the Girls Eat Drugs - 3:31
 4. Hells Kitchen - 2:13
 5. Cry, Cry - 3:57
 6. Into the Sea - 4:51
 7. Down the Drain - 1:40
 8. Drinking Makes Me Feel Better - 3:41
 9. Buy Yourself a New Blade - 2:36
10. Drive My Ass Around Town - 3:47
11. My, My, Mary - 1:57
12. Frenzied Brigade - 2:09
13. Two Ton Silverhawk - 3:02
14. Die Someday - 4:13
15. Rock N Roll Heart - 3:29

This is the long awaited CD from the Portland, OR based band Silverhawk. Several years in the making, this collection of great Psych-Americana is heartfelt and rocking. Sam and John Densmore's songs are uniquely crafted, intelligent and truly musical at every turn. From start to finish, Hangover Bicycle Ride exemplifies everything that is good about contemporary music. This record pushes the boundaries while at the same time honors the classic rock and roll tradition.
These tracks sound great. I like the whole lofi analog digital vibe. Organic sounds that are chopped up. Yes! --Jonathan Plum (co-producer Pearl Jam, Alice in Chains), London Bridge Studios, Seattle, WA

Hangover Bicycle Ride

Imperial Star Project - I.S. P 1

Bitrate: 320K/s
Year: 2004
Time: 63:28
Size: 143,6 MB
Label: KzoueRock
Styles: Rock/Jam Band
Art: Front

Tracks Listing:
 1. Shake Your Thing - 3:52
 2. Language T. - 4:04
 3. T-Bone - 2:50
 4. Religion - 2:36
 5. Anybody - 3:03
 6. Sex D. - 2:18
 7. Dance - 1:21
 8. Action - 4:25
 9. Oops #8 - 2:08
10. I.I.I - 6:24
11. Punk Wife - 1:48
12. Break Away - 4:51
13. Funny Lady - 2:42
14. 90% - 3:40
15. Birthday - 3:32
16. Come To Get Her - 3:07
17. Dry World - 6:29
18. mojimoj1 - 4:10

Imperial Star Project is a jamming band. They play their music in improvisation style. This cd is more song oriented. If you are really into free-style jam, their 3-03-04 cd might be the one. Their tone is raw. They don't care much about melody line. But, they do care about power and emotion. Actually,the guitar sound is very bluesy.The rhythm section is very deep and groovy.So, Punk mixed with Funk is the key element of the Imperial Star Project sound.

I.S. P 1

Akenathon - Peregrino

Bitrate: 320K/s
Year: 2009
Time: 48:15
Size: 110,8 MB
Label: Self Released
Styles: Progressive Rock/Symphonic prog
Art: Full

Tracks Listing:
 1. Balada Para un Final - 4:44
 2. Insomnio - 5:21
 3. Los Pajaros - 4:46
 4. Edipo - 5:00
 5. Parte De Mi Ulma - 4:00
 6. Lluvia - 5:36
 7. Peregrino - 6:13
 8. Esquizo - 6:28
 9. Sur Urbano - 6:03

Musicians:
Carlos Faloco Teclados - Guitar, Flute, Vocals;
Anibal Acuaro - Guitar, Vocals;
Carlos Burre Bajo - Guitar, Vocals;
Pedro Militello - Drums.
Guest musicians:
Matias Paya Gonzalez - Bass
Yanina Grilli - Sax

Akenathon es una banda platense que tiene su origen en el ano 2001.
Ese ano Anibal Acuaro, procedente de “Entremuros (hard-rock)”, y Carlos Faloco, por entonces musico solista, cruzan sus caminos y deciden generar un proyecto en comun.
Tomando como punto de partida algunas composiciones de Acuaro, comienzan los ensayos; Carlos Faloco se hace cargo de los teclados, guitarra, flauta y voz mientras que Acuaro ejecuta la guitarra y se encarga de la voz principal.
En esta etapa se dibuja ya el perfil de la banda que, aunque deja ver muy variadas influencias, muestra un corte netamente sinfonico-progresivo.
Desde los comienzos en 2001 hasta el 2005 fueron muchos los musicos que en bateria y bajo transitaron las filas de Akenathon, pero es en marzo de 2005 donde se incorpora Pedro Militello como baterista. Desde esa fecha asume el mando de los parches poniendoles su sello distintivo.
En estudio se hace cargo de las partes del bajo Matias Gonzalez de estudios Argot de La Plata. Editando en 2010 el primer disco de Akenathon: PEREGRINO
Nueve eclecticas composiciones que recorren una importante variedad de generos dentro del progresivo.
En este disco, podemos encontrar colores caracteristicos del jazz o del blues, tanto como matices heavies, progresivos o sinfonicos, sin depreciar pasajes folkloricos como en “Sur Urbano” o baladas como en “Balada para un final”, todo interpretado con la marca inconfundible de esta banda.
En Marzo de 2009 Akenathon incorpora como bajista al multiinstrumentista Carlos Burre.
Tras la partida de Burre, en Febrero de 2011 se hace cargo del Bajo Franco Jimenez.
En Marzo de 2011 Faloco deja la banda y se incorporan; Raquel Pereyra en trompeta y coros y Henry en teclados y guitarra.
En setiembre de 2011 Akenathon se presenta en el Festival La Plata Prog, siendo ademas una de las bandas organizadoras de este evento que coloca a la Ciudad de La Plata en la vanguardia de esta genero musical en Sud America.

Peregrino

Zed - Zed

Bitrate: 320K/s
Year: 1981
Time: 35:45
Size: 82,7 MB
Label: Atlantic
Styles: Hard Rock/AOR
Art: Front

Tracks Listing:
 1. Dark Horse - 3:33
 2. Luckless Romantic - 3:31
 3. Right Now - 3:44
 4. Casino - 4:46
 5. No Prisoners - 4:09
 6. Universe - 4:08
 7. Human - 3:15
 8. This Time - 5:08
 9. Energy - 3:27

Musicians:
Nigel Jenkins - lead vocals, guitars;
Graham Jarvis - drums;
Paul Westwood - bassю
Additional Musicians:
Dave Lawson - keyboards;
Mike Moran - piano;
David Lloyd - backing vocalsю

Taking their name from the British pronunciation of the letter Z, Zed released two albums although I've never come across the group's second 1983 Europe only release 'Holding On'. Who were this unknown trio? Well for starters, all three were well respected session players in the UK, appearing on albums from Cliff Richard and Jon Anderson to Gerry Rafferty. Even more interesting were Zed's choices for additional players, in particular Mike Moran who played keys with Queen more than once and Dave Lawson from Greenslade who according to the band's bio was Zed's behind the scenes 'unofficial' fourth member.
Entirely written and co-produced by group leader Nigel Jenkins, the album never took off, selling paltry amounts before disappearing in cut-out bins. That's not to say it was a bad album. In fact, it's quite good but from a production standpoint sounds like it was recorded in the late 70's. Early Charlie, Aviator UK and even Dave Mason take a peek in, but more importantly the first two Chris Rea albums, in particular his 1979 'Diamonds' release are the strongest points of reference. Rea and Jenkins have a similar bluesy vocal style and on 'Right Now', the two gentlemen are almost interchangeable. Lyrically, Jenkins tends to explore the dark side of life, while the rich instrumentation; in particular Lawson's keyboard work creates an album with a lot of depth and feeling. 'Casino', the anthem-like 'No Prisoners' and the rollicking 'Universe' are all excellent although it's easy to understand how this might have gone over the heads of American kids still grooving to 'Hi Infidelity' and just discovering Foreigner '4' and 'Escape' as Zed sound like they come from another planet in comparison.
Zed's albums have never been on CD and it's doubtful they ever will. Like so much British rock and AOR from this period (75-81) the reissue labels have yet to tap bands like Krazy Kat, the aforementioned Aviator, Jet, Voyager, The Local Boys, Merlin, John Townley's excellent 'More Than A Dream' album and The Movies in favor of the North American bands, second and third time reissues of 'name' artists and bands as well as those with a traditional '80s sound. Money is an issue of course, accessibility to masters and some of this stuff just won't sell other than to geeks like me and yet in the meantime, so much good music goes unheard, deteriorating in a vault somewhere. Maybe someday..

