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Paul Brandon Gilbert (born November 6, 1966 in Illinois, USA) is an American guitarist. He is well known for his technical guitar work with Racer X and Mr.

Various Artists - 100% Dynamite! Ska, Soul, Rocksteady & Funk In Jamaica (Remastered Edition) / Soul Jazz from Piccadilly Records. Future Bass is the sound of right now, all new music, all exclusives. Compiled by Soul Jazz A&R Nicole McKenzie with the assistance of Deep Medi Muzik’s Kris.

Big, as well as many solo albums and numerous collaborations and guest appearances with other musicians. Silence Followed by a Deafening Roar is the second full length instrumental album and 8th overall by hard rock guitarist Paul Gilbert. You never quite know what style of guitar playing is going to greet you when you put on a new Paul Gilbert disc, as he's tackled blues, pop, and acoustic pieces in the past.

But on his 2008 release, Silence Followed by a Deafening Roar, Gilbert focuses on what made him such a renowned player among guitar shredders worldwide in the first place, as he totally focuses on his soloing and riffing capabilities (and goes 'all instrumental,' to boot). It may be 2008, but such tunes as the album-opening title track and 'Eudaimonia Overture' could have easily come out in 1988, and probably would have caught the attention of every Guitar for the Practicing Musician subscriber at the time. And there are even a few tranquil moments ('Bronx 1971') and oddities (the piano-led 'The Gargoyle') thrown in for good measure.

Paul Gilbert remains one of rock guitar's top gymnasts, as evidenced throughout Silence Followed by a Deafening Roar. Hot on the heels of his successful Get Out Of My Yard CD, Silence Followed By A Deafening Roar is the second all instrumental CD by guitarist Paul Gilbert. This record was recorded after Gilbert wowed guitar lovers on the legendary G3 tour in support of Joe Satriani where Gilbert confirmed to a younger audience what Gilbert fans have known for over 20 years. That Paul Gilbert is simply one of the greatest guitarists on the planet today. This is my first Paul Gilbert cd, so I didn't know what to expect before I bought it. Based on the reviews here, I bought it sound unheard.

Overall, I am not disappointed. Gilbert is an incredible technician and a generally superior song writer. If you like Marty Friedman, Satriani, Vai, Eric Johnson, Vinnie Moore, Eddie Van Halen, Rush, Jeff Beck, Joey Tafolla, George Lynch, even Carlos Santana, you'll like this CD because it has shades of them all. Which makes this a unique CD among instrumental guitar rock/shred albums. Lots of rock musical influences seem to have been put on display here--almost as if Gilbert were paying tribute--and blended in an original, highly skillful way.

That feature is also my only real criticism of this CD (tho it's a small one): I am left with an unsure sense of Mr. Gilbert's own melodic style. Or perhaps this ecclectic fushion blending IS his style. Certainly, I've never heard anything like it on any instrumental guitar rock/shred album. This CD definitely makes me want to go out and check out his other stuff! Another thing about this album: Gilbert's melodic compositional quality is so high that you almost expect these tracks to become guitar solos going with vocal rock songs. Probably the best blend of technical prowess and melodic sensibility that I've ever heard in this genre, with perhaps the exception of Vinnie Moore (neoclassical shred, Mind's Eye), Marty Friedman (Dragon's Kiss) or Eric Johnson (Venus Isle).

I was a little apprehensive when I got this CD even though I knew of Paul from Mr. Big and the Racer X days. I had never really appreciated or listened to any of his work closely. This CD is simply amazing.

Frankly I think this is the best instrumental guitar album I've ever heard. I am a huge Satriani and Vai fan but to be honest they haven't really grabbed me in quite a while. This CD showcases many different styles of music, and I hear bits of Beck, Vai, Petrucci, Lifeson, Morse. But don't get me wrong. Paul definitely has his own extremely unique style. I've never really heard an album in this genre that was so diverse, at times shred, funk, blues, jazz, rock, space guitar. Track listing: 01.

'Silence Followed by a Deafening Roar' Paul Gilbert 3:48 02. 'Eudaimonia Overture' Gilbert, J.S. Bach 4:35 03. 'The Rhino' Gilbert 2:46 04. 'Norwegian Cowbell' Gilbert 4:06 05. 'I Cannot Tell a Lie' Gilbert 3:50 06.

'Bronx 1971' Gilbert 4:04 07. 'Suite Modale' Ernest Bloch 2:38 08.

'The Gargoyle' Gilbert 4:35 09. 'I Still Have That Other Girl' Elvis Costello, Burt Bacharach 2:52 10. 'Bultaco Saturno' Gilbert 4:13 11.

Godzilla' Gilbert 4:52 Total length: 42:19 Track 2 ends with a complete performance of Bach's Prelude in G major from the Well-Tempered Clavier Book 1. Musicians: Paul Gilbert - Guitar, Producer Mike Szuter - Bass Jeff Bowders - Drums Emi Gilbert - Hammond B3, Piano. It's a Beautiful Day is the self-titled debut album by San Francisco Records psychedelic band It's a Beautiful Day. This album's song 'White Bird' was the band's biggest hit. The album rose to #47 on Billboard's Top LPs American albums chart. The cover, designed by George Hunter and painted by Kent Hollister, was based on the 1912 painting Woman on the Top of a Mountain by Charles Courtney Curran. The design used an old version of the Columbia Records logo that George Hunter felt fitted better with the feel of the rest of the cover.

The album cover is number 24 on Rolling Stone's list of 100 greatest album covers. The Girl can also be seen in the background on the cover of Happy Trails by Quicksilver Messenger Service. A 1972 reissue of the album in the Netherlands on CBS used a modern painting of a beach scene as the front and back cover because the original cover art of the first two It's A Beautiful Day albums became the sole property of San Francisco Records. IABD was formed by Matthew Katz and the group had a record contract with San Francisco Sound Records. Katz settled with CBS where in it was agreed that 'In No Event Will CBS Duplicate The Cover Art or Duplicate The Same songs as included in those two albums.'

The same is true of the first two Moby Grape albums which are all part or the same court settlement. The only legal source for those IABD and Moby Grape albums are from San Francisco Sound. The group's signature song 'White Bird' was inspired by the experiences David and Linda LaFlamme had while living in Seattle, Washington. For a few weeks in December 1967 the group members lived in the attic of an old house while playing and rehearsing at a Seattle venue originally known as The Encore Ballroom. The band's manager Matthew Katz had recently assumed control over the club and renamed it 'San Francisco Sound'.

In an ironic twist on the band's name, the song was partly inspired by Seattle's rainy winter weather. In a later interview David LaFlamme said: Where the 'white bird' thing came from. We were like caged birds in that attic.

We had no money, no transportation, the weather was miserable. We were just barely getting by on a very small food allowance provided to us. It was quite an experience, but it was very creative in a way.

