Foreigner - Foreigner (1977). Blissful feelings arise at the mere mention of 70s arena rock. It gives listeners the permission to have fun, sing along to aircraft-hangar-size choruses, play air guitar solos, forget about any troubles, recall the experience of a first kiss, and quite simply, rock out. Few albums better instill these pleasures than Foreigner’s 1977 self-titled debut album, a five-times platinum blockbuster chock full of salacious riffs, soaring vocals, edgy beats, and lyrics that practically demand to be shouted.
Spearheaded by guitar hero Mick Jones, fresh off success with Spooky Tooth, Foreigner rallied around a talented collective pulled from the U.S. and U.K…
In 1978, Eloy released the double Live (squeezed onto one CD), at a time when most progressive bands were either going commercial or altogether disbanding. Eloy however were at the peak of their popularity in their homeland of Germany and most of their albums from 1976 to 1982 would sell over 200,000 copies. Rightly considered the German Pink Floyd, the band was famous for elaborate stage shows featuring copious laser lights, dry ice machines and plentiful pyrotechnics.
Live compiles some of the band's best loved compositions to date and very often, the live versions outshine their studio counterparts…
Occasionally out of the blue skies comes an album that can truly be anointed as a progression , beyond the valleys of symphonic, through the dense forests of experimental and over the mighty Italian RPI peaks. Celebrated multi-instrumentalist and prolific maestro bassist Fabio Zuffanti (having a glorious recent past with the legendary Finisterre , the heady La Maschera di Cera, the pastoral Histsonaten, folky Aries, experimental Zaal and La Zona, to name just a few) has outdone himself with this supremely evocative and original offering. Firstly beyond the vivid green artwork that glorifies the music even more, the amalgamation of keyboardists Agostino Macor (the next Wakeman/Emerson in my opinion) and Boris Valle has only managed to make us prog fans fantasize even further over ivory pleasures, with colossal use of piano and mellotron throughout the wheezing, highly cinematographic arrangements. ..
During the early '90s, Phish emerged as heirs to the Grateful Dead's throne. Although their music was somewhat similar to the Dead's sound – an eclectic, free-form rock & roll encompassing elements of folk, jazz, country, bluegrass, and pop – the group adhered more to jazz-derived improvisation than folk tradition.
The third in the Glass’ trilogy of operas about men who changed the world in which they lived through the power of their ideas, “Akhnaten”‘s subject is religion. The Pharaoh Akhnaten was the first monotheist in recorded story, and his substitution of a one-god religion for the multi-god worship in use when he came to power was responsible for his violent overthrow. The opera describes the rise, reign, and fall of Akhnaten in a series of tableaus. Libretto (Egyptian, Arcadian, Hebrew, and language of the audience) by the composer in association with Shalom Goldman, Robert Israel and Richard Riddell. Vocal text drawn from original sources by Shalom Goldman.
The Grateful Dead's May 8th, 1977, gig at Cornell University is widely considered the ne plus ultra of Dead bootlegs. This 14-disc set, packed in a psychedelic sarcophagus, documents five gigs from later that month…
Complete retail studio album discography by US Jam-Rock band Phish. As bonus you get "A Live One" and the DVD "Specimens Of Beauty", a documentary about the recording of Undermind, that came in a limited version with the first copies of the album.