Zed

PBII - Rocket! The Dreams Of Wubbo Ockels

Bitrate: 320K/s
Year: 2017
Time: 62:30
Size: 148,2 MB
Label: Self Released
Styles: Progressive Rock,Neo-Prog
Art: Front

Tracks Listing:
 1. ROCKET (Pt. 1) - 5:23
 2. Gravity - 4:46
 3. On My Own Again - 5:41
 4. Mother - 4:42
 5. Life In The Cloud - 5:28
 6. ROCKET (Pt. 2) - 4:58
 7. Trapped - 3:54
 8. Pure Destruction - 4:05
 9. Nothing Is Real - 5:41
10. Happy Energy - 4:48
11. Blue Marble - 7:32
12. ROCKET (Pt. 3) - 5:26

The songs are based on the legacy of Wubbo Ockels the Dutch astonaut. On his last day — and with his last breath — he reminded us of our responsibilities. “ROCKET! The Dreams of Wubbo Ockels” is a gripping CD. It is based on the last poignant wish of a dying person — Save the Earth now!! PBII has the unique talent to address important social issues by means of their spectacular and captivating music resulting in the mobilisation of people to take action! PBII is expanding its musical view on the albumg,Assisted by three violinists and a cellist. In addition, Ignas to Wiel is doing the the percussion job.
And ... on the song Trapped, the lead vocals are done by nobody less than Nad Sylvan! Of course, the album has been recorded and produced at The Hollandspoor Studios by Chris Muller. The mastering Took place at Amsterdam Mastering

Rocket! The Dreams Of Wubbo Ockels

Germinale - Scogli di Sabbia

Bitrate: 320K/s
Year: 2005
Time: 79:51
Size: 183,9 MB
Label: Vinyl Magic
Styles: Progressive Rock,RPI
Art: Front

Tracks Listing:
 1. Un Mondo Chiama un Mondo - 6:03
 2. Di Nuovo a Casa - 7:07
 3. Oltremare - 6:13
 4. Gatto Rosso - 6:19
 5. Tributo ai Genesis - The Knife - 7:25
 6. Tributo ai Jethro Tull - Wond'ring Aloud - 3:12
 7. Tributo ai King Crimson - Dr. Diamond - 5:55
 8. Kalevala - La Battaglia per il Sampo - 7:18
 9. Malcreanza - 6:29
10. Germinale - 1:17
11. Dioniso (non piu) Inquieto - 4:06
12. Eleonora - 3:49
13. Il Lento Risveglio - 5:28
14. Lucciole per Lanterne - 6:48
15. Il Mago (bootleg soundcheck) - 0:31
16. L'ultimo Sguardo - 1:42

In 2001 Germinale released their third work on Mellow Records, ''Cielo & Terra'', that saw them offering a more Art Rock and less Italian Prog-oriented album, which dissapointed the fans worldwide.After some performances on compilation and tribute albums, Germinale released independently the album ''Scogli di sabbia'' in 2005, that worked more or less as a sum of their long and interesting career.
The first four tracks were all previously unreleased, featuring new female singer Sara Nannipieri, new drummer Mario Cuffaro and also a new bassist, Sebastiano Sacchetti.These tracks propably belong among the best of Germinale's repertoire.It's excellent modern Italian Prog, much more dynamic than most of the official ones, with a sound similar to compatriots CONQUEROR and several influences from the 70's tradition of the country.The musicianship is very rich yet melodious with light jazzy influences among the more melodic/symphonic passages, featuring excellent interplays between keyboards, piano and flutes and some awesome guitar lines.The nice and atmospheric vocals of Sara Nannipieri just strengthen the CONQUEROR comparisons.The style ranges from vintage-flavored Italian Prog with powerful breaks to atmospheric Progressive Rock with some nice synthesizer and deep bass work, really excellent stuff.
The next four pieces in line are three Genesis/Jethro Tull/King Crimson covers along with a track appearing in the ''Kalevala'' multi-band album a couple of years earlier, all of them though were previously released on tribute albums of the past.All covers are nicely executed with great respect to the original structures, decent English vocals and some good technique compared to the masters, especially ''Wond'ring Aloud'' from Jethro Tull really shines through.The ''Kalevala'' piece, ''La Battaglia per il Sampo'' is very close to mid-70's P.F.M., having strong symphonic, Fusion and Folk inspirations, led by its electroacoustic sound and the dominant flute parts, thus creating a sinister yet charming atmosphere.
The remaining seven pieces are all captured live, coming from the three previous official releases of the band.Even the ''Cielo & Terra'' tracks sound great here and the overall style ranges from rhythmic KING CRIMSON-esque Progressive Rock to smooth Classic Italian Prog with romantic vocals and sensitive musicianship.These pieces scan the whole Germinale history and are good examples of the band's development over the years.More detailed, the Prog fan will meet here compositions with mellow piano parts, light guitar moves and lyrical moments to more instrumental-inclined textures with a complex power and dark, groovy parts.
''Scogli di sabbia'' worked as a farewell album for Germinale, as the same year the band was put on ice, following an official site announcement.This is a very good compilation album and propably the place to start if you don't own any of the band's previous releases.Strongly recommended.

Scogli di Sabbia

Ganbara - Banan Banan

Bitrate: 320K/s
Year: 1985
Time: 43:25
Size: 99,5 MB
Label: Elkar
Styles: Prog Folk
Art: Front

Tracks Listing:
 1. Bilutsik Azkenean Ur Bazterrenean - 6:28
 2. Herrimina - 4:34
 3. Goizean Goizik Jeikirik - 7:07
 4. Bermioko Uholdeak - 3:57
 5. Zertara Yiten Zira - 6:33
 6. Pinudia Lainotan - 5:24
 7. Bereterretxeren Kanthorioa - 6:27
 8. Banan Banan - 2:53

Musicians:
María Eugenia txeberría - voz;
Angel Uzu - guitarras y voz;
Josean Martín Zarko - guitars and vocals;
Juan Ezeiza - traditional instruments;
Josetxo Fernández - piano and synthesizer;
Eduardo Salvador - bass and flute.

