Lucifer's Friend Lucifer's Friend (1970)

Audience was a London-based group that recorded their first album in 69 and had their eponymous debut pulled from the stores a few months after its release, which makes the album a major collectible (CD versions were also hard to come by until a recent reissue). They got signed by Tony Stratton-Smith of the Charisma label (Genesis, Van der Graaf Generator, The Nice and a few others) but although not a purely progressive group, they bore a lot of characteristics of the masters. Among which , a profound (and somewhat derangesome) singer whose voice reminds you a bit of Peter Hammill, a great wind players able to switch to from flutes to saxes and oboe and a bassist…

As digital technology began to prevail in the recording industry in the early '80s, Elton John's original record producer, Gus Dudgeon, was among the first to actively embrace the seemingly infinite possibilities in the medium. Although the promise of perfect sound may have been a bit of an exaggeration, the notable improvements to the subtleties as well as the expanded frequency response of recordings remastered in the digital domain were most certainly not. Dudgeon's original idea for this 11-track compilation was to not only present some of John's best-known works in this new realm, but also a few of the deeper album cuts that would most aptly demonstrate the awesome dimensions inherent in digital audio reproduction…

McKendree Spring is a progressive folk-rock band, active mainly in the early 1970s. The band consisted of Fran McKendree (vocals and guitar), Fred Holman (bass), Dr. Michael Dreyfuss (electric violin, viola, Moog, Arp, Mellotron), Martin Slutsky (electric guitar)…

Charley Pride - Four More Charley Pride Albums (1970-1971) {2CD Set BGO Records BGOCD1201 rel 2015}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 689 Mb | MP3 @320 -> 252 Mb
Full Artwork @ 300 dpi (png) -> 47 Mb | 5% repair rar
© 1970-71, 2015 BGO Records / RCA Victor / Sony Music | BGOCD1201
Country / Country Pop / Nashville Sound

Four albums from Sledge, Mississippi-born Charley Pride taken from a purple patch (1970-1971) in his long and illustrious career are squeezed onto this twin cd set (it is as if BGO are trying to make up for lost time such the succession of releases coming out). Pride possessed one of the finest singing voices to ever grace a country, or otherwise stage; up there with velvet tones of Jim Reeves and from more recent times Vince Gill. He was that good, and if you don’t believe just go and check out the manner in which he effortlessly eases through the likes of such classic fare as “Is Anybody Goin’ To San Antone”.

Audience was a London-based group that recorded their first album in 69 and had their eponymous debut pulled from the stores a few months after its release, which makes the album a major collectible (CD versions were also hard to come by until a recent reissue). They got signed by Tony Stratton-Smith of the Charisma label (Genesis, Van der Graaf Generator, The Nice and a few others) but although not a purely progressive group, they bore a lot of characteristics of the masters. Among which , a profound (and somewhat derangesome) singer whose voice reminds you a bit of Peter Hammill, a great wind players able to switch to from flutes to saxes and oboe and a bassist…

Much more of a collaboration here than on their previous effort, John and Beverley Martyn continue on their way through the British folk-jazz of the '70s. Flowing with a subtle improvisation that incorporated a greater ethnic feeling, Road to Ruin makes for enjoyable listening indeed. Good singing and playing make this a great album to sit back and reflect upon.

For Stormbringer!, John and Beverley Martyn went to Woodstock, NY, and recorded with several local musicians, including session hands Paul Harris and Harvey Brooks, as well as the Band's Levon Helm. Very much in the mold of the electric Fairport Convention of this period, Stormbringer! sizzles with acoustic interplay and an almost jazzy feel. Highlights include "Woodstock" (not the Joni Mitchell tune) and the title track. ~ James Chrispell