Audacity 2.1

Luc Beauséjour, a highly sought-after musician for his virtuosity and the subtlety of his playing on the harpsichord and organ, is never short of ideas when it comes to offering concert programs imbued with refinement. The repertoire heard on this recording, originally written for the harpsichord during the Baroque period, is being played here on piano. If many pianists have played Bach, Scarlatti, Handel, Rameau, and even Couperin and Froberger, few harpsichordists have come to the defense of the harpsichord repertoire on the modern piano with such conviction and audacity. Fascinating!

The Spaghetti Epic: Six Modern Рrog Bands For Six '70 Рrog Suites (2004). Musea and Finnish magazine Colossus have come up trumps with their 'Six Modern Prog Bands For Six '70 Prog Suites' idea. Two and quarter hours of quality music and a booklet that has to be seen to be believed (including a documented story of the film, illustrated story boards and various photographs). The sheer audacity of such a concept has to be applauded and encouraged, particularly as the results are so good!
Take a classic film of the genre, in this case Once Upon A Time In The West, and invite six modern prog bands to write a piece of music based on a character from the film…

Crown of Creation was released in 1968 and is the fourth album by the San Francisco rock band Jefferson Airplane. The album peaked at number 6 on the album charts and was eventually certified gold. The David Crosby-penned "Triad" is the only track not composed by Jefferson Airplane. The song was previously rejected for release by Crosby's group The Byrds as being too risqué.

A Very Great Sounded 500 Copies Reissue!!!

None of the Band's previous work gave much of a clue about how they would sound when they released their first album in July 1968. As it was, Music from Big Pink came as a surprise. At first blush, the group seemed to affect the sound of a loose jam session, alternating emphasis on different instruments, while the lead and harmony vocals passed back and forth as if the singers were making up their blend on the spot. In retrospect, especially as the lyrics sank in, the arrangements seemed far more considered and crafted to support a group of songs that took family, faith, and rural life as their subjects and proceeded to imbue their values with uncertainty. Some songs took on the theme of declining institutions less clearly than others, but the points were made musically as much as lyrically. Tenor Richard Manuel's haunting, lonely voice gave the album much of its frightening aspect, while Rick Danko's and Levon Helm's rough-hewn styles reinforced the songs' rustic fervor. The dominant instrument was Garth Hudson's often icy and majestic organ, while Robbie Robertson's unusual guitar work further destabilized the sound. The result was an album that reflected the turmoil of the late '60s in a way that emphasized the tragedy inherent in the conflicts. Music from Big Pink came off as a shockingly divergent musical statement only a year after the ornate productions of Sgt. Pepper, and initially attracted attention because of the three songs Bob Dylan had either written or co-written. However, as soon as "The Weight" became a minor singles chart entry, the album and the group made their own impact, influencing a movement toward roots styles and country elements in rock. Over time, Music from Big Pink came to be regarded as a watershed work in the history of rock, one that introduced new tones and approaches to the constantly evolving genre. Allmusic.

1981 US limited edition Mobile Fidelity half-speed mastered 'Original Master Recording' audiophile issue of the 1971 10-track LP, pressed in Japan on High Definition Super Vinyl.

This sublime, tranquil recording features 11 haunting ambient tone poems for treated piano. They are crafted from simple chords, arpeggios, or melodies that are frequently trailed by delicate electronic whispers to produce dreamy results. Even though Budd and Eno chose to compose and record in a minimalist style, their gorgeous, moody music evokes so much more, for the reverberating spaces between the notes are just as important as the notes themselves. In an interesting experiment, both "Against the Sky" and "An Echo of Night" explore the same melancholic musical theme in different settings–the former is a sparse piano piece with gentle electronic treatments, the latter is a murky synth work set against a nocturnal outdoor backdrop. (Budd later explored the theme again as the ethereal elegy "Olancha Farewell" on his 1986 solo album, Lovely Thunder.) Beautifully understated, the slow-motion ballet of The Pearl is a piece of striking ambient impressionism that was highly original in its day, well before the myriads of New Age imitators its composers spawned, and it remains fresh and vital two decades later. –Bryan Reesman

This British Sunray Label pressing has THE BEST SOUND I'VE EVER HEARD FOR THIS ALBUM! None of the Pink Label originals that we played had the deep, powerful, punchy bass that this pressing has, coupled with an extended, sweet top end. This is one of the best sounding Traffic records ever made. It's a wonderful example of late '60s British psychedelic rock. Better records.

The album feels even more like a collection of singles (instead of an actual movie soundtrack) than Help! or A Hard Day's Night, but maybe that's because every song sounds like it could have been a hit single–with the natural exception of the goofy/weird instrumental "Flying." Even George's "Blue Jay Way" paints a vivid sound-portrait in fascinating detail. (I consider Joni Mitchell's "Car on the Hill" from Court and Spark to be a companion piece about sitting in the Hollywood Hills, waiting for somebody to show up.) And although the goofy TV movie may have been mostly Paul's baby, this album features the two 45 rpm masterpieces that sum up the quintessential best of Lennon and McCartney at this stage of their development: Paul's "Penny Lane" and John's "I Am the Walrus." –Jim Emerson