Following on immediately, Dark Myth Visitation Equation might be better known to some as Sun Ra In Egypt Vol.1 or alternatively, Nature's God. It's an album based in part on a Cairo TV broadcast, and the general tone of the record tends to eschew electronics in favour of the Arkestra's more conventional cosmic shuffle. Finishing off the album is the highly surreal 'Why Go To The Moon?', Sun Ra's equivalent of a three-minute pop song, drawing on a weird gospel feel and the usual interplanetary subject matter.
Strut presents the 4CD edition of Sun Ra's 'Egypt 1971', documenting Sun Ra's first trip to Egypt with his Arkestra in December 1971.
One of the towering figures of 20th century's music, Alabama-born pianist and organist Herman "Sun Ra" Blount (1914) became the cosmic musician par excellence. Despite dressing in extraterrestrial costumes (but inspired by the pharaohs of ancient Egypt) and despite living inside a self-crafted sci-fi mythology (he always maintained that he was from Saturn, and no biographer conclusively proved his birth date) and despite littering his music with lyrics inspired to a self-penned spiritual philosophy (he never engaged in sexual relationships apparently because he considered himself an angel), Sun Ra created one of the most original styles of music thanks to a chronic disrespect for both established dogmas and trendy movements.
"Did Swans Ever See God?" is the fourth studio album by Italian act Submarine Silence, the side project of members of progressive band Moongarden. Absent from the scene since 2016, they return to delight us with an album that continues the long journey that began in 2001 with the homonymous "Submarine Silence".
The band finds itself once again wandering between the typical sounds of the Symphonic Progressive Rock of clear Anglo-Saxon matrix, confirming the predilection for the exploration and reinterpretation of musical scenarios created in the 70s by the great masters dear to all of us (Genesis, Yes , King Crimson, Steve Hackett, Anthony Phillips, Camel), supported by original Mellotron and hammond sounds, a la Tony Banks…
Sun Ra admired George Gershwin and paid musical tribute to the great composer's legacy countless times over his 50-year performing and recording career. This digital-only release, spanning 38 years (1951–1989), compiles some of the best recorded examples of Ra's idiosyncratic takes on the Gershwin catalog. These performances encompass a variety of styles and personnel — full Arkestra, trio with vocalist (Hattie Randolph), duo (Sun Ra and Wilbur Ware), and doo-wop (The Nu Sounds, arranged and accompanied by Sun Ra).
Along with Tangerine Dream, Ash Ra Tempel (later Ashra) was one of the first bands to convert the trippier side of late-'60s psychedelia into the kosmische rock of the '70s. Most Ash Ra titles were solely the work of Manuel Göttsching, plus any other additional players who happened to be around during the recording of his ten albums. Göttsching trained in classical guitar and studied improvisational music plus electronics at school. In 1970, he formed Ash Ra Tempel with no less than Klaus Schulze (fresh from a brief stint in Tangerine Dream) and Hartmut Enke. After a self-titled album in 1971, Schulze left for a solo career; Göttsching continued on with a variety of bandmembers and guests, including Timothy Leary on 1973's Seven Up (and Schulze again, for Join Inn).
In the winter months of 1977-1978, philosopher, pianist and bandleader Sun Ra was in Italy. The Italian tour resulted in releases on Sun Ra's own Saturn label, all of which have long been out of print and all but impossible to find. With the re-release of DISCO 3000 one of the most celebrated of these elusive Saturn gems is once more available. This release, and it's companion MEDIA DREAMS, capture a side of Sun Ra's work - small ensemble, close form, original composition, rather minimal - that is otherwise under-represented.