A substantial part of the theme and arrangement of the song 'Bombay Calling' was used by Deep Purple as the basis for their song 'Child in Time'. Although they are not one of the better-known San Francisco bands to have emerged from the ballroom circuit of the late '60s and early '70s, It's a Beautiful Day were no less memorable for their unique progressive rock style that contrasted well with the Bay Area psychedelic scene. Led by David LaFlamme (flute/violin/vocals) and his wife, Linda LaFlamme (keyboards), the six-piece unit on this album vacillates between light and ethereal pieces such as the lead-off cut, 'White Bird,' to the heavier, prog rock-influenced 'Bombay Calling.'

One of the most distinct characteristics of It's a Beautiful Day is their instrumentation. The prominence of David LaFlamme -- former violin soloist with the Utah Symphony and original member of Dan Hicks & His Hot Licks -- adds a refinement to It's a Beautiful Day's sound. Likewise, the intricate melodies -- mostly composed by the LaFlammes -- are structured around the band's immense virtuosity, a prime example being the exquisitely haunting harpsichord-driven 'Girl With No Eyes.'

The noir framework, as well as lyrics such as '.she's just a reflection of all of the time I've been high,' point rather candidly to the hallucinogenic nature of the song's -- if not the band's -- influences. The same can be said of the languidly eerie 'Bulgaria.' The almost chant-like quality of the track slowly crescendos into an hypnotic and dreamlike sonic journey -- led by LaFlamme's brilliant violin work. By virtue of being a Bay Area fixture in the late '60s, It's a Beautiful Day could also easily double as a hippie dance band -- which they can also execute with great aplomb -- as the wildly up-tempo 'Time Is' amply proves. It's a Beautiful Day remains as a timepiece and evidence of how sophisticated rock & roll had become in the fertile environs of the San Francisco music scene. Track Listing: 1. White Bird 2.

Hot Summer Day 3. Wasted Union Blues 4.

Girl With No Eyes 5. Bombay Calling 6. Time Is Personnel: David LaFlamme – violin, flute, lead vocals Linda LaFlamme – acoustic piano, electric piano, organ, celeste, harpsichord Hal Wagenet – guitars Mitchell Holman – bass, harmonica, backing vocals Val Fuentes – drums, backing vocals Pattie Santos – percussion, bells, backing vocals Bruce Steinberg – harmonica. Blue Train is a studio album by John Coltrane, released in 1958 on Blue Note Records, catalogue BLP 1577.

Recorded at the Van Gelder Studio in Hackensack, New Jersey, it is the only Blue Note recording by Coltrane as the leader on the session. It has been certified a gold record by the RIAA. The album was recorded in the midst of Coltrane's residency at the Five Spot as a member of the Thelonious Monk quartet. The personnel include Coltrane's Miles Davis bandmates, Paul Chambers on bass and Philly Joe Jones on drums, both of whom had worked before with pianist Kenny Drew. Both trumpeter Lee Morgan and trombonist Curtis Fuller were up-and-coming jazz musicians, and both would be members of Art Blakey's Jazz Messengers, working together on several of Blakey's albums. All of the compositions were written by Coltrane, with the exception of the standard 'I'm Old Fashioned'.

The title track is a long, rhythmically variegated blues with a sentimental [quasi minor; in fact based on major chords with flat tenth, or raised ninth] theme that gradually shows the major key during Coltrane's first chorus. 'Locomotion' is also a blues riff tune, in forty-four-bar form.

During a 1960 interview, Coltrane described Blue Train as his favorite album of his own up to that point. Although never formally signed, an oral agreement between John Coltrane and Blue Note Records founder Alfred Lion was indeed honored on Blue Train -- Coltrane's only collection of sides as a principal artist for the venerable label. The disc is packed solid with sonic evidence of Coltrane's innate leadership abilities. He not only addresses the tunes at hand, but also simultaneously reinvents himself as a multifaceted interpreter of both hard bop as well as sensitive balladry -- touching upon all forms in between. The personnel on Blue Train is arguably as impressive as what they're playing. Joining Coltrane (tenor sax) are Lee Morgan (trumpet), Curtis Fuller (trombone), Kenny Drew (piano), Paul Chambers (bass), and Philly Joe Jones (drums).

The triple horn arrangements incorporate an additional sonic density that remains a trademark unique to both this band and album. Of particular note is Fuller's even-toned trombone, which bops throughout the title track as well as the frenetic 'Moments Notice.'

Other solos include Paul Chambers' subtly understated riffs on 'Blue Train' as well as the high energy and impact from contributions by Lee Morgan and Kenny Drew during 'Locomotion.' The track likewise features some brief but vital contributions from Philly Joe Jones -- whose efforts throughout the record stand among his personal best.

Of the five sides that comprise the original Blue Train, the Jerome Kern/Johnny Mercer ballad 'I'm Old Fashioned' is the only standard; in terms of unadulterated sentiment, this version is arguably untouchable. Fuller's rich tones and Drew's tastefully executed solos cleanly wrap around Jones' steadily languid rhythms. Without reservation, Blue Train can easily be considered in and among the most important and influential entries not only of John Coltrane's career, but of the entire genre of jazz music as well. Maybe it’s the blueness of the cover, or its chamber-like sound, but John Coltrane’s Blue Train, like Miles Davis’s Kind of Blue, frequently puts listeners in a reflective mood. The cover photo of Blue Train, Coltrane’s second album as a leader and the only recording he made for Blue Note, shows the saxophonist seemingly deep in thought, his face, arms and shoulders, and the mouthpiece of his instrument, saturated in a blue chiaroscuro. It’s a profound album cover, probably one of the greatest ever printed. The session found Coltrane at an important juncture in his career.

About four months earlier, he had quit using heroin, and at the time of Blue Train’s recording, he was performing regularly at the Five Spot in New York in Thelonious Monk’s quartet. It’s probably safe to assume that his newfound sobriety, coupled with the influence of Monk’s awkwardly refined sense of harmony, gave Coltrane a lot to think about. On Blue Train, Coltrane is in very good company. To start, there are his two old bandmates from the Miles Davis Quintet, drummer Philly Joe Jones and bassist Paul Chambers. (Davis had kicked Coltrane out of his group about five months prior to this recording.) Pianist Kenny Drew fills out the rhythm section, while trumpeter Lee Morgan and trombonist Curtis Fuller (the only player from this session who’s still alive) complete the front line. The title track, a haunting 10-minute blues, establishes Coltrane as one of the great interpreters of the form in jazz. In its starkness, it feels like a nod to the modal music Coltrane would later play, most notably on the 1961 album My Favorite Things.

Still, Coltrane solos with lots of notes, using long tones and uneven phrases—and he sounds restless, as though he is trying to keep hold of all the ideas sloshing around in his mind. Morgan enters after Coltrane, with a spare and memorable opener. (He was very good at those.

