Features the high-fidelity SHM-CD format (compatible with standard CD player). Cover artwork faithfully replicates original one. Comes with lyrics and a description. Camel was still finding its signature sound on its eponymous debut album. At this point, Peter Bardens and his grand, sweeping organ dominate the group's sound and Andrew Latimer sounds tentative on occasion.
Cardboard sleeve (mini LP) reissue from Traffic featuring the high-fidelity SHM-CD format (fully compatible with standard CD players). Part of a ten-album Traffic SHM-CD Cardboard sleeve (mini LP) reissue series featuring the albums "Mr. Fantasy," "Heaven is in Your Mind," "Traffic," "Last Exit," "John Barleycorn Must Die," "Welcome To The Canteen," "THe Low Spark of High Heeled Boys," "Shoot Out at the Fantasy Factory," "On The Road," and "When The Eagle Flies." Since Traffic's debut album, Mr. Fantasy, has been issued in different configurations over the years, a history of those differences is in order. In 1967, the British record industry considered albums and singles separate entities; thus, Mr. Fantasy did not contain the group's three previous Top Ten U.K. hits. Just as the album was being released in the U.K., Traffic split from Dave Mason.
History will undoubtedly enshrine this disc as a watershed the likes of which may never truly be appreciated. Giant Steps bore the double-edged sword of furthering the cause of the music as well as delivering it to an increasingly mainstream audience. Although this was John Coltrane's debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one. Coltrane (tenor sax) is flanked by essentially two different trios.
With the departure of vocalist John Foxx and guitarist Robin Simon behind them, Vienna kicked off Ultravox's second phase with former Rich Kids vocalist Midge Ure at the helm. Trading Foxx's glam rock stance for Ure's aristocratic delivery, Vienna recasts the band as a melodramatic synth pop chamber ensemble with most of the group doubling on traditional string quartet instruments and the synthesizers often serving to emulate an orchestra. It was a bold move that took awhile to pay off (the first two singles, "Sleepwalk" and "Passing Strangers," went unnoticed), but when the monolithic title track was released, the Ure lineup became the band's most identifiable one almost overnight.