Topazphotoai 2.1.1

CD-reissue of a noteworthy album from the Dutch psychedelic scene of the late '60s-early '70s. Reminding of fellow Dutchmen s.a. Cosmic Dealer, Outsiders ('CQ'-era), Group 1850 and late Q65, this album (originally dating from 1970) offers driving progressive/psych rock with lots of organ, howling guitars and functional use of echo.

Unit 4+2 was a one-hit wonder that probably deserved better. As one of the better acoustic-electric bands of the mid-'60s, the group stormed the charts with one memorable hit, "Concrete and Clay," scoring on both sides of the Atlantic, but they were never able to come up with a follow-up that was as catchy. The group originated with guitarist Brian Parker and an instrumental band from Hertfordshire called the Hunters, who recorded for the Fontana label in 1961. Parker left the Hunters in early 1962 and joined Adam Faith's backing band the Roulettes. He didn't stay long with the latter band, preferring to put together a group of his own with the emphasis on vocals. Parker recruited guitarists Tommy Moeller (with whom he began writing songs) and David Meikle, and singer Brian Moules, and the quartet played gigs at youth clubs and other local venues, and turned professional soon after.

Eye 2 Eye has been founded in the 2003 on the ashes of ADN by Philippe Benabes and Didier Pegues.
With "The Light Bearer" (Musea, 2017), Eye 2 Eye finally comes out of a silence that lasted five years. However, this wait will not have been in vain, since after a few personnel changes, Eye 2 Eye proves to us that it has lost nothing of its verve. The neo Progressive influences of the past are less evident, to leave room for others, more symphonic. The vocals, now held by Michel Cerroni, are deep and lyrical, while the arrangements are even further polished. A string quartet brings a bit of novelty as well. "The Light Bearer" is a very nice surprise!

Wilhelm Backhaus recorded Beethoven’s complete piano sonatas in mono for Decca in the early 1950s, and with the advent of stereo he began the process anew in 1958. Although he managed to finish 31 out of the 32, the pianist died before he got around to remaking the Hammerklavier (Op. 106). Consequently, the mono Hammerklavier fills out Backhaus’ stereo cycle that Decca now reissues in its Original Masters series. Although numerous piano mavens hold Backhaus’ Beethoven in high, nearly iconic esteem, I’ve always had mixed reactions to these recordings. In general, the pianist’s cavalier attitude toward Beethoven’s dynamics, articulation, and phrasing obscures the composer’s clearly specified linear trajectory and implicit drama.