Ganbara fue el grupo de folk-rock vasco más importante. Algunas de sus características lo relacionan con la primera generación del nuevo folk (Haizea, Izukaitz…): unir la tradición con el jazz y el pop, la bella voz solista de Maria Eugenia Etxeberria y unir instrumentos populares con eléctricos. El legado de Ganbara han sido seis discos y músicos que han seguido un largo camino en otros grupos o como solistas.
Ganbara surgió en 1982 de un grupo de músicos del entorno del jazz y la música clásica que comenzó a reunirse en 1979. Angel Unzu (guitarra), Maria Eugenia Etxeberriak (voz), Juan Ezeiza (violín, alboka, txirula), Josean Martin Zarkok (guitarra, bozouki, voz), Josemari Mujika (batería y percusiones) y Jesus Etxeberria (piano, bajo y voz) formaron el primer septeto. Pronto grabarían su primer disco, Behin batean (Soñua, 1982). Demasiado rápido, en su opinión: “De prisa y corriendo. Pagamos la novatada. A partir de ahí intentamos corregir lo hecho” (1). De todos modos, aquel disco, si bien no era todo lo elaborado que debía, ya mostraba claramente a un grupo preciosista que, bebiendo de la tradición, quería hacer una música más personal y trabajada.
Aquellos primeros años fueron complicados. Era la explosión del rock en Euskal Herria. Pocos conciertos, poco eco… Hasta que en 1985 ganaron el primer premio nacional de folk en el certamen de Toledo. En total 175 participaron en el concurso que ganó Ganbara. Como consecuencia, aparecieron en Televisión Española. El premio cambión completamente la suerte del grupo. Entre otras cosas, el ganador debía grabar un disco. De ahí surgió Banan banan (Elkar, 1985), anque el material era previo al concurso. Se trata de un disco mucho más maduro, más claro, en el que los componentes de Ganbara no tienen reparo en unir la música tradicional con otros estilos.
Hubo cambios en el grupo: Jesus Etxeberria lo dejó y en su lugar entraron en Ganbara Josetxo Fernandez (piano, sintetizadores) y Eduardo Salvador (bajo). Los cambios en la base rítmica serían constantes a partir de entonces. El  núcleo del grupo formado por Maria Eugenia Etxeberria, Josean Martin Zarko, Angel Unzu y Juan Ezeiza, en cambio, se fortaleció.
Después del premio los conciertos fueron frecuentes y el grupo comenzó a salir al extranjero. Fue su etapa más prolífica. En el disco Harat honat (Elkar, 1987) el grupo consiguió una sonoridad más profunda, con la voz potente de Etxeberria los elaborados juegos de las guitarras y el color de los instrumentos tradicionales. En aquella época Juan Ezeiza decía los siguiente sobre la música del grupo: “Nos suelen decir que hacemos folk progresivo, tomando la música tradicional y modernizándola, haciendo pruebas y experimentos. Sobre todo, mezclamos instrumentos tradicionales y modernos. A veces tomamos una melodía tradicional y le ponemos letra, o al revés”
En aquel disco, además, emplearon por primera vez el acordeón y la trikitixa. Para ello contaron con Joxan Goikoetxea (Alboka). Además de Goikoetxea, Jose J. Lera (batería), Jose A. Gonzalez (bajo) y Josetxo Fernandez de Ortega (piano) participaron en la grabación.
Ganbara(tik) (Elkar, 1989) es seguramente el disco más elaborado y conocido de Ganbara. De nuevo hubo cambios en el grupo. Jose Angel Loran (acordeón), Alex Blasko (piano) y Mikel Artieda (bajo) entraron en la formación. Se ha dicho que es el disco con más sabor tradicional del grupo. Hay que destacar un colaborador de renombre: Paddy Moloney, mítico gaitero del grupo irlandés The Chieftains y una de las grandes figuras del folk europeo.
En Buhamien balleta (Elkar, 1992) el grupo cambió por completo. Josean Martin Zarko y Angel Unzu fueron los únicos fundadores que continuaron, y se unieron a ellos algunos músicos de jazz: Txema Garces (bajo), Pello Ramirez (acordeón, violoncello) y Josetxo Goia-Aribe (saxofón tenor). Junto a ellos Garbiñe Benitez (voz) eta Alex Blasko (piano) completaban la formación. El primer disco de Ganbara sin batería. El más jazzero.
El grupo grabaría aún un disco más, Itsas zabalean (Elkar, 1995) antes de desaparecer. Angel Unzu tomó su propio camino para unirse a grandes nombres de la música vasca: Benito Lertxundi, Kepa Junkera, Jabier Muguruza… además de producir discos de Alaitz eta Maider, Benito Lertxundi y Olatz Zugaztiren, y publicar dos discos como solista instrumental: 13 solos (Jazzle, 2000) y Melodías de piel (Elkar, 2003).
Josean Martin Zarko fue miembro de Alboka desde 1994 a 2001, participando en los dos primeros discos del grupo. Después creó Euritan Blai con Maria Eugenia Etxeberria y Juan Ezeiza. Josean y Juan, junto con músicos gascones,  llevan la música del grupo Xarnege con gran éxito por los escenarios del mundo. Han unido las músicas de las dos culturas en el disco Gaueko lan musika-Música de contrabanda diskoa (Pyrene, 2004) e IXO-SHO (Pyrene, 2009), y ofrecido docenas de conciertos por Europa y América. Los dos han participado además en un proyecto más cercano en lo musical a Ganbara: se trata del grupo Lantz con Mikel Errazkin (Sorotan Bele), Alaitz Telletxea (Alaitz eta Maider, Patxi eta Konpainia), Xabi Lopez (Beti Mugan, Kanta Ttikiak), Garbiñe Insausti, Olatz Prat (Zuri&Beltz, Karelean) y Oihana Lekuona (Mikel Errazkin HF). De nuevo unieron folk, pop, rock y jazz en Igaran gaiak (Hirusta, 2007).

Banan Banan

Stephen Richard - Spectrum

Bitrate: 320K/s
Year: 2017
Time: 66:04
Size: 151,4 MB
Label: Self Released
Styles: Jazz/Contemporary Jazz
Art: Front

Tracks Listing:
 1. Warrior Song - 5:47
 2. New Day - 6:39
 3. Doll of Satin - 5:43
 4. For the Love of You (feat. Christal Garrick) - 6:50
 5. I'm so Proud (feat. Andre Hayward) - 3:42
 6. I Can Be Anything (feat. Jeremy Schwanke) - 3:29
 7. Third Coast Blues (feat. Andre Hayward) - 5:58
 8. Give Me All Your Love, Pt. 1 (feat. Kiland) - 3:36
 9. Give Me All Your Love, Pt. 2 - 5:30
10. Stroll with Me (feat. Quiana Lynell) - 5:34
11. I'm so Proud (Flipped It) [feat. Andre Hayward] - 6:34
12. Lover's Land - 6:35

From my heart to your ears, this project has something for every taste and styl.This album Spectrum is 1 of 2 projects I released simultaneously. I designed this project to specifically display my musical palette from all styles and genres and to help knock down the musical barriers and labels society place on the music. If you want to know who I am and who influenced me this is the project to listen to. It includes Jazz, R&B, Folk and Blues/

Spectrum

Chris Bell 100% Blues - Silverbridge Records

Bitrate: 320K/s
Year: 2017
Time: 51:08
Size: 119,9 MB
Label: Silverbridge Records
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Baptized By the Blues - 4:32
 2. Paycheck to Paycheck - 3:29
 3. Whiskey Ain't Working - 3:27
 4. Elevator to Heaven - 6:25
 5. I'm Your Man - 5:16
 6. Keep on Movin' - 4:27
 7. Second Wind - 3:25
 8. Again - 3:50
 9. Ali Shuffle - 3:13
10. Shantytown - 2:39
11. Come Back Home - 3:35
12. Doin' Time - 3:00
13. Drinks Are for Free - 3:46

Chris was born in Washington, DC, and raised in Massachusetts on down-home cooking as well as on blues, jazz, rhythm & blues, and gospel music by his New York City dad and North Carolina mom.  Before starting to play guitar at fourteen years old, he studied in Germany, where his dad was a visiting professor of American and African American Cultural Studies. Later, as an art and music major at the University of Massachusetts, Chris participated in jazz workshops with Archie Shepp and in a summer session at Berklee.  He also studied guitar with Tony MacAlpine.  His major influences range from B.B.  King and Albert Collins to Jimi Hendrix and Stevie Ray Vaughan.
Chris is currently the producer and host of "100% Blues," a cable access TV show in the Los Angeles area.

