Prologue Kollobe

Commissioned to commemorate the 15th anniversary of the October Revolution in 1932, Orango tells the fantastical story of a human-ape hybrid, who, through a combination of sleazy journalism, stock-exchange swindles and blackmail, rises to become a ruthless newspaper baron.

The prologue is a unique feature of early baroque opera: an opening scene where an allegorical figure enters the stage to prepare the audience for the musical drama to come. Thus Prologue is the musical introduction of Italian star soprano Francesca Aspromonte and her exclusive, long term engagement with Pentatone, promising great joy as well as drama in the years to come. Prologue is a highly original album consisting of several prologues from early-baroque operas by Monteverdi, Caccini, Cavalli, Landi, Rossi, Cesti, Stradella and Scarlatti. Strung together, they form a representation in a single act, a theatre full of small, complete dramas: the opera before the opera. Francesca Aspromonte is quickly establishing herself as a shining star in the Baroque firmament. She has curated this album together with musical director Enrico Onofri, who leads il pomo doro, one of the most important and successful period ensembles of today.

Tycho - Past Is Prologue (2006)
Electronic | Album | MP3 CBR 320 Kbps | 140 Mb
Publisher: Ghostly International | Language: English

What exactly is obvious of any electronic band with developing soundscapes that only draws you in? Boards of Canada, despite their repetitive sampling aren’t anything truly awe-inspiring, but what is easily described as electronic can only be heard with your ears only – that is too truly understand the sound they produce. Tycho’s Past Is Prologue mixes various sampling with ambient techno atmospheres a la Board of Canada and even ambient artists such as Eno (not as limited).

One of a rapidly growing body of live Gentle Giant performances from the '70s that have begun surfacing on CD, Prologue is the next thing to a bootleg: the fact that the title is misspelled as "Prolouge" on the back cover and the spine is sort of a dead giveaway. The two-CD set encompasses two shows dating from the periods of In a Glass House and The Power and the Glory, respectively; the first disc and part of the second come from an April 5, 1974 concert in Munster, Germany, and the balance of the second disc is filled out with four numbers from an October 10, 1975 show at the Philadelphia Spectrum…

Esoteric Recordings are pleased to announce the release of a newly re-mastered and expanded edition of the classic 1972 album by Renaissance, "Prologue". Formed in 1969 by former Yardbirds members Jim McCarty and Keith Relf, Renaissance had by 1971 undergone a series of line-up changes and had evolved into a completely different band from the one that had recorded the albums "Renaissance" and "Illusion". By June 1972 Renaissance had settled into a line-up featuring the highly gifted vocalist Annie Haslam, John Tout (keyboards, vocals), Jon Camp (bass, vocals), Terry Sullivan (drums, percussion) and Rob Hendry (guitar, mandolin, vocals). The album "Prologue" was recorded in June and July 1972 and featured material written by Michael Dunford (a member of the group who had decided to eschew performing with the band to concentrate on song writing) and lyricist Betty Thatcher. Featuring such classic material as the album title track, 'Kiev', 'Spare Some Love' and the epic 'Rajah Kahn', "Prologue" was also notable for the presence of guest musician Francis Monkman (of Curved Air) who would play VCS 3 synthesiser on 'Rajah Khan'.

The first album by the '70s (i.e. Annie Haslam) version of Renaissance is a transitional work, rooted in more standard hard rock sounds (including psychedelia) than what followed. One can spot the difference, which may please some listeners and put others off, in the fairly heavy guitar sound of "Prologue," Rob Hendry's electric instrument playing both lead and rhythm parts prominently at various times behind Annie Haslam's soaring vocals and adjacent to John Tout's piano.

The first album by the '70s (i.e. Annie Haslam) version of Renaissance is a transitional work, rooted in more standard hard rock sounds (including psychedelia) than what followed. One can spot the difference, which may please some listeners and put others off, in the fairly heavy guitar sound of "Prologue," Rob Hendry's electric instrument playing both lead and rhythm parts prominently at various times behind Annie Haslam's soaring vocals and adjacent to John Tout's piano. "Kiev" may also startle some longtime fans, since Haslam doesn't handle the lead vocals, the male members' singing being much more prominent. The ethereal, flowingly lyrical "Sounds of the Sea" is the cut here that most resembles the music that the group became known for in the years ahead, and shows Haslam singing in the high register for which she would become famous.

Joining the likes of Winterhawk, Amulet, and Truth and Janey in the role of obscure Midwestern hard rock bands to have their '70s recordings belatedly reissued by Monster Records was seemingly not enough to satisfy Kansas City's JPT Scare Band, who proceeded to launch their own imprint in the wake of 2000's favorably received Sleeping Sickness CD in an attempt to expose any newfound fans to even more of their music, both old and new. The oddly named Kung Bomar was that imprint, and 2002's Past Is Prologue its first product, which amazingly revealed that the core trio of vocalist/guitarist Terry Swope, bassist Paul Grigsby, and drummer Jeff Littrell, had in fact carried on with their basement jam sessions for nigh on 30 years, in spite of the general public's complete ignorance of heir existence.

The first album by the '70s (i.e. Annie Haslam) version of Renaissance is a transitional work, rooted in more standard hard rock sounds (including psychedelia) than what followed. One can spot the difference, which may please some listeners and put others off, in the fairly heavy guitar sound of "Prologue," Rob Hendry's electric instrument playing both lead and rhythm parts prominently at various times behind Annie Haslam's soaring vocals and adjacent to John Tout's piano.