Listen to his solo on the title track of Art Blakey’s Moanin’, a Blue Note release recorded a year later, for another instance.) On “Locomotion,” the album’s third track, Morgan explodes like a firecracker into a suspenseful, eight-bar break. His ensuing solo is an intricate braid of sound; his phrases never tangle. (Such virtuosity prompted the critic A.B. Spellman to describe Morgan’s performance as “one of the great jazz trumpet solos.”) The trumpeter’s brassy articulation serves as a good foil to Fuller’s smooth, soft-toned lyricism on trombone. “Moment’s Notice,” another Coltrane original with fast-moving chord changes, presages the recording of “Giant Steps”—Coltrane’s impossibly methodical composition that now exists almost solely for pedagogical purposes—by about two years. “Lazy Bird,” too, which supposedly draws from Tadd Dameron’s “Lady Bird” (which, in turn, draws from the standard “Have You Met Miss Jones?”) is another bellwether of Coltrane’s intensely focused attention to harmony.

And then there is the ballad “I’m Old Fashioned,” the only track on the album that Coltrane didn’t write. It is simply lovely. Coltrane could play very sweetly when he wanted to, and this song marks the musician as a refined and sensitive ballad player—one of the best in jazz. To call Blue Train a hard bop album, as many have done, sort of misses the point of Coltrane’s singular, and expansive, vision. Coltrane was not a hard bop musician, just like his then-boss, Thelonious Monk, cannot be described as a bebop musician, although he recorded with Charlie Parker, Max Roach and Dizzy Gillespie, among others.

If you want to try to understand Coltrane, it helps to look atBlue Train almost as a living thing, a signpost indicating some of the many roads he would explore in the 10 years before his early death. But it also exists just fine on its own. Track listing: 1. Blue Train 10:40 2.

Moment's Notice 9:08 3. Steven Wilson Insurgentes Rapidshare Library here. Locomotion 7:12 4. I'm Old Fashioned 7:55 5.

Lazy Bird 7:04 Personnel: John Coltrane – tenor saxophone Lee Morgan – trumpet Curtis Fuller – trombone Kenny Drew – piano Paul Chambers – bass Philly Joe Jones – drums. Ah Via Musicom is the third studio album by guitarist Eric Johnson, released in 1990 through Capitol Records. The album reached No.

67 on the U.S. Billboard 200 and remained on that chart for 60 weeks. All four singles charted on Billboard's Mainstream Rock chart, with three of them being top 10 hits: 'High Landrons' at No.

31, 'Righteous' at No. 8, 'Cliffs of Dover' at No. 5 and 'Trademark' at No. 'Cliffs of Dover' went on to win the Award for Best Rock Instrumental Performance at the 1992 Grammys. 'Cliffs of Dover' has endured as Johnson's best-known song and is a mainstay at his concerts. It was ranked No. 17 in a list of '100 Greatest Guitar Solos' by Guitar World magazine, No.

34 in a list of '50 greatest guitar tones of all time' by Guitarist magazine, and remains a highly regarded staple within the guitar community. Several other songs are dedicated to fellow guitarists: Johnson stated in a March 1990 interview with Guitar Player magazine that 'Steve's Boogie' is dedicated to Austin-based pedal steel guitarist Steve Hennig, while 'Song for George' is dedicated to an 80-year-old guitarist friend of his named George Washington. Furthermore, 'East Wes' is dedicated to jazz guitarist Wes Montgomery, and takes its name from the 1966 album East-West by The Paul Butterfield Blues Band. After being overlooked on his debut, Tones, guitarist Eric Johnson burst onto the airwaves with the surprising hit 'Cliffs of Dover.' Armed with excellent chops and a clear tone, Johnson took a tired formula and made it sound fresh again. Despite his talents on the fret board, he plays with great restraint and chose to explore a variety of styles, including rock, pop, blues, country, and jazz. While his singing is not quite as interesting as his guitar playing, it is not obtrusive and is at times quite pleasing.

This recording has reached near-classic proportions within the guitar community. Everyone from Carole King to Cat Stevens borrowed Eric's electrifying licks, but he finally got his own moment in the sun when this LP hit in '90. A masterwork of heavy rock fusion (with excursions into country and blues), it topped many a chart that year and went multi-platinum; it now returns on 180-gram audiophile vinyl, mastered from the original tapes. Includes Cliffs of Dover; Desert Rose; Trademark; Righteous; Forty Mile Town; the title track, and more six-string heroics! Eric Johnson is a guitar virtuoso.

He is mostly known for his proficiency on the electric guitar. His playing style would tend to put him in the category of guitar 'shredder'. Eric is not from the pure 'shredder' school where a lot of the playing consists of running various muscial scales at blistering speed. I rate Eric's use of shredding as being more melodic and soulful. He uses it when it fits the context of the song or passage being played. In other words, he doesn't make his living shredding, but it is a tool he uses when appropriate. I would consider this CD to be his signature CD.

Nice blend of instrumentals as well as vocal songs. His best known piece, 'Cliffs of Dover' is outstanding. Kind of a blend of Jimi Hendrix meets Mozart. Beautiful classical sounding melody done on a searing guitar. This is one of the better Christmas jazz collections available.

The 15 selections each utilize different artists and were recorded especially for this CD. Kurt Elling's version of Steve Allen's 'Cool Yule,' and Pat Martino's 'Santa Claus Is Coming to Town,' Javon Jackson's 'Santa Baby,' Bobby Watson and Jack Walrath on 'Cristo Redentor,' and Charlie Hunter's solo guitar version of 'Christmas Time Is Here' are highlights.

Other featured players include Dianne Reeves ('Jingle Bells'), Eliane Elias (romping on 'I've Got My Love to Keep Me Warm'), Bob Dorough (remaking 'Blue X-Mas'), Fareed Haque, Sweet Daddy Lowe, Judi Silvano, Jacky Terrasson, Benny Green, Miles Griffith, Rachelle Ferrell and Joe Lovano. An excellent set of mostly offbeat versions of seasonal favorites. For that hardened jazz boho on your list, this 15-piece slab serves up a lot of cool yule trimmings. There are goodies for baddies here, including Javon Jackson, who takes you on a drum-lead, saxophone-improv trip during 'Santa Baby,' exploring all the nooks and crannies of Santa's workshop. Bob Dorough reprises the cynical classic 'Blue X-Mas' while Sweet Daddy Love and the Blue Note Ad Hoc Orchestra revisit that beatnik staple 'Bebop Santa Claus.' Other noteworthy tracks include Jacky Terrasson soulfully welding 'Adeste Fideles' and 'Little Drummer Boy' in a groovin' orgy of organ-chased gospel rhythms and sprite piano riffs.

No hip set would be complete without 'Zat You, Santa Claus?' , here handled admirably by Benny Green and Miles Griffith (although no one can lay a finger on Louis Armstrong's version).