Silverbridge Records

Organissimo - B3tles (A Soulful Tribute to the Fab Four)

Bitrate: 320K/s
Year: 2017
Time: 67:46
Size: 155,5 MB
Label: Big O Records
Styles: Jazz/Hammond B3 Organ
Art: Front

Tracks Listing:
 1. Taxman - 5:08
 2. Dig a Pony - 6:12
 3. And I Love Her - 6:06
 4. All You Need Is Love - 5:40
 5. Can't Buy Me Love - 5:20
 6. I Will - 5:20
 7. Dear Prudence - 6:59
 8. Come Together - 4:38
 9. The Long and Winding Road - 6:00
10. If I Fell - 4:18
11. While My Guitar Gently Weeps - 5:59
12. Within You Without You - 6:01

Musicians:
Jim Alfredson - Hammond Organ / Wurlitzer Electric Piano / Synthesizers
Lawrence Barris - guitars
Randy Marsh - drums, harmonica
w/ Bill Vits - percussion (#1, 3, 5, 9, 12)
Mike List - tabla (#12)

Pop music has been a rich resource jazz artists have mined for genera- tions and the music of the 1960s is no exception with many finding inspiration in the songs of The Beatles, the quintessential band of that era.
organissimo, the acclaimed Michigan-based trio centered around the powerful Hammond B3 organ, presents a new take on the Beatles oeuvre on its 6th album, B3tles - A Soulful Tribute To The Fab Four. While traveling the highways of the American South returning from a festival in Tupelo, MS, in 2016 the band passed the time listening to their favorite Beatles songs and inevitably discussed arranging them for the organ trio format. They eventually convened in Alfredson’s home studio to flesh out those ideas and pick songs, with arrangements coming together in a group setting as ideas flew back and forth.
Founding members organist Jim Alfredson and drummer Randy Marsh came up with a clever approach to the George Harrison classic “Taxman,” that opens the album as it also does Revolver which inspired the cover art on B3tles. Paul McCartney’s iconic bassline is present but squeezed into 7/8 time, instead of the original 4/4. The band deftly shifts back and forth between signatures as guitarist Lawrence Barris provides funky stabs and a George Benson-esque solo over the 4/4 vamp. Barris, the newest member of the band, contributed heavily to the arrangements. Metric shifts continue with his arrangement of “All You Need Is Love,” swung in 5/4 time, with interspersed measures of 3/4 and he also came up with the gospel feel of “The Long And Winding Road,” inspired by Aretha Franklin’s version from 1972 and the swinging versions “If I Fell” and “I Will.”
On “Dig A Pony,” a hidden gem from Let It Be, the band rips through a jazz waltz with a tricky solo from Marsh at the end. “Can’t Buy Me Love” grooves along with a mighty shuffle, an organ trio staple since the days of Jimmy Smith, which features percussion from Bill Vits. Mr. Vits and Mike List add to the psychedelia of “Within You Without You,” with Alfredson manning a massive modular synthesizer and running his Hammond through effects pedals, modulators and other studio wizardry to create a lush soundscape that embraces the listener.
B3tles presents a fresh look at beloved Beatles songs and the care organis- simo has put into their music makes this album a joyful and inspired listen.

B3tles (A Soulful Tribute to the Fab Four)

Romanza-Bekkan - The Grand Romance In Far East

Bitrate: 320K/s
Year: 2005
Time: 52:32
Size: 121,8 MB
Label: Roman-za
Styles: Progressive Rock/Neo-Prog
Art: Front

Tracks Listing:
 1. Mugen No Utage - 7:50
 2. Sunahime - 6:43
 3. @Hotel_Panorama - 7:42
 4. Akai Dress No Maria - 6:01
 5. Koisuru Osama - 7:25
 6. Tsumibukaki Chocho - 7:47
 7. Colchis No Shanikusai - 6:24
 8. Koyoi Mo Romance - 2:36

Musicians:
Hina - vocal;
Ikkou Nakajima - guitar;
Myourou Kitashirakawa - keyboards;
Katsunori Hamada - bass;
Satoshi Izatani - drums.

Nakajima Ikko may be best known as the ounder of Pageant. Later he formed Ie Rai Shan. Romanza is a band he formed in 1999.
Ikko NAKAJIMA, the frontman / guitarist of a Japanese Symphonic Prog gem PAGEANT, obviously influenced by Genesis, has worked out a detailed plan for founding an offshoot for reproducing PAGEANT faithfully in late 1990s. In 1999 he finally founded ROMANZA as another incarnation of Japanese Symph / Neo-Prog, but sadly this combo went into hibernation owing to the female vocalist stepping down two years later. Ikko invited another female vocalist HINA and founded another (short-lived) offshoot ROMANZA-BEKKAN and released an album A Grand Romance In Far East (Toho Dai-Romance) in 2005.
In 2013 “original” ROMANZA became active again and have gigged vigorously around Japan (no official album yet except some unofficial live albums).
In general Japanese Neo-Prog combos are highly qualified and lowly originated, let me say. Recently there are so many good players and their recording condition (mixing, mastering, directing) is basically not bad, but I cannot feel huge addiction nor impression via their good material, regardless of "so-called" originality they claim. Yes their "originality" is not real originality ... melody lines, rhythmic basis, or soundscape via their material might be almost like I've heard somewhere previously. Hmm something is different about that.
Anyway, this album "The Grand Romance In Far East" would be in another dimension methinks. ROMANZA-BEKKAN founded by Ikko NAKAJIMA is one of offshoots of a Japanese Neo / Symphonic Progressive combo PAGEANT, and Ikko says "clearly" their playing style would like to lean toward GENESIS. Sharp-edged passionate guitar fulminant and gorgeously brilliant keyboard stream have obviously got influenced by the progressive rock vanguard, and it's comfort they understand what they want to do. Qualified play is of course awesome and dramatic theatrical melody lines and lyrics completely ring the bell of Neo-Prog freaks.
A "Romantic" portfolio of sound and creation ... this phrase might be fit for their musical view. The vocalist Hina cannot be felt so skillful nor so expressive but who cares? Her serious and sincere voice attitude for songs can be appreciated, and all of Romanzers at another venue (Bekkan in Japanese) play decent Neo-symphonic progressive rock upon this creation. Obvious Neues cannot be heard but highly recommended for every symphonic (authentic or Neo) progressive rock fan.

The Grand Romance In Far East

Trouble No More - Time Machine

Bitrate: 320K/s
Year: 2011
Time: 38:24
Size: 88,2 MB
Label:  Root 66 recording company
Styles: Blues/Rockin Blues
Art: Front

Tracks Listing:
 1. Time Machine - 2:56
 2. I Was a Fool -  the Fool Walks Away - 5:30
 3. Rock On - 3:33
 4. Shot Down (Yea, That's Alright) - 3:31
 5. Papa Picante - 3:09
 6. Beatnik Bongo - 2:26
 7. Johnny Was a Gravedigger - 3:33
 8. Pick it up and Go - 4:12
 9. Little Girl, Shake it Down - 2:53
10. How Long - 2:56
11. Rock On (Remix) - 3:38

