Török Adám És a Mini

The friendship between Mátyás Seiber and Antal Doráti dates back to their youth, when they were the two youngest students in Zoltán Kodály's composition class in Budapest in the 1920s. Doráti was one year younger than Seiber and held him in high esteem from the beginning. In the memoirs, Így láttuk Kodályt [‘Thus We Saw Kodály’], he writes the following: "The two 'best' were Mátyás Seiber and Lajos Bárdos. Matyi [Mátyás] wrote a great string quartet at the time, which has survived. One of our tasks was to write variations on a Handel theme. In response to one of Seiber's slow-tempo variations, Mr Kodály said: 'That's nice'. In our eyes - at least in my eyes - that was the canonization of Matyi".

T.I.M.E. (1968). Debut album of this underrated US psychedelic band (which evolved out of very fine, garage-pop-psych band Hardtimes) was released in 1968 by Liberty Records in attractive die-cut, gatefold cover. It contained great mixture of very catchy and memorable songs based on rich vocal harmonies and strong guitar-organ interplay and being somewhere between garage rock and pop-psych. The music itself was very diverse, ranged from dark, atmospheric heavier tracks to much lighter sounds. lt’s worth noting that the main influences to the band were The Beatles, The Byrds, The Hollies and Buffalo Springfield…

German band fronted by Klaus-Peter Matziol of Eloy, and with fellow ex-Eloy people Hannes Arkona and Hannes Folberth.

It’s impossible to have a conversation about the power metal revival of the early millennial era without Freedom Call receiving at least a passing mention. They stood apart from the pack of German speed metal informed acts by taking the lighter elements of Helloween’s Keepers Of The Seven Keys sound to their logical conclusion, almost to the point of coming off as AOR with an occasional Gospel flavor played at a faster tempo. The magic that made their unique take on the style so auspicious laid mostly in guitarist/vocalist Chris Bay’s prowess as a studio engineer (he simultaneously gave Saxon’s 1999 smash album Metalhead an upgrade with his capability on the keyboards) and his uniquely light and airy voice, though the driving fury of Dan Zimmerman’s kit work and his then ongoing stints with Gamma Ray and Iron Savior definitely helped to promote the Freedom Call brand from the get go…