Cool stuff, even for nonjazz stiffs. A later Blue Note take on the Holiday sound – but one that features some surprisingly nice numbers by artists who were on the label's roster during the 90s! There's a spirit here that takes us back to older Holiday jazz albums – a feel that's never too slick or gimmicky, and which shows a genuine feel for the music without tricking it out too much. Titles include 'Christmastime Is Here' by Charlie Hunter, 'Peace On Earth' by Rachelle Ferrell, 'Cristo Redentor' by Bobby Watson, 'Carol Of The Bells' by Joe Lovano, 'Blue X-Mas' by Bob Dorough, 'Zat You Santa Claus' by Benny Green, 'Santa Baby' by Javon Jackson, and 'Cool Yule' by Kurt Elling. (Out of print.) Track listing: 01 –Kurt Elling Cool Yule 3:27 02 –Pat Martino Santa Claus Is Coming To Town 4:27 03 –Dianne Reeves Jingle Bells 2:09 04 –Eliane Elias I've Got My Love To Keep Me Warm 4:28 05 –Bob Dorough Blue X-mas 5:37 06 –Fareed Haque You're A Mean One Mr. Grinch 5:25 07 –Javon Jackson Santa Baby 4:19 08 –Sweet Daddy Lowe And The Blue Note Ad Hoc Orchestra Be-Bop Santa Claus 4:28 09 –Judi Silvano I'd Like You For Christmas 4:49 10 –Jacky Terrasson 'Adeste Fideles / Little Drummer Boy' Jam 3:27 11 –Benny Green featuring Miles Griffith Zat You Santa Claus 3:33 12 –Bobby Watson (2) / Jack Walrath Cristo Redentor 7:18 13 –Rachelle Ferrell Peace On Earth 4:19 14 –Charlie Hunter Christmas Time Is Here 4:04 15 –Joe Lovano Carol Of The Bells 4:35.

The Spice of Life is an album by jazz fusion guitarist Kazumi Watanabe, with Jeff Berlin on bass and Bill Bruford on drums. It was originally released in 1987, under the PolyGram label. This album features the power trio of K. Watanabe on all guitars & guitar synths, fantastic bassist Jeff Berlin and Bill Bruford who was the drummer for the classic rock band Yes. By the time Kazumi Watanabe expanded beyond jazz to join the fusion movement, it was the '80s and fusion had all but died in The States. It was a pure delight to see this man keep fusion alive with a mixture of rock, the hard-driving beats and rythms of the '80s which kept the music current in its time and updated the sound that had once been the property of the '70s..and of course, the jazz influence is solid throughout this recording.

Watanabe is a tremendous guitar talent who is too often overlooked. His blistering hot guitar work shines with a knowledge of American culture while he slips in a definite Japanese flavor in his music.sometimes subtle, sometimes blatant. An incredible album!!! On a scale of 1-5 stars, this album deserves 10 stars!!! I also agree with other reviewers that the sequel album 'Spice of Life Too' was a weak and disappointing follow-up to this supurb album. I haven't bothered to pick it up on CD, because even with the addition of a keyboardist, the music was uninspired and lackluster.worth 3 stars at best.but again, THIS album, the ORIGINAL 'Spice of Life' deserves 10 stars on a scale of 1-5 stars!!!

An excellent piece of work!!! This album features the power trio of K. Watanabe on all guitars & guitar synths, fantastic bassist Jeff Berlin and Bill Bruford who was the drummer for the classic rock band Yes. By the time Kazumi Watanabe expanded beyond jazz to join the fusion movement, it was the '80s and fusion had all but died in The States. It was a pure delight to see this man keep fusion alive with a mixture of rock, the hard-driving beats and rythms of the '80s which kept the music current in its time and updated the sound that had once been the property of the '70s..and of course, the jazz influence is solid throughout this recording.

Watanabe is a tremendous guitar talent who is too often overlooked. His blistering hot guitar work shines with a knowledge of American culture while he slips in a definite Japanese flavor in his music.sometimes subtle, sometimes blatant. An incredible album!!! On a scale of 1-5 stars, this album deserves 10 stars!!!

For those that love Bruford and Jeff Berlin working together you will love the infuence they bring to Kazumi's style and blazing playing. I owned the vinyl version first and played it to death. But the CD has an additional track that is very dark and more like an improv than any of the other selections.

Bill uses his electronic/acoustic kit set-up and it works better here than with King Crimson. Since there are only three instruments for the most part (although Kazumni is all over the place with his guitar-synthesizer)this gives Bruford and Berlin a large presence and lots of room to do what they do best. The album has the feel of having very seperate tracks, the styles vary, but is very addicting and sounds great loud.

I highly recommend it, it is really heavily influenced by Bruford and Berlin and could have been called Bill Bruford with. Just as a note, I can not say that the second effort called 'The Spice of Life Too' is of the same quality. Tracks Listing 1. Melancho (3:29) 2. Hiper K (5:38) 3.

City (4:28) 4. Period (6:38) 5. Unt (5:48) 6. Na Starovia (4:43) 7. Lim-Poo (4:50) 8.

Rage In (6:17)* * CD Only Total Time: 46:50 Line-up / Musicians - Kazumi Watanabe / guitars, guitar-synthesizer - Bill Bruford / electronic drums, drums, percussion - Jeff Berlin / bass. The Spice of Life Too is an album by jazz fusion guitarist Kazumi Watanabe; featuring Bill Bruford, Jeff Berlin and Peter Vettese. It was released on the Gramavision record label in 1988. The original title released in Japan is 'The Spice of Life 2' with a different cover.

Allmusic awarded the album with 4.5 stars and its review by Paul Kohler states: 'A continuation of Spice of Life with stronger compositions and a hint of softer tones, it's very nice!' I am a big fan of Kazumi's '80s fusion stuff!

And this is a very fine album, and a reasonably worthwhile follow-up to KW's original Spice of Life. It's not quite as good or as inspired as the original, but it was a fine album! Just as I remember from the old vinyl album days, the first song of both side 1 and side 2 were the weakest tunes of the album, but the album greatly improved as each side went along.(and yes, I realize I am now listening to the CD). I forgot how much I enjoyed this album because I hadn't heard it in years.but this is a fine album overall! KW's fusion guitar work is still incredible.

He kept Jeff Berlin on bass and Yes' Bill Bruford on drums in his band, remaniscent of the first Spice of Life, but he added a keyboard player on this album. I never heard of this guy before, but he was an impressive and curiously intriguing addition to the band. KW still has his delicate though rocking balance between jazz, heavy rock and a 'spicy' Japanese flavor to his music. If you like fusion, especially fusion guitar, I recommend looking into Kazumi Watanabe. His Japanese influence really does add a unique and fascinating, enjoyable feel to traditional fusion.and this is a good fusion album and a respecable follow-up to his original Spice of Life.but it's not as good as the original.but don't fault KW for that, because the original Spice was just a brilliant piece of fusion that can seldom be matched! But give this album a spin. Track listing: 1.

'Andre' (Kazumi Watanabe) – 5:10 2. 'We the Planet' (Watanabe) – 5:20 3. 'Fu Bu Ki ' (Watanabe, Bill Bruford, Jeff Berlin) – 5:10 4. 'Rain' (Watanabe) – 4:57 5. 'Small Wonder' (Bruford) – 5:05 6. 'Concrete Cow' (Watanabe, Berlin) – 5:22 7. 'Kaimon' (Watanabe) – 5:35 8.