TNM is on a mission to blur the lines of roots music. They'll take you to the edges of Rock, Surf and the Blues. The rock & rollers will call this a blues album, the blues purists will call this a rock album.
"Time Machine" is a collection of songs written by Guitarist/Singer/Songwriter, Dale Peterson. But as the former leader of The Rhythm Lords, began the sessions he thought he was recording his next solo CD, but the personalities and musical styles gelled immediately and so "Trouble No More" was born.
"I always liked being in a band. I like the shared experience and influence that a particular group of people can have in defining a sound".
After spending the last decade starting a new record company, a new recording studio and focusing on a life long dream project, a 2 CD tribute to his father, musician/songwriter Harry Peterson, Dale was ready to get back to some rock & roll. "During that time I was always writing songs and planning for a follow up to my breakout solo CD, "Full Circle". I wanted to get back to my blues and rock & roll roots".
Steph Traino (Bass guitar & back up vocals) has been working off and on with Peterson ever since he joined the Rhythm Lords in 1990. When the guys where considering a name for the group Steph woke up one morning and it was in his head, Trouble No More! It's a positive name with a positive message which is also a song title by one of my favorite bluesmen, Muddy Waters. "Steph has worked with producer Ken Scott, Singer/Songwriter Blonde Chaplin and on Iggy Pop's Kill City.
Hampton Flanagan (Drums, Percussion & back up vocals) has worked with many singer/songwriters as well as straight up blues, surf, Latin and rock & roll bands. He has toured Europe and throughout the Southwest.
Mike Malone (Piano & Organ) is a long time friend who augments the band. He has toured and worked extensively with sax legend, Joe Houston is also leader of his own group, Mike Malone and the Soul Collectors.
Gerard Boisse (Alto, Tenor & Baritone Sax) is a busy session player and is also currently a member of the band, Rusty Venture
Trouble No More are primed and ready to tour. This is a group of road warriors who have proven themselves as true American rockers with thousands of miles of road performance experience and several recordings under their belt individually. They have recorded and shared the stage with numerous blues and rock legends playing to large crowds at festivals and concert clubs as well as thousands of roadhouses and rock clubs that litter the highways of the United States and Canada as well as stints in Europe.

Time Machine

Patrick Recob - Perpetual Luau

Bitrate: 320K/s
Year: 2017
Time: 48:11
Size: 111,2 MB
Label: Mr. Lucky's Blues Recording Co.
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Frustration Blues - 6:12
 2. We Have Got It Going On - 3:21
 3. Words Are Like Bullets - 2:24
 4. Dark Night of the Soul - 3:12
 5. Ballad of Maison 66 - 2:42
 6. Let Me Give You All - 3:09
 7. I Kept My Cool - 4:34
 8. Lamieux's Jungle Strut - 2:32
 9. Help! Is on the Way - 5:24
10. Grave Yard Woman - 3:12
11. Soul Cry - 3:58
12. Find the Answer - 4:20
13. For Love's Desire - 3:05

The album features 13 originals and features musical performances by James Harman, Nathan James, Mike Tempo, Marty Dodson & Laura Chavez.
Patrick Recob is an old soul. That phrase gets bandied about, but in Recob’s case, it couldn’t be more true. His debut album, Perpetual Luau, is testament. Here is a talented, blues multi-instrumentalist, that in all respects should have been sharing stages with the Chicago greats 60 years ago. If he’d been alive then, that is.
Currently based in Kansas City, Recob has an impressive resume. A member of the Gary Primich Band in the mid-90s, he then spent nearly a decade with Lee McBee & The Confessors. After McBee’s passing in 2014, he took over vocals for the group, and also plays with Hank Mowery & The Hawktones. As infomercial guru, Ron Popeil would say, “But wait. There’s more!” Recob has recorded with Steve Gerard & The National Debonaires, and Smokin’ Joe Kubek and Bnois King. He’s toured with James Harman, and several other groups, and, is a much sought after session musician.
Now comes his debut album release, Perpetual Luau. For this project, produced by James Harman & Nathan James, Recob has gathered a flight of top-notch musician friends. Harman brings his harmonica mastery to the tracks. James’ unmistakable guitar, the drums, and percussion of Marty Dodson, and Mike Tempo, respectively, and guest guitar slinger, Laura Chavez, round out the group. Recob, himself, provides the vocals, bass, and acoustic guitar.
Perpetual Luau is a cohesive collection of 13 original tracks. They’re each as familiar as the streets of our home towns, yet fresh, and inviting. From the time we pushed play, and James’ slide guitar introduced us to, “Frustration Blues,” we were absorbed. This is simple, classic, blues. Nothing elegant, rather the kind of music that surely whirled up from the depths of Theresa’s Lounge. Recob has a strong, deliberate voice. You can hear the influence of the masters he so admires, yet he’s no copycat artist. The longest track on this offering, it’s the perfect opener for what’s to come.
Next up is, “We Have Got It Going On.” Written for his wife, Lisa, this one is also a tip of the hat to the late, great Arthur Alexander. For those too young to remember, Alexander was an underappreciated genius. His mixture of country music, and soul was passed on to the masses by artists including the Beatles, Rolling Stones, Bob Dylan, and George Jones. Recob nails the vibe, even adding lead guitar to this breezy, loving tune. Another, along this vein, is “Let Me Give You All.” A loving nod to the earliest days of rock n roll, James’ guitar is dripping with tremolo.
“Words Are Like Bullets,” transported us to the Windy City’s South Side, where Elmore James, and Jimmy Reed held court. Chavez’ guitar rocks this one from beginning to end. She is not just a phenomenal female guitarist, she is a phenomenal guitarist period. Speaking of Chicago, the West Side sound is well represented on, “I Kept My Cool.” This belly-rubber, again, has Chavez in top form.
Our favorite picks from this offering are three-fold. All of the artists involved in this recording seem to have a knack for channeling the influential masters of the craft. Nowhere is that more evident than on the BB King inspired vibrato guitar, and soul-soaked vocals of “Help! Is On The Way,” or the obviously Magic Sam influenced, “Find The Answer.” Our third choice is the hard-driving, “Grave Yard Woman.” Not only does it have that quintessential blues beat, but demonstrates some absolutely killer slide guitar. Recob’s vocals are powerhouse on this one, and who doesn’t love a song about the devil?
Our one complaint, is the lack of audible bass. Whether on electric or doghouse, Recob has been a talented, prominent bassist for decades. He’s provided that fat, bottom end on some great music, but here, those talents seem to be lost in the mix.
Funny thing about this record. Whether it’s the funky, instrumental, “LaMieux’s Jungle Strut,” the back porch acoustic sounds of, “Soul Cry,” or the beatnik poem set-to-music, “For Love’s Desire,” we could picture ourselves, somewhere, on a beach. Maybe it’s because it was recorded at Sacred Cat Studios in Oceanside, California. Maybe it’s just the album title getting in our heads before we even began listening. Maybe, just maybe, be it Chi-Town, Muscle Shoals, or Memphis, it seems many of Recob’s influences came from near water. Ok, maybe that last one’s a stretch.
Regardless, this record is pure, relaxing, enjoyment. It makes the listener feel, somehow, at ease. Even though the world, with all it’s complexities, swirls around us, there’s always time for a warm, tropical breeze, some splendid blues, and a cold Mai Tai. Perfect for those upcoming, summer evening gatherings, get yourself a copy now!

Perpetual Luau

Brad Stivers - Took You Long Enough

Bitrate: 320K/s
Year: 2017
Time: 36:51
Size: 84,9 MB
Label: VizzTone Label Group
Styles: Blues/Rockin Blues
Art: Front

Tracks Listing:
 1. 2 000 Miles - 2:15
 2. You're Just About to Lose Your Clown - 3:27
 3. Put it Down - 4:01
 4. Took Yourself Long Enough - 3:32
 5. Here We Go Again (with. Emily Gimble) - 3:09
 6. Nickel and a Nail (with. Malford Milligan) - 6:09
 7. One Night of Sin - 4:15
 8. Can't Wait - 2:43
 9. Save Me - 3:43
10. Cold Sweat - 3:32

Brad Stivers is a natural – a young, soul-stirring blues and roots singer, songwriter and guitarist from Austin, Texas, playing and writing in the great American tradition. Just barely in his mid-twenties, Brad is in the vanguard of the next generation of musicians who will shape and define those genres in this century.
Along with a recent tour to Italy and Switzerland, Brad has been touring regionally and soaking up the rich musical atmosphere of the Austin blues rooms. His fan base is expanding as fast as his horizons, and he has his eyes on a West Coast and Midwest tour. Brad plays with his own band and spends his off-nights sitting in or filling in with other musicians on the scene. For TOOK YOU LONG ENOUGH, Brad dips into the deep Austin talent pool to employ the services of acclaimed B3 Organ player Bukka Allen, guest singer Malford Milligan and singer/pianist Emily Gimble.

