Parallels Desktop 19.4.1

Going for the One is perhaps the most overlooked item in the Yes catalog. It marked Rick Wakeman's return to the band after a three-year absence, and also a return to shorter song forms after the experimentalism of Close to the Edge, Tales from Topographic Oceans, and Relayer. In many ways, this disc could be seen as the follow-up to Fragile. Its five tracks still retain mystical, abstract lyrical images, and the music is grand and melodic, the vocal harmonies perfectly balanced by the stinging guitar work of Steve Howe, Wakeman's keyboards, and the solid rhythms of Alan White and Chris Squire.

Going for the One is perhaps the most overlooked item in the Yes catalog. It marked Rick Wakeman's return to the band after a three-year absence, and also a return to shorter song forms after the experimentalism of Close to the Edge, Tales from Topographic Oceans, and Relayer. In many ways, this disc could be seen as the follow-up to Fragile. Its five tracks still retain mystical, abstract lyrical images, and the music is grand and melodic, the vocal harmonies perfectly balanced by the stinging guitar work of Steve Howe, Wakeman's keyboards, and the solid rhythms of Alan White and Chris Squire.

Going for the One is perhaps the most overlooked item in the Yes catalog. It marked Rick Wakeman's return to the band after a three-year absence, and also a return to shorter song forms after the experimentalism of Close to the Edge, Tales from Topographic Oceans, and Relayer. In many ways, this disc could be seen as the follow-up to Fragile. Its five tracks still retain mystical, abstract lyrical images, and the music is grand and melodic, the vocal harmonies perfectly balanced by the stinging guitar work of Steve Howe, Wakeman's keyboards, and the solid rhythms of Alan White and Chris Squire.

Above all, Fournier's Bach playing is crowned with an eloquence, a lyricism and a grasp both of the formal and stylistic content of the music which will not easily be matched. Curiously, perhaps, it is the baroque cellist, Anner Bylsma on RCA who often provides close parallels with Fournier. Bylsma's tempos tend to be faster than those of Fournier—that, after all has been a trend in baroque music over the past 20 years or so—but his conception of the music shares ground with that of Fournier. All things considered, it is hardly surprising that these readings seem as fresh and as valid today as they did 25 or more years ago.

Heatwave’s sophomore LP CENTRAL HEATING (R&B #2/Pop #10/UK#26), released in 1977 on GTO Records, more than lived up to the group’s breakthrough album from the year before. All but two of the tracks were penned by Rod “Thriller” Temperton with the remainder from the hand of lead vocalist Johnnie Wilder. The stand out tracks include the funk smash and disco-era anthem “The Groove Line” (R&B #3/Pop #7/UK #12) and the quiet storm classic “Mind Blowing Decisions” (UK #12/R&B #49) as well as party grooves “Put Out The Word,” and “Party Poops” and the smooth soul of “Happiness Togetherness” and “The Star Of A Story,” which was later covered by George Benson on his Quincy Jones produced Give Me The Night album.

"Do You Want Head? Blow Your Mind with the Head Shop Album!" screams a commercial add in New York's Screw magazine in 1969. The band had garagy roots and evolved from Household Sponge to The Head Shop. Based in NYC, this psychedelic underground project had a unique sound, charcterized by soulful vocals, flying Hammond organ, fuzzy bass, distorted lead guitars, lots of percussive and weird rhythm instruments, plus several unexpected stereo experiments. A highlight for sure is their haunted interpretation of Bobby Hebb's 'Sunny'! Conceptional, but also musically there are some parallels to Joe Meek. Another major influence is The Beatles' experimental period, not just because of the cover version of 'Revolution.' Larry Coryell features as "wailing" guest musician on the track, 'I Feel Love Comin' On'…

With 1971's Fragile having left Yes poised quivering on the brink of what friend and foe acknowledged was the peak of the band's achievement, Close to the Edge was never going to be an easy album to make. Drummer Bill Bruford was already shifting restlessly against Jon Anderson's increasingly mystic/mystifying lyricism, while contemporary reports of the recording sessions depicted bandmate Rick Wakeman, too, as little more than an observer to the vast tapestry that Anderson, Steve Howe, and Chris Squire were creating…