'Men and Angels' ( Bruford) – 5:35 Personnel: Kazumi Watanabe – guitars Bill Bruford – Simmons SDX electronic drums Jeff Berlin – bass Peter Vettese – keyboards. Considered by many to be one of the greatest British Jazz recordings of the 20th Century, this acclaimed 'Lost Masterpiece' has only had limited availability on CD. It was beautifully recorded in 1976, featuring the cream of British Jazz musicians including Barbara Thompson, Tony Coe, Ian Carr & Paul Buckmaster. This Dusk Fire recording was 24 Bit 96 k/Hz digitally-remastered by Miles Showell at Metropolis Mastering, London, December 2004, using original master tapes. Famed DJ Gilles Peterson has championed the recording!

I bought the LP of Kaleidoscope Of Rainbows in the late 70's following the recommendation by a friend who loved great jazz. This album includes several styles though, and it is simply captivating for the interplay of tone and rhythm. It is an absolute joy to hear this carefully remastered 24bit/96khz version on CD. Every pop and click on the LP was a tragic distraction, but it is immediately obvious just how sonically superior the Dusk Fire Records (2005) CD version is when compared to the vinyl. You really do hear SO much more of the intricate detail of the ensemble. You can also fully appreciate Paul Buckmaster's superbly crafted production.

The booket includes Neil's original comments from the LP cover, plus 'an introduction' by Peter Muir (December 2004) which includes a detailed biography of the late Neil Ardley and 'an appreciation' by Neil's long time(1964 - 2004) musical collaborator Barbara Thompson, who plays alto and soprano flute on 6 of these 7 tracks. Surely no collection of seventies jazz could be complete without this album - and this particular CD presents the timeless work perfectly. I am more than impressed - I am in love with this music all over again. By John Frame. Neil Ardley was one of the most distinctive composers of the British jazz scene. His work was always melodic and accessible. This 1976 album was hailed as a masterpiece when it came out.

The All Music Guide described the album as 'one of the great musical achievements of our age.' Kaleidoscope of Rainbows drew in contributions from Ian Carr, Paul Buckmaster, Tony Coe, Dave MacRae, and Barbara Thompson, the very cream of what was then a vibrant UK jazz scene. To quote Dave Gelly in the Guardian 'Kaleidoscope of Rainbows is a classic, not just of British jazz, but of 20th-century music.' The music is developed from the basic five note pelog scale used in Balinese music. The suite has seven movements, ranging in mood from the gentle and pastoral to the fiery and urgent. There are similarities to Pat Metheny's Secret Story which had a Cambodian influence.

This was the first album in which Ardley explored electronic music. By David Lindsay. Kaleidoscope of Rainbows starts out scrupulously restricting itself to the Balinese pelog (?) scale with an ever-shifting background reminiscent of the gamelan, setting down a theme that it recalls at the very end.

As the sections go on, they gradually add back more of the chromatic scale we Westerners are accustomed to. The journey is thoroughly enjoyable; as a sucker for the melancholy, my favorite has to be Rainbow Four, featuring a heartbreakingly beautiful sax solo from Barbara Thompson.

I'm certainly no scholar of jazz, and can't properly place it in a list--if such a list even makes sense. I can say that this is gorgeous music, and I think you'll enjoy it. By James Jones. Kaleidoscope Of Rainbows sounds as fresh, as inventive and as exciting today as it must have done back in '76, first time 'round. Rainbows was the third album in a trilogy recorded by composer/bandleader Neil Ardley which started with '69's Greek Variations, reissued last year on Impressed, and continuing with '71's A Symphony Of Amaranths, rumoured to be up for reissue later this spring. In each of these albums, within different contexts, Ardley was concerned with, as he put it, 'integrating the warmth and individual feeling of improvised music with the formal beauty of composition to the benefit of both.' The context for Greek Variations was a series of variations on a Greek folk song, while for Amaranths it was settings of poems by Yeats, Joyce, and others.

For Rainbows Ardley nodded back to Greek Variations, this time developing the suite from the basic five note pelog scale used in Balinese music. It was also the album in which he first explored proto-electronic music—there are three, count 'em, synthesisists here—which became a key interest of his in the late '70s/early '80s. The suite's seven movements, ranging in mood from the gentle and pastoral to the fiery and urgent, are seriously enjoyable through-compositions in their own right, and also the settings for a series of glistening solos from Ian Carr, Brian Smith, Dave Macrae, Geoff Castle, Paul Buckmaster, Barbara Thompson, Tony Coe, Ken Shaw, and Bob Bertles—with Buckmaster's electric cello on 'Rainbow Three,' Thompson's soprano on 'Four,' and Coe's clarinet on 'Five' approaching the sublime. With pin-sharp 24-bit remastering, and a solid twelve-page booklet which includes Ardley's original liner notes and an appreciation of his life and work (he died young, just over a year ago) by Barbara Thompson, Kaleidoscope Of Rainbows lives up to every myth that developed around it during its wilderness years. A landmark album in British jazz. By Chris May. Neil Ardley (1937-2004) was not so much a jazzer, more a gifted composer who enjoyed hanging out with jazz musicians.

Coming out of the fertile and creative British scene of the 1960s and 70s, Ardley's mode of working anticipated a younger generation who now move happily between contemporary, world and electronic music, commercial sessions and improvisation. Kaleidoscope of Rainbows (now digitally remastered) applies the methods of both formal composition and systems-based modernism to motifs and scales Ardley found in recordings of Balinese music. The score is performed by an augmented version of Ian Carr's Nucleus; guests include Barbara Thompson and Tony Coe (reeds) and producer/cellist Paul Buckmaster. Ardley wasn't interested in 'fusion' - he wanted to make a serious, extended work with a broad palette of sound and performance methods.

And that required synthesizers, a state- of-the-art studio (beautifully recorded by engineer Martin Levan) and musicians who could play the dots, improvise and get the feel right. Ardley was a state-of-the-art composer, determined to make richly textured, thought-provoking music whatever the context. Kaleidoscope is still 'accessible', with pretty melodies, catchy riffs and retro grooves, but it wouldn't work without a tough compositional skeleton. By John L Walters.

Track listing: 1. Prologue/Rainbow One; 2. Rainbow Two; 3.

Rainbow Three; 4. Rainbow Four; 5. Rainbow Five; 6. Rainbow Six; 7.

