The Comet Is Coming. Our saviours Danalogue The Conqueror, Betamax Killer and King Shabaka come bearing their debut album Channel The Spirits. A prophetic document. A celebration. The beginning of the end. Marvel! As it blazes a streak of phosphorescent beauty across the night sky. Listen! As a trailing meteor shower drops hot coals hissing into topographical oceans. Inhale! The burning funk of strange new flavours. The sound of the future… today.
A really great little collection – one that looks at the deeper, darker strands in country music during the 60s – that moody space that lie behind the Rubber Room of Porter Wagoner, and which may not have gotten much chart play at the time, but which makes for one of the most fascinating strands of the music! The collection follows a bit in the spirit of the Hillbillies In Hell collections – but there's maybe less humor here overall, as the depth of sorrow and bleakness of outlook really gives this one a very moody vibe – perfect for those who are always sick of the overplayed cliches of mainstream country, and always know there's something hipper to the music if you just know where to look.
Edward McGhee turned in mostly above-average performances on their first post-Lenny Williams release, but it was the beginning of the end. With funk losing its foothold among R&B audiences, they couldn't keep it together. McGhee was an energetic, exuberant vocalist who held his own on up-tempo tunes like "You Ought to Be Havin' Fun" and the title song, but lacked Williams' range or tonal quality on ballads. The group always had a weakness for ponderous message cuts, and "Can't Stand to See the Slaughter" and "While We Went to the Moon" were well-intentioned but clumsy tracks. This was almost the Tower of Power's swan song.
Dance music trio The Chimes (producers Mike Peden and James Locke from Edinburgh and vocalist Pauline Henry, born in Jamaica) enjoyed critical and commercial success at the beginning of the 90's on both sides of the Atlantic and further afield with their eponymous album and the clutch of singles that were released from it. The group blended together modern R&B, Soul, Pop and Dance sensibilities with Henry's expressive vocals which put them amongst the acts at the forefront of the UK's Soul/Dance scene of the time.
"The Beginning - And The End" is the name of one recent release released in connection with the Bjørnstad year. The album has previously only been available in the box for "The World I Used To Know", but now it is also available as an independent release to conclude this anniversary.
Excellent 70’s Spanish symphonic progressive rock album with a powerful progressive musical prowess. "Intención" is very reminiscent at times of Pink Floyd (Meddle era) with great guitar soloing and a ton of great keyboard work (Hammond and moog). Originally issued in 1976, "Intención" is the perfect follow-up to The Beginning of the End, with Atila offering further pieces led by the strong guitar licks of Eduardo Niebla, Benet Nogué's organ & Moog, and Joan Punyet's drums melting in top progressive freakouts, plus the addition of wordless vocal parts and even some Catalan sung parts, besides adding a symphonic edge to the general sound…