Greenslade Greenslade (1972) (2006 Remaster) RE Upload

Not long after the disintegration of Colosseum, Greenslade was born, with their inaugural self-titled album whetting the appetites of progressive rock fans worldwide. Dave Greenslade used the group to showcase his illustrious keyboard intricacies alongside Tony Reeves' bass guitar, Andrew McCulloch's predominant percussion work, and Dave Lawson's vocals, all of which made Greenslade a quintessential prog album…

Pete Townshend - Empty Glass (1980) {2006 Remaster Edition}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 449 Mb | MP3 @320 -> 147 Mb
Full Artwork @ 300 dpi (jpg) -> 15 Mb | 5% repair rar
© 2006 Hip-O / Eel Pie | HIP-O B0005941-02
Rock / Hard Rock

Who mastermind Pete Townshend's strongest solo record was born in a hailstorm of despair, uncertainty, and tribulation. With the once viscerally powerful Who in limbo, the guitarist nearly sunk himself into brandy-drenched oblivion. He emerged with one of his most gripping solo pieces and–perhaps unsurprisingly–the most Who-like album of all his solo work.

Vladimir Ussachevsky was one of the most significant pioneers in the composition of electronic music, and one of its most potent forces. Born in 1911 in Manchuria, China, Ussachevsky was the son of a Russian Army captain. His childhood was spent on the windswept and sparsely settled Manchurian plain, visiting with the nomadic tribesmen in their tents, and singing Old Slavonic chants as an altar boy in the local Russian Orthodox church. By the time he arrived in California, at the age of nineteen, he was a skilled pianist gifted in the interpretation of Romantic music, and a fluent improvisor. ……….
Unknown to Ussachevsky, the first experiments in tape and electronic music had begun two or three years earlier in France with the "musique concrète" of Pierre Schaeffer and Pierre Henry and, one year before, in Germany with the founding of the Cologne electronic-music studio by Herbert Eimert. Ussachevsky's first experiments began in 1951 when the Columbia Music Department acquired an Ampex 400 tape recorder, which together with a microphone, a pair of earphones, and a borrowed Magnecord recorder, constituted the entire equipment of the first American electronic-music studio. ……..
It is perhaps not far-fetched to describe Ussachevsky as one of the most enigmatic and self-effacing figures in new American music after World War II. He was an intensely personal man who combined Old World charm and courtliness with humor and American get-up-and-go. He talked little about himself or the fact that he had been brought up in an unusual time and place that had already ceased to exist.

pout-pourri from the attached booklets

Vladimir Ussachevsky was one of the most significant pioneers in the composition of electronic music, and one of its most potent forces. Born in 1911 in Manchuria, China, Ussachevsky was the son of a Russian Army captain. His childhood was spent on the windswept and sparsely settled Manchurian plain, visiting with the nomadic tribesmen in their tents, and singing Old Slavonic chants as an altar boy in the local Russian Orthodox church. By the time he arrived in California, at the age of nineteen, he was a skilled pianist gifted in the interpretation of Romantic music, and a fluent improvisor. ……….
Unknown to Ussachevsky, the first experiments in tape and electronic music had begun two or three years earlier in France with the "musique concrète" of Pierre Schaeffer and Pierre Henry and, one year before, in Germany with the founding of the Cologne electronic-music studio by Herbert Eimert. Ussachevsky's first experiments began in 1951 when the Columbia Music Department acquired an Ampex 400 tape recorder, which together with a microphone, a pair of earphones, and a borrowed Magnecord recorder, constituted the entire equipment of the first American electronic-music studio. ……..
It is perhaps not far-fetched to describe Ussachevsky as one of the most enigmatic and self-effacing figures in new American music after World War II. He was an intensely personal man who combined Old World charm and courtliness with humor and American get-up-and-go. He talked little about himself or the fact that he had been brought up in an unusual time and place that had already ceased to exist.

pout-pourri from the attached booklets

Not long after the disintegration of Colosseum, Greenslade was born, with their inaugural self-titled album whetting the appetites of progressive rock fans worldwide. Dave Greenslade used the group to showcase his illustrious keyboard intricacies alongside Tony Reeves' bass guitar, Andrew McCulloch's predominant percussion work, and Dave Lawson's vocals, all of which made Greenslade a quintessential prog album. The attention almost never veers from David Greenslade's beautiful organ texturing, alternating between hard and delicate patterns while defining the album's pure progressive sound. Reeves' bass riffs are spatial and thorough, complimenting the keyboard runs when needed while falling in behind the music at the proper times.