Took You Long Enough

Robin Trower - Time and Emotion

Bitrate: 320K/s
Year: 2017
Time: 52:06
Size: 121,6 MB
Label: V12 Records
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. The Land Of Plenty - 4:24
 2. What Was I Really Worth To You - 5:00
 3. I'm Gone - 2:51
 4. Bitten By The Snake - 3:52
 5. Returned In Kind - 7:18
 6. If You Believe In Me - 7:05
 7. You're The One - 3:42
 8. Can't Turn Back The Clock - 3:35
 9. Make Up Your Mind - 5:36
10. Try Love - 5:26
11. Time and Emotion - 3:11

Robin Trower is back with perhaps his best solo album since he was in his 40s… considering Robin is 72, that is saying a lot!  It is not that Trower’s recent efforts are not worthy, but rather that his latest release Time and Emotion is so damn good.
“The Land of Plenty” opens the album with that distorted, loud and wah-wah soaked Fender guitar that has made Robin a god among men amongst guitar nerds.   “What Was I Really Worth to You” follows the opening track up and proves right away this is not one of those albums by older dudes with one song that is killer followed by ‘filler’.  Nope... this offering is solid from beginning to end.
Trower’s smooth-as-buttah guitar licks, screaming solos and ethereal bluesy vocals keep the listener hooked.  Sure, we have plenty of songs by Robin Trower that have that same kinda riff that opens “I’m Gone” but dammit, we can always use one more!  Robin has a vibe, a voice and a presence on his instrument that transcends time and space.  He plays from the soul and he is as intoxicated from the music he creates as his listeners.
Robin also trots out more traditional blues sounds on songs like “If You Believe Me” and “Returned in Kind.” Both are over seven minutes in length and features a boat load of guitar solos.  On “You’re the One” his inner mellow Hendrix influence comes out loud and clear.  The song is simply beautiful, magical and mystical at the same time. This release winds down by finishing with the title track, a smooth and sultry tune that makes you want to start the disc over.
The album really has no weak tunes.  It starts and finishes strong.  Look… Robin has never knocked anyone’s socks off with flash.  He is not going to tap dance for nickels and there won’t be a million dollar light show that will dazzle you when you see him play live.  Nope, Trower is not an entertainer just for the sake of trying to entertain.  He is, however, a consummate musician who is still perfecting his craft into his eighth decade on earth.  He is a master at what he does and refuses to rest on his laurels.
If you love electric guitar then you will love this album.   It is sly, sleek and soothing at times and rocking and rolling other times.  This guy can play. It really is that simple.
The only person who loves this music more than Robin’s hardcore fans is… you guessed it… Robin himself.
Bravo, Maestro!

Time and Emotion

The Lou Rye All Stars - Canadian Rye (feat. Lou Rye)

Bitrate: 320K/s
Year: 2012
Time: 63:52
Size: 147,1 MB
Label: Self Released
Styles: Blues/Electric Blues/Chicago Blues
Art: Front

Tracks Listing:
 1. Your Lonely Life - 5:30
 2. World on Fire - 6:29
 3. A Little Lovin' - 4:08
 4. Times of Trouble - 6:20
 5. Weepin' Blues - 5:08
 6. Phil's Boogie - 5:30
 7. In Your dreams - 6:06
 8. Livin' with the Blues - 5:10
 9. The Gypsy - 4:09
10. I Don't Want - 3:53
11. Motherless Child - 5:40
12. Help Me - 5:44

Diverse styles of Chicago Blues. Dedication:
I give thanks to my Creator for empowering me with the completion of this creative effort. I am thankful for my family and all the people who have directly or indirectly influenced and helped me to create this body of music. I want to thank specifically Brad Steckel, Michael Woodford, John Gray, Roy Beckman, Morgan Turk, Quintin Rybuck and Stephen E. Williams for their creative inputs and their exquisite individual contributions during the making of this music. This CD is my demonstration of how diverse "Livin' with the Blues" can be. Feel free to share these emotions of Life. Love and Light, Lou Rye.

Canadian Rye (feat. Lou Rye)

Beautiful Bobby Blackmon - Throwback Blues

Bitrate: 320K/s
Year: 2017
Time: 56:44
Size: 130,1 MB
Label: Self Released
Styles:  Blues/Funky Blues
Art: Front

Tracks Listing:
 1. The Blues Just Left Town - 2:53
 2. Throwback Blues - 5:34
 3. Let Me Think About it - 4:14
 4. The World that We Live in - 4:48
 5. Love Takes Time - 4:26
 6. I Need Somebody to Love Me Tonight - 4:34
 7. Love Pain - 4:16
 8. Down in Blues Alley - 4:42
 9. Lay Down Baby - 5:45
10. Cup of Misery - 4:16
11. I Wanna Come Home - 4:55
12. Gonna Put Aside my Love - 6:15

Throwback Blues is a 2017 CD with a mixture of downhome to southern soul blues music. This music you can dance to or sit and listen. Beautiful Bobby Blackmon has open for Buddy Guy and BB King in his blues career. He's originally from Athens, Texas but currently lives in Central Florida with a large fan base. The CD has his current band members playing on it with the addition of horns on three sides. All songs were written by the guitarist/vocalist Beautiful Bobby Blackmon. He has a high energy style in his delivery and with his catchy hooks you will be singing along with him in no time. Enjoy his 4th CD as well as his other CDs on CD Baby. Help him keep the blues alive by requesting his music on your local blues and soul blues stations. Let your friends know that there is another blues man around trying to keep the blues alive.

Throwback Blues

Low Society - Sanctified

Bitrate: 320K/s
Year: 2017
Time: 50:35
Size: 116,0 MB
Label: Rezonate Records
Styles: Blues/Americana
Art: Front

Tracks Listing:
 1. Angel from Montgomery - 4:25
 2. Raccoon Song - 4:34
 3. The Freeze - 5:53
 4. Sanctified - 4:44
 5. River of Tears - 4:24
 6. Nina - 7:23
 7. Drowning Blues - 4:41
 8. New York City Boy #3 - 3:36
 9. Here Comes the Flood - 4:25
10. I'd Rather be Blind - 6:25

Musicians:
Mandy Lemons Nikides - titanic vocals;
Sturgis Nikides - guitars, mandolin, tremeloa, vocals;
Jacky Verstraeten - bass;
Bart De Bruecker - drums;
Rick Steff - organ, piano, accordion;
Will Danger- drums (6);
Brian Hawkins - jaw harp (2);
Andrew McCarthy - percussion.