Rainbow Seven/Epilogue. Personnel: Neil Ardley: director, synthesiser Bob Bertles: alto, soprano, flute Paul Buckmaster: acoustic, electric cello Ian Carr: trumpet, flugelhorn Geoff Castle: electric piano, synthesiser Tony Coe: tenor, clarinet, bass clarinet Dave Macrae: electric piano, synthesiser Roger Sellers: drums Ken Shaw: guitar Brian Smith: tenor, soprano, flute, alto flute Roger Sutton: bass guitar, electric bass Barbara Thompson: alto, soprano, flute Trevor Tomkins: percussion, vibraphone. Trey Gunn played in enough rock bands in his formative '80s years to learn how to become a star in popular music -- and then did a 180 into the jazz/fusion thicket. Gunn graduated from keyboards to guitar, then bass to Chapman stick before discovering the customized Warr guitar (which he calls a 'touch guitar' because of its tapping response). With progressive rock juggernaut King Crimson since 1994, Gunn's Live Encounter CD goes even further outside of standard rock than Crimson's excursions -- blending Eastern and other world music styles with jazz/fusion rhythms and an against-the-grain attitude. With Gunn playing the ten-string and Joe Mendelson the eight-string Warr guitar, plus Tony Geballe adding electric guitar unorthodoxy on the opening 'Dziban,' it's deliciously difficult to discern who's playing what over drummer Bob Muller's 7/4-timed groove. Most of the early material is from Gunn's outstanding 1996 studio CD, The Third Star, with a couple exceptions.

'The Glove,' from 2000's even-better The Joy of Molybdenum, literally showcases Muller's leftism -- the drummer plays mounted tabla drums to the side of his drum kit in the intro before providing a bottom-heavy beat for solos by Geballe and Gunn. Warr guitars are capable of everything from bass-like bottom and distorted power chords to the clean, Crimson-like intertwining lines on 'Sirrah.'

Another piece from The Third Star, 'Arrakis,' features psychedelia by Geballe and Mendelson over Gunn's monolithian lower-register notes and Muller's clever, percussive arsenal. The tribal, snake-charming closer, 'Rune Song: The Origin of Water,' beats the odds for any genre by featuring no solos over eight minutes. Clearly, these are virtuoso players who could play traditional jazz but choose to play more outside and emphasize the whole over the singular parts.

High artistic marks and Gunn's side job with Crimson allow the Trey Gunn band enough currency -- against all popular music odds -- for the occasional studio recording session and these live encounters. King Crimson 'Warr Touch' guitarist Trey Gunn's live show is the ultimate balance of power & symmetry - he gracefully intersperses rock, funk, ambient & world beat elements with the precision of a Swiss watchmaker. Joined by multi-percussionist Bob Muller, guitarist Tony Geballe & second 'Warr Touch' guitarist Joe Mendelson, Gunn has finally captured the band in its true essence, raw & bursting with energy. This is an enhanced CD that includes live Quicktime footage, assembled & mixed during Gunn's early 2000's tour with King Crimson on a double-bill with Tool.

Trey Gunn is still best known as a member of the most recent incarnation of King Crimson, playing his Warr Touch guitar, a variation on the Chapman Stick. Gunn's work with Crimson carries over into his own ensemble, except instead of holding down the bass player's role, he stretches out into some scintillating lead work that owes a debt to his mentor, Robert Fripp, especially the long, undulating sustained melodies. Teaming up with another Warr guitarist, Joe Mendelson, guitarist Tony Geballe, and drummer Bob Muller, Gunn shows that 2000's The Joy of Molybdenum was no studio fluke, as he brings the same hell-bent fury and sky-scraping architecture to the live performances captured here. Jettisoning the vocals that often make King Crimson sound like two different bands--one a quirky pop group with Adrian Belew singing, another storming the gates of instrumental heaven--Gunn's band sets their sites on the instrumental heaven, with roles shifting in the band as guitars become percussion instruments and drums become melodic.

But topping it all are elaborate guitar and Warr guitar leads veering from African style cross-picking to feedback frenzies. These live recordings were taken from tours in September 2000 and February 2001. Track listing: 1.

Dziban 6:06 2. The Glove 5:35 3. Hierarchtitiptitoploftical 3:38 5. Sirrah 5:15 6. Arrakis 7:44 7. Tehlikeli Madde 5:14 8.

Brief Encounter 4:36 9. Rune Song: The Origin Of Water 7:56 Personnel: Trey Gunn 10-string Warr Guitar Joe Mendelson 8-string Warr Guitar, Ashbory Rubber Bass Tony Geballe Electric Guitar, 12-string Acoustic Guitar Bob Muller Drums, Hand drums, Percussion. Blade Runner is a soundtrack composed by Vangelis for Ridley Scott's 1982 film Blade Runner. It is mostly a dark, melodic combination of classical composition and synthesizers which mirrors the futuristic film noir envisioned by Scott. The original soundtrack release was delayed for over a decade, until 1994, despite the music being well-received by fans and critically acclaimed—it was nominated in 1983 for a BAFTA and Golden Globe as best original score. The soundtrack is regarded as a historically important piece in the genre of electronic music.

Since the premiere of the film, two official albums have been released containing music omitted from the film and also new compositions featuring a similar style. An orchestral rendition of part of the soundtrack was released in 1982 by the New American Orchestra. However, the original soundtrack album (1994) features vocal contributions from Demis Roussos and the sax solo by Dick Morrissey on 'Love Theme' (In the credits on page 3 of the 1994 Atlantic CD, Dick's last name is misspelled as 'Morrisey').

The track 'Memories of Green' from Vangelis' 1980 album See You Later was also included. A new release made in 2007 includes a disc of new music inspired by the film. In 1994, an official recording of Vangelis' score was released by East West (Warner Music) in the UK and by Atlantic Records in the US. The album reached the #20 position in the UK album charts. In 2013 it reached #14 on the Billboard Vinyl Albums chart. It has been variously described as 'influential and mythical', 'incredible and pristine', 'evocative', and 'the pinnacle of synthesiser soundtracks'.

This release contained a twelve-page booklet consisting mainly of stills from the film. On page 3 there is a list of credits and the following by Vangelis: Most of the music contained in this album originates from recordings I made in London in 1982, whilst working on the score for the film Blade Runner. Finding myself unable to release these recordings at the time; it is with great pleasure that I am able to do so now. Some of the pieces contained will be known to you from the Original Soundtrack of the film, whilst others are appearing here for the first time.

Looking back at Ridley Scott's powerful and evocative pictures left me as stimulated as before, and made the recompiling of this music, today, an enjoyable experience. (Vangelis, Athens, April 1994) While most of the tracks on the album are from the film, a number were composed by Vangelis but were ultimately not used in the film itself. Other compositions that appear in the film were not included on this release. Three of the tracks ('Main Titles', 'Blush Response', and 'Tears in Rain') feature samples of dialogue from the film.

Tracks 1 through 4 are mixed together as a seamless piece; tracks 5 through 7 have silence between them, and the final tracks, 8 through 12 are mixed into another seamless piece. Vangelis recorded, mixed and produced the score for 'Blade Runner' in his own recording space, Nemo Studios, in 1982.

Almond Verba Civic Culture Pdf. He utilised many contemporary electronic instruments in order to create the atmospheric soundscapes, which he crafted on an ad-hoc basis. This was done by viewing videotapes of scenes from the film in the studio, and then improvising pieces in synchronisation with the images on the screen. He also applied the use of some foley techniques, using the synthesisers to produce diegetic and non-diegetic sounds.