Low Society's 2014 release You Can't Keep a Good Woman Down (2014, Ice House Records) was a revelation to me. I had long ago grown jaded believing that vibrant, genre-expanding blues and Americana had passed into extinction. Then I heard "Need Your Love," my ears stiffened and I sniffed the air... hmm, something special here. I previously described this most perfect of compositions as,
"a most brilliant eutectoid of Texas Blues and pre-Weimar cabaret, with [Mandy] Lemons a Southern Fried Marlene Dietrich strung out on absinthe and gris-gris and [Sturgis] Nikides a demented Django plucking his nuclear strings."
After having given the band's first recording, High Time (2011, Rezonate Records), a thorough listening, what I was hearing in that "pre-Weimar cabaret" was actually a creative interpolation of Eastern Europe and parts further into this most American of musics. Several exchanges with guitarist Sturgis Nikides revealed that he and his family were of "Byzantine extraction," revealing the source of this rich vein of regional harmony passing through his most compelling compositions.
This Byzantine thread may be heard most potently passing through the introduction of High Time's slow burning "Texas Goodnight," passing through Good Woman's "Need Your Love," arriving in the present Sanctified's "The Freeze." In a separate William-Faulkner-stream-of-conscience exchange, Nikides spoke of another influence in these songs, that of a young Jimmy Page playing "White Summer" on the Yardbirds Live Yardbirds, featuring Jimmy Page (Epic, 1971). This was a soundboard recording of dubious pedigree, recorded at the Anderson Theatre in New York City on March 30, 1968, revealed a fully realized gem in the Eastern Indian and Arabic influenced "White Summer."
Well known in serious musical crowds, this performance featured a 24-year old Page already fully formed. In "White Summer" one can hear the echoes of what would become the classic sound of Led Zeppelin (Led Zeppelin IV (Atlantic, 1971); Houses of the Holy (Swan Song, 1973); and Physical Graffiti (Swan Song, 1975)). Of "White Summer," Nikides reveals:
"THIS is what initially set me off, as a very eager 12-year old (1970). ["White Summer] [c]aught my fancy, and I've been working variations of it ever since. Page used a DADGAD tuning. I modified it -DADACD. This is where "Black Pelican" (from High Time) and now "Nina" came from, in that tuning, directly referencing "White Summer..." Yardbirds Live at the Anderson Theater [an alternate title of the recording referenced above] was the album. Still gives me goosebumps."
That is how music is supposed to make you feel.
And it did me, when I queued up the present Low Society recording, Sanctified. Nikides the producer is an excellent producer, having programmed excellent opening songs for each of the band's recordings and Sanctified is no exception. This disc opens with a searing treatment of John Prine's "Angel from Montgomery." But, if you, gentle listener, are expecting some Kilz-coated Bonnie Raitt knock-off, then you will be presently surprised to hear the powerhouse within the band, Mandy Lemons (Nikides), and how she transforms the song. While Nikides (the guitarist) appeals to the intelligent pathos, Lemons reaches right down and grabs the listener by her/his lady-or man-parts, giving them a healthy torque. Yes, now she has your proper attention.
Nikides wills the introduction of Prine's song out of thin air, preparing a proper surrounding for Lemons' sensitive and muscular vocals. Lemons imbues the lyrics with an emotional urgency tempered with experience that never lost its hope. When the pair roll into the chorus, that is when the real goosebumps occur. As Lemons reveals her naked desire and memory, Nikides perfectly propels her with surging slide riffs peppered with open-string diamonds reverberating.
My previous summation of Mandy Lemons was one of beautifully unhinged abandon. And as powerfully attractive as that is, it is not fair. The high-wire aspect of any performance or expression is the ability to push that performance or expression to the brink of bedlam and keeping there without falling prey to the bedlam. In this, Lemons has no peer. Nikides and Lemons are textbook synergy, making something eclipsing the sum of their separate parts. That is the stuff "Angel from Montgomery" is made of.
One of the major charms of this recording it honest organicity woven into its harmonically and melodically sophisticated core. "The Freeze" boasts a soundtrack panorama built on a hypnotic two-chord vamp over which Lemons describes an emotive stasis of frigid proportions. Beneath this angst, Nikides' precise slide guitar keeps the fertile sound fresh. A country mile away is the title piece, a Texas Two-step sermon composed on the grave of Elmore James, Lemons declaring to all to, ..."take it easy." Nikides' slide guitar style is studiously informed and honed to the point that it is all his. His knowledge and technical ability is on the plain with Sonny Landreth's. This is further illustrated on "River of Tears," where Nikides' slide work is integrated into a 1950s-era ballad sound reminiscent of Santo and Johnny.
The aforementioned "Nina" is the disc's spiritual center point, bearing the fragrance of Page's "White Summer," but transmogrifying into something more, something bigger. Nikides lays electric slide guitar over his deft acoustic guitar foundation creating a dream-like state for Lemons to rage into the darkness. Sonically stunning, Nikides' slide guitar at once recalls Ry Cooder's contribution to "Sister Morphine" and Jimmy Page's rumination on the "Gallows Pole." Lemons ends the song with the echo of Nina Simone..."Mississippi Goddamn." At the other end of the organic spectrum is the New Orleans infused "Here Comes the Flood" a sweaty and humid shuffle straight out of Cosimo Matassa's NOLA studio.
The disc closes with Etta James' "I'd Rather Be Blind," a solid vehicle for Lemons, who draws every bit of ache from the lyrics, suspending them over Nikides's certain slide guitar playing. The pair tie a perfect ribbon around these 10 finely crafted songs with this old song. It is a beautiful package of Americana.
Sanctified

Duncan MacKay - Score

Bitrate: 320K/s
Year: 1977
Time: 41:49
Size: 97,3 MB
Label: Fresh Music
Styles: Progressive Rock/Simphonic prog
Art: Full

Tracks Listing:
 1. Witches - 5:32
 2. Tryptych - 3:55
 3. Spaghetti Smootch - 2:48
 4. Time is No Healer - 3:56
 5. Fugitive - 2:22
 6. Score - 7:15
 7. Pillow Schmillow - 5:01
 8. Jigaloda - 6:01
 9. No Return - 4:54

Duncan Mackay, on this, his second solo album, has moved slightly away from the Keith Emerson imitations that permeated his first album. Slightly, because the Emerson sound still appears. On the first track, Witches, a somewhat Spanish sounding symphonic proc piece, Mackay plays Emerson-like riffs on a honky-tonk tack piano, similar in sound to keith's in Benny The Bouncer. Acousic piano appears throughout the album, with Mackay providing obvious Emerson-influenced sounds.
Most obvious are Spaghetti Smooch, which sounds very much like a reworking of the main sections of Tarkus, played in 7 instead of 10, and Time Is No Healer, which owes a lot to Take A Pebble. Despite the Emerson overtones, Mackay is developing his own style here. He does a nice job of layering piano, keyboard and synths all at the same time without making the songs too busy. One slight complaint is that his reliance on mostly Arp synthesizers makes many of the tones very similar to those used by Larry Fast at the same time.And Mackay's inclusion of John Wetton and Mel Collins as sidemen brings him firmly into the nineteen seventies progressive rock family tree.

Score

Neuschwanstein - Fine Art

Bitrate: 320K/s
Year: 2016
Time: 41:54
Size: 96,5 MB
Label: LongBow Records
Styles: Progressive Rock/Simphonic prog
Art: Full

Tracks Listing:
 1. Fetes - 10:24
 2. Per Omnem Vitam -  4:51
 3. Gods little Plan -  1:36
 4. Florence Coleman Part One -  3:56
 5. Florence Coleman Part Two -  3:10
 6. The Angels of Sodom -  3:05
 7. Die Geschichte vom kleinen Haehnchen -  2:31
 8. The Distributor -  5:22
 9. Der Mond ist aufgegangen -  2:58
10. Wehmut, stark wie Banyuls -  3:56

Musicians
Gudula Rosa - Flute
Thomas Neuroth - Keyboards
Robby Musenbichler - Guitar
Rainer Kind - Drums
Sabine Fröhlich - Violin
Valentin Neuroth - Guitar
Gary Woolf  - Flute
Karel Szelnik - Keyboards

Kennt noch jemand „Battlement“?
Das Album aus dem Jahr 1978 der deutschen, sich so fein romantisch benannten Band NEUSCHWANSTEIN, das mit einem Schlag die Hoffnung aller deutschen Prog-Heads ins Unendliche katapultierte, dass hier – mitten aus deutschen Landen – tatsächlich eine Band käme, die sich, nachdem drei Jahre zuvor PETER GABRIEL GENESIS verlassen hatte, das Erbe der „alten“ GENESIS nicht nur fortzusetzen vermöge, sondern sich mit ihnen auch auf eine Stufe stellen könne. Wie groß waren die Hoffnungen, wie fantastisch war das Album! Doch dann blieb es ruhig um NEUSCHWANSTEIN und alle Hoffnungen wurden nach und nach begraben. Leider – denn mit „Battlement“, das es sogar auf‘s französische Prog-Vorzeige-Label Musea geschafft hatte, war wirklich ein kleine Sensation richtig guten 70er-Jahre-Progs gelungen! Doch dann schien NEUSCHWANSTEIN wie unter einem Sargdeckel hinter seiner progressiven Festungsmauer auf Nimmerwiedersehen beerdigt zu werden.
Ganz plötzlich aber, mit einem Schlag, hebt er sich wieder. Der Sargdeckel um die begrabenen NEUSCHWANSTEIN-Hoffnungen und lässt aus seinem Inneren „Fine Art“ entsteigen, ein Album, das tatsächlich die Hoffnungen erfüllt und neue weckt, auch wenn NEUSCHWANSTEIN kaum noch – trotz intensivem Querflöten-Einsatz – nach GENESIS klingen, sonder viel eher nach der Kombination aus ELP und Klassik und progressiv hart rockender Komplexität, die uns eine (Auch das ist neu!) instrumentale Symphonie offenbart, welche ihresgleichen sucht.
Wie konnte NEUSCHWANSTEIN sich nur so viel Zeit für dieses symphonische Meisterwerk lassen und so viel Hoffnungen verspielen?
Egal, denn was sie uns nun mit „Fine Art“ bieten, entschädigt für alles – auch die 38jährige Wartezeit!
NEUSCHWANSTEIN bezeichnen ihr neues Album sehr passend selber: „Symphonisch-neoromantischer Orchesterklang und rockige Kapelle. Miteinander, gegeneinander, fugisch verzahnt und völlig frei. Emotional und wahrhaftig. Instrumental wie in den ersten Jahren. Musik, die Geschichten erzählt. Programmmusik.“
Ein Album völliger Gegensätze, die sich bissig aufeinander stürzen, also?
Ach was, ein Album das endlich mal wieder kunstvoll Klassik und Rock zu instrumentalem Art-Rock vereint und so im Sinne der besten Artrock-Bands daherkommt, die sich an Ähnlichem meisterhaft versuchten und solche Namen wie EMERSON LAKE & PALMER, THE ENID, STERN-COMBO MEISSEN oder COLLEGIUM MUSICUM tragen.
Auf „Fine Art“ wird nichts dem Zufall überlassen.
Das beginnt schon beim historischen Cover nach Honoré Daumier (1808 - 1879), dem französischen Maler, Bildhauer, Grafiker und (wie am Coverbild unübersehbar) Karikaturisten sowie der beeindruckenden Bebilderung aller Stücke im vierfaltigen Digipak.
Auch die Musik des Albums enthält drei historisch-klassische Bearbeitungen, von denen gleich die erste, das Album eröffnende, den Hörer schlichtweg umhaut. NEUSCHWANSTEINs Interpretation von CLAUDE DEBUSSYs „Fêtes“ (Feste) – nach dem Vorbild der Originalaufführung der Berliner Symphoniker mit Pierre Boulez - weckt Erinnerungen an die schönsten ELP-Zeiten, aber setzt noch eine gehörige Portion drauf, denn hier erklingen auch E-Gitarren und Querflöten, dass es eine wahre Freude ist! Und während man noch in Begeisterung schwelgt, taucht nach etwa sechs Minuten des zehn Minuten andauernden symphonischen Meisterwerks tatsächlich unüberhörbar der Bolero-Rhythmus von MAURICE RAVEL auf.
„Per Omnem Vitam“ besticht anfangs durch ein eindrucksvoll-verträumtes Flöten-Solo und breite Streicher-Passagen, die aus einem verträumten Anfang ein fast bedrohliches Rockstück werden lassen, wenn Schlagzeug und E-Gitarre übernehmen und gehetzte Stimmungen verbreiten. Und wer seinen Latein-Übersetzer bemüht, der weiß, dass „Durch das Leben“ hinter dem Titel steckt – und die 5 Minuten genau das wiedergeben, was mitunter 80, 90 oder 100 Jahre andauern kann. Wen NEUSCHWANSTEIN jetzt nicht gefangen nehmen, egal ob nun Klassik- oder Rock-Freak, die sollten auf Schlager und Blasmusik umsteigen!
Allerdings entgeht ihnen dann die zweiteilige instrumentale Vertonung von „Florence Coleman“, einem Mädchen, das eine Woche vor ihrem 12. Geburtstag von einem Pferdefuhrwerk erfasst wurde und kurze Zeit später starb.
Aufbauend auf ein Bibel-Zitat zu Sodom und Gomorra (1. Moses 19) ballert uns mit „The Angels Of Sodom“ ein schwer bedrohliches Klassik-Donnerwetter im besten Sinne des Edgar Allen Poe gedenkenden, klassisch-rockenden ALAN PARSONS PROJECT-Hammer-Stücks „The Fall Of The House Of Usher“ entgegen, um dann von der doch seltsamen, vorgelesenen „Geschichte vom kleinen Hähnchen“, die wie ein Fremdkörper auf dem Album wirkt, abgelöst zu werden. Unverständlich erscheint hierbei besonders, dass diese ironisch angehauchte Geschichte zur „allerhöchsten moralischen Erbauung“ nicht als das Stück gewählt wurde, welches man auf der LP-Ausgabe des Albums ausspart, sondern dass stattdessen die progressiv härteste, aber ausgezeichnete Rock-Nummer „The Distributor“ daran glauben musste. Aus Sicht des Kritikers jedenfalls eine krasse Fehlentscheidung.
„Der Mond ist aufgegangen“ offenbart sich als eine wunderschöne, klassische, rein instrumentale „Schlaflied“-Symphonie der über 230 Jahre alten Schulz-Vertonung des Gedichts von Matthias Claudius, deren akustische NEUSCHWANSTEIN-Schönheit auch kein großes Klassik-Orchester toppen kann.
Die symphonische Ruhe setzt sich dann in dem ebenso entspannten, fast ein wenig schmalzig wirkendem Klassiker (1. Satz der Sonate für Fagott und Klavier op.168) von Camille Saint-Saëns (1835 - 1921) „Wehmut, stark wie Banyuls“ fort, um der „Fine Art“ ein traumhaft klingendes Ende zu bereiten. Am besten man öffnet sich gleich danach eine gute Flasche Banylus (sehr starker französischer Rotwein mit einem Alkoholgehalt zwischen 15 und 22 Prozent) und hört dieses ebenso süchtig machende, auch klangtechnisch sehr gut umgesetzte „Fine Art“-Album gleich noch einmal von vorn!
FAZIT: Kann man dieses Album von NEUSCHWANSTEIN wirklich 38 Jahre nach „Battlement“ als eine Art Comeback bezeichnen?
Nein, kann man nicht, denn „Fine Art“ ist ein erneutes Meisterwerk von NEUSCHWANSTEIN, das sich grundlegend vom Vorgänger unterscheidet und statt nach frühen GENESIS oder CAMEL zu klingen, klassische Musik und progressiven Rock in sich vereint und miteinander verschmelzen lässt. Art Rock allererster Güteklasse – ein Lehrstück aus „symphonisch-neoromantischem Orchesterklang und rockiger Kapelle“!

Fine Art