The most prominent synthesiser used in the score was the Yamaha CS-80, which can be heard in the opening scenes, and subsequently throughout the rest of the film. Other synthesisers employed by Vangelis included four Roland instruments: the ProMars, the Jupiter-4, the CR-5000 drum machine, and the VP-330 Vocoder Plus; a Sequential Circuits Prophet-10; a Yamaha GS1 FM synthesizer; and an E-mu Emulator sampler. A Steinway grand piano, a Yamaha CP-80 electric grand and a modified Fender Rhodes were also used. He also utilised a variety of traditional instruments, including, gamelan, glockenspiel, gong, snare drum, timpani and tubular bells. Given the impact and enduring appeal of the original, it’s not surprising that the soundtrack to Blade Runner 2049 would be one of the new film’s major challenges. Sidestepping the controversy, Nick Soulsby pays homage to the musical genius and cult mythology of Vangelis’ original 1982 soundtrack, which arguably remains the greatest score in sci-fi history. Glass shatters.

Full-length panes burst in a glittering sea-surf spray as a bloodied figure — the hunted replicant (simulated machine humanoid) Zhora — hurls herself forward through shop windows, in one of the most haunting dystopian visuals from the 1982 film Blade Runner. While it’s an arresting image, the overall impact – the ability to forget we’re watching collapsing sugar or synthetic resin – is boosted by wedding the image with sound effects and music. Cinema, a product of the human capacity for story-telling and for reading meaning into content, isn’t a purely visual medium; it relies on the interweaving of audio and visual elements. At its finest, cinema audiences don’t even need to look at the screen to imagine what’s occurring, sound’s ability to manipulate emotional responses and to create mental associations is all that’s needed.

Vangelis’ soundtrack for Blade Runner remains one of the relatively few soundtracks to establish an enduring reputation as fine music in its own right. Vangelis, by mid-1981 when he was first invited to view a rough cut of footage from Blade Runner, was at the peak of his fame as a solo artist, following a half-decade long run of successful albums. On 29th March 1982, a month prior to submitting his compositions for Blade Runner, he would crown his career as a creator of movie soundtracks (which began as far back as 1963) by winning an Oscar for his work on Chariots Of Fire.

His work on Blade Runner took place in the midst of a truly auspicious moment for the Greek composer, and he fully lived up to the expectations placed upon him. Soundtracks are a substantial additional outlay for a film. Many, as a consequence of cost, float along on of-their-moment pop songs that barely relate to the events occurring on screen. It’s cheaper, and easier, to simply buy licenses than to compose specifically for a film. Otherwise, a lot of music consists of made-to-measure cues churned out over a matter of days, at most a few weeks, with only one or two themes of substance. Vangelis was a truly different proposition: his work extended from sometime in mid-1981 through to April of the following year.

In that time he composed, arranged, performed and produced each aspect of the music, creating a work of art that reflected a singular, unified vision of his own. This, of course, influenced the work present in the movie, but was also responsible for the final form of the soundtrack. Vangelis didn’t want to release a record robotically, logging the sonic aspects of someone else’s film. Instead, he conceived of the soundtrack as a full Vangelis album, a coherent suite. This is a major factor in the soundtrack’s favour: it works as a standalone release and not just as an accompaniment to visuals.

Quality, however, is not the sole factor in the allure of any album. It’s never just about the music. Blade Runner retains a mysteriousness, which began when, for reasons never clarified, Vangelis’ soundtrack was not ‘officially’ unreleased for a full 12 years. This absence created a vacuum. Curious fans of the movie, of Vangelis’ work, of the cutting-edge of electronic music composition, filled that vacuum with their dreams of how the compositions may have developed away from the film’s sequences. Various enterprising individuals spliced together lo-fi reproductions of what could be heard within the film itself. A 1982 bootleg leak emerged, wreathed in aura-building rumours that the film’s sound engineers were complicit in its release.

In an example of the power of bootleg recordings, for over a decade fans were able to be a part of a secret history, acquiring illicit recordings steeped in the power that comes from knowing someone apparently didn’t want anyone to hear them. It was a talismanic object acquired only by the lucky, the devoted or the enlightened.

Having permitted unsated expectations to endure for so long, Vangelis finally released an album in 1994. I say ‘an’ album because the 12 tracks (one hour of audio) that Vangelis carefully selected to create his album clashed headlong into fans’ hunger for more. It was clear from the day of its release that this was only a small portion of the music created. There were already bootlegs available with additional tracks not seen here, while anyone watching the film was able to log a list of compositions still hidden from view.

Again, resisting closure, a final reckoning, was an accidental masterstroke in that it ensured an open-ended thirst for more. This instability of definition wedded the soundtrack irrevocably to the film itself. Ridley Scott, the director, had similar trouble allowing the film to assume a settled state. Pre-release screenings of Blade Runner featured extra scenes, the theatrical release existed in two versions, the nineties saw a new director’s cut emerge – this was then followed by a (supposed) ‘Final Cut’ in 2007. The last event led to Vangelis being invited to release his own revised and expanded cut of the soundtrack: a three disc indulgence consisting of the 1994 ‘original’, a further 45 minutes of music, plus an entirely new suite ‘inspired by’ the film. Inevitably however, the release still failed to encompass all the music from the film. It simply reconfirmed Vangelis’ conception of the soundtrack, meaning the specific album he designed.

Original music composed and performed by Vangelis Track listing: 01 Main Titles 3:42 02 Blush Response 5:47 03 Wait For Me 5:27 04 Rachel's Song 4:46 05 Love Theme 4:56 06 One More Kiss, Dear 3:58 07 Blade Runner Blues 8:53 08 Memories Of Green 5:05 09 Tales Of The Future 4:46 10 Damask Rose 2:32 11 Blade Runner (End Titles) 4:40 12 Tears In Rain 3:00 Personnel: Vangelis: keyboards, synthesizers. Demis Roussos: vocals; Dick Morrissey: saxophone; Mary Hopkins: vocal. More is the first full-length soundtrack album, and third studio album, by the English rock band Pink Floyd, released on 13 June 1969 in the United Kingdom by EMI Columbia and on 9 August 1969 by Tower Records a subsidiary label of Capitol Records in the United States as Original Motion Picture Soundtrack from the film More. It is the first album by the band to be released by Capitol internationally. The film More was primarily filmed on location on Ibiza where most of the story takes place.

It was the directorial debut for Barbet Schroeder. More is a psychedelic rock soundtrack album that contains some acoustic folk ballads, a genre that appeared sparsely on Pink Floyd's later works. It also contains some of the band's 'heaviest' recordings, such as 'The Nile Song' and 'Ibiza Bar', as well as several instrumental tracks, featuring their experimental and avant-garde approach. This is Pink Floyd's first full album without founding member Syd Barrett, who was ousted from the group in early 1968 during the recording of A Saucerful of Secrets.

It is one of the three Pink Floyd albums to feature David Gilmour as the sole lead vocalist, the others being 1987's A Momentary Lapse of Reason and 2014's The Endless River, and it is also the first album to be produced by Pink Floyd without assistance from Norman Smith. More was recorded at Pye Studios, Marble Arch, London and engineered by Brian Humphries. It is the only album in the band's discography not to have a lead vocal from Roger Waters during his tenure in the band. Two songs can be heard in the film that were not included on the album: 'Seabirds' and 'Hollywood'. More reached number 9 in the UK and, upon re-release in 1973, number 153 in the US. In 1987, the album was issued on CD. A digitally remastered CD was released in 1995 in the UK and 1996 in the US.

Since 1995, the new edition changed the title to just Music from the Film More (US title: Music from the Motion Picture More). This was the last of three Pink Floyd albums to be released in the United States by the Tower Records division of Capitol Records. The 1973 US reissue was released on Harvest Records.

Although the CD restores the original United Kingdom title in all countries, it is represented differently on the spine (Music from the Film More) and label More. For the Pink Floyd Records 2016 re-issue, the name reverted to Soundtrack from the film More which was released 3 June 2016.

More received mostly negative reviews from critics. The Daily Telegraph was favorable towards the album, while AllMusic provided a mixed response. MusicHound and Rolling Stone, however, were less positive, with the former giving the album a rating of one out of five. For their third album, Pink Floyd were commissioned to provide the score to More, a film by Barbet Schroeder that dealt heavily with drugs. Ultimately, his movie became nothing more than a footnote, but the mesmerizing soundtrack – released on Aug. 9, 1969 – stands on its own as a true Pink Floyd album.

At this point, the group was still trying to find a new path following the departure of Syd Barrett. Pink Floyd's second album, A Saucerful of Secrets, had featured a hybrid five-man lineup that still included their erratic founding frontman. With Barrett officially gone, certain tracks on More made their path more clear. Opening with 'Cirrus Minor,' the soon-to-be-signature Floyd sound swims through, following some introductory nature sounds which create a dream-like feel. That hazy state is soon harshly disrupted by what is probably Floyd's loudest and most aggressive track, 'The Nile Song.'

As brutal and powerful as anyone else of the era, they bludgeon our ears with some fine neanderthal, proto-metal rock. This could easily be held up as one of this group's great lost songs. 'The Crying Song' settles things back to mellow mode. Written by Roger Waters, who had a hand in all the songs here, this beautiful number perfectly captures the mood of his lyric. 'We cry and cry, sadness passes in a while,' David Gilmour sings over a bed of acoustic guitars, vibes and minimal drums, creating an atmosphere that is more haunting than psychedelic. He'd handle all of the vocals on More. 'Green Is the Colour' is a pretty little ditty dressed up with piano, acoustic guitars and recorder, while 'Cymbaline' is another forgotten gem.

The song could have easily fit on any given Pink Floyd album up to, and including, Wish You Were Here. Gilmour's vocal gives it a timeless quality, and was covered by Hawkwind for inclusion on their 1970 debut, though it remained unreleased until the '90s. 'Ibiza Bar' is cut from the same cloth as 'The Nile Song,' with Nick Mason thundering away on drums. The rest of the album, including tracks like 'Up the Khyber,' 'Party Sequence,' 'Quicksilver' and 'Main Theme,' supplies a variety of moods and styles to fit in with the film – and, though written for that purpose, stand on their own as interesting slices of Pink Floyd from this period. That helped More sail into the U.K. Top 10, though it failed to make a dent stateside, where the album finished at just No. 153 by year's end.

For some, the soundtrack work – including More, Zabriskie Point, and Obscured by Clouds – is held apart from their regular catalog. They're considered sidesteps, and are not judged as 'standard' Pink Floyd albums.

More, however, makes its own argument for a place in the larger scheme of things. Listen in, and you will hear a whole world of great sounds from this always-exceptional band. Commissioned as a soundtrack to the seldom-seen French hippie movie of the same name, More was a Pink Floyd album in its own right, reaching the Top Ten in Britain. The group's atmospheric music was a natural for movies, but when assembled for record, these pieces were unavoidably a bit patchwork, ranging from folky ballads to fierce electronic instrumentals to incidental mood music. Several of the tracks are pleasantly inconsequential, but this record does include some strong compositions, especially 'Cymbaline,' 'Green Is the Colour,' and 'The Nile Song.' All of these developed into stronger pieces in live performances, and better, high-quality versions are available on numerous bootlegs. Track listing: 01.

'Cirrus Minor' Waters 5:18 02. 'The Nile Song' Waters 3:26 03.

'Crying Song' Waters 3:33 04. 'Up the Khyber' (instrumental) Mason, Wright 2:12 05. 'Green Is the Colour' Waters 2:58 06. 'Cymbaline' Waters 4:50 07. 'Party Sequence' (instrumental) Waters, Wright, Gilmour, Mason 1:07 08. 'Main Theme' (instrumental) Waters, Wright, Gilmour, Mason 5:27 09. 'Ibiza Bar' Waters, Wright, Gilmour, Mason 3:19 10.

'More Blues' (instrumental) Waters, Wright, Gilmour, Mason 2:12 11. 'Quicksilver' (instrumental) Waters, Wright, Gilmour, Mason 7:13 12. 'A Spanish Piece' Gilmour 1:05 13. 'Dramatic Theme' (instrumental) Waters, Wright, Gilmour, Mason 2:15 Total length: 44:56 Personnel: Roger Waters – bass guitar, tape effects, percussion Nick Mason – drums, percussion Richard Wright – Farfisa Combo Compact Duo organ, Hammond M-102 spinet organ, piano, vibraphone, backing vocals David Gilmour – acoustic, electric, slide, and flamenco guitars, percussion, lead vocals Additional personnel: Lindy Mason – tin whistle on 'Green Is the Colour' and 'Party Sequence'.

Artist: Various Artists Title Of Album: Soul Jazz Records Presents Disco 2: A Further Fine Selection of Independent Disco, Modern Soul and Boogie 1976-80 Year Of Release: 2015 Label: Soul Jazz Records Genre: Nu Disco/R&B/Soul/Funk/House Quality: mp3 320 kbps / flac lossless Total Time: 02:21:52 Total Size: 945 / 324 mb WebSite: Tracklist --------- 01. Pay the Price - Stevo 02.

Summertime - High Frequency 03. Groove on Down - Dunn Pearson, Jr. Cosmic Funk - Mad Dog Fire Department 05. Rock-A-Freak - Needa 06. Disco Strut - Cream De Coco 07. What Can I Do to Make You Dance - Anita Maldonado 08.

Come Inside - The Shades Of Love 09. Micro Wave Boogie - Skip Jackson & The Natural Experience 01. Everybodys Dancin - Jahneen 02.

Freestyle - Montego Joe 03. Africano - Timmy Thomas 04. Get Down Boy - Paper Doll 05. I Feel Like Love - Jazz 06. Hes Here - Paco and Flaco and Coco 07. Victorious - Ripple 08.

Moon Ride - Universal Love 09. Jam On - Panache 10. Strut On - Otis Browns GraA.