body{ text-shadow: 0px 0px 4px rgba(150, 150, 150, 1); }

Saturday, 4 February 2017

Brown Dust “Brown Dust” 1972 California Private Psych Rural Rock

Brown Dust “Brown Dust” 1972 California Private Psych Rural Rock

A1 Fantasy Folk 2:45
A2 So I’m Down 2:38
A3 Reflecting 2:53
A4 Goin’ Back
Written-By – Goffin And King
A5 Do You Believe In Magic
Written-By – J. Sebastian*
B1 Photograph 3:37
B2 Stormy Sunday 3:05
B3 Everlasting Peace 2:48
B4 Desire But Not A Taste 3:00
B5 Autumn 3:58 

Blue Sun “Live 1970” Danish Psych Rock CD

Blue Sun “Live 1970” Danish Psych Rock CD
Listen to (or rather, try to do it), “the Live 1970” compilation album, which depicted the fragments of two concerts BLUE SUN gave in 1970 … the first six (1-6) compositions - a record performance in Vejlby-Riisskovhallen of 2 September ; the second (7-12) six songs - a “live” on May 17, a concert recording in Poly-Joint Lundtofte. 
The sound quality is poor, are present all the “charms” of the classic bootleg. As for the music, my personal impression is just met and merged into a single shell halves - Jim Morrison and Peter Mamonov, and this same envelope tucked acid, and returned in such pridzhazovanny slightly The DOORS, where Manzarek and Krieger mostly play on wind, Manzarek - so certainly the saxophone, and Morrison-Mamonov, meanwhile, already pretty tired and occasionally forgets that in fact he had to sing, and so silently into the microphone, giving Manzarek, Krieger and Densmore complete freedom of improvisation. 
In short, my friends, you expect 62 minutes of complete removal of the brain and the mental hospital (but very simpatishnye). If this is written and spices in a good studio recording prices would not!…………… 

Bo Jacobsen 
Jan Kaspersen 
Niels Pontoppidan 
Dale Smith 
vocals, percussion 
Jesper Zeuthen 

Tracks Listing: 
Vejlby-Riisskovhallen 2. sept. ‘70 
1 Katedralen 3.25 
2 Aum 5.38 
3 John Henry 5.26 
4 Capetown 4.08 
5 Festival 1.23 
6 Vinden blaeser 3.00 
Poly-Joint Lundtofte 17. maj '70 
7 Tokalash 9:25 
8 John Henry 10:28 
9 Katedralen 4:37 
10 Vinden blaser 3:00 
11 Suset 7:23 
12 Jord 5.18 

Hurdy Gurdy “Live At Hotel Dalgas, Brande ‘71” 1971 Danish Prog Rock (bootleg)

Hurdy Gurdy “Live At Hotel Dalgas, Brande ‘71” 1971 Danish Prog Rock (bootleg)

Stomu Yamash'ta’s East Wind "One By One" 1974 Soundrack Prog Jazz Rock

Stomu Yamash'ta’s East Wind  "One By One" 1974 Soundrack Prog Jazz Rock
2008 reissue of this album from the master percussionist who studied Jazz drumming at Berklee School of Jazz. In the 1970’s he recorded a string of innovative albums for Island records which utilized the talents of such leading musicians as Hugh Hopper, Maurice Pert, Steve Winwood, Michael Shrieve and Klaus Schulze, fusing his percussion talents with Jazz, Electronic and Classical music to create an ambient form of music all of his own. His music has been used by the Royal Ballet………… 

Following the success of East Wind’s 1973 debut album Freedom Is Frightening, Stomu Yamashta was asked to score the music for the motor racing documentary One by One. Re-released in 1978 as The Quick and the Dead, the movie was a spectacular failure, but it is still remembered for its phenomenal soundtrack, released in 1974 as East Wind’s second album, One by One. The album’s grandly cinematic scope vies with its musical diversity for attention. Unlike its predecessor, One by One abounds in classical moments, notably on “Tangerine Beach,” its companion piece “At Tangerine Beach,” and, of course, the short reprise of Vivaldi’s “Seasons.” Latin beats patter down on “Rain Race” and the second half of “Superstar/Loxycycle,” while funk fusion (with soulful vocals from Sammi Abu) fires swathes of the rest of the set. And not only did the music mold seamlessly with the movie, it stands alone in its own right, as One by One showcased some of Yamashta’s career-best most inspired and accessible compositions…….. by Dave Thompson……… 

Second Stomu album under the East Wind group name, with almost the same line-up, this album has a striking artwork photo of Stomu shot by future famous Mick Rock. The m album is actually the soundtrack of a movie (I’ve never seen it) of the movie of the same name, which appears to be about motor racing. Most of the music comes in a continuous flow, but it can’t avoid the pitfall of soundtracks: like so many of those, the music serves the image and without the images, the music seems at times completely directionless, although One By One is not catastrophic in this regard. 

The album starts (purposely?) on the 200 MPH title track suite (lasting almost 11 mins), which is a fast- driving jazz-rock, while the middle movement Hey Man is sung by percussionist/flutist Sami Abu, talking a sweet funk overtone, and the suite-closing Reprise sees Boyle’s guitar solo soaring like an eagle over Hopper’s superb bass work, which is quite different than what he had gotten used to on Soft Machine albums. The cosmic eerie opening Black Flame contrast with the solemnity of the rest of the track, a dramatic classical theme, played partly with classic instruments than with synthesizers. Rain race is is probably the best moment of the album with a superb Fender Rhodes over a string section, too bad its so short and followed by a fairly cheesy classical string closing Tangerine Beach, even if it had started well enough with a gloomy Moog trick. 

The flipside attacks on a funk guitar over a square rhythm, and Yamashta’s brother’s violin and Abu’s vocals and congas. While the 12-mins+ Superstar/Loxycycle (the only track played by other musicians than East Wind) goes through many changes, the track veers towards a jazz-funk that had by now overtaken the previous jazz-rock in most of the international JR/F scene. Nurburgring (it was at the time the longest circuit in the world measuring some 23 km long) is a quite interesting track, probably the proggiest of the album, but it’s followed by a pointless Four Seasons passage (then again without the images of the movie, who says pointless) from Vivaldi. Accident is a wild musical free-for-all completely chaotic and followed by a cheesy mock chamber quartet piece to close the debate, echoing the other Tangerine track of the other side. 

Yet another interesting album like Freedom, Floating Music and the Go project, OBO is certainly in Stomu’s best five albums, although for a better enjoyment of this album, I think it would certainly gain seeing the movie for which the music was composed………….by Sean Trane ……….. 

The second and last album of Stomu Yamashtas East Wind - “One By One” - is the soundtrack for a film of the same name. Obviously it is about authors. At least, blurred images of a Formula 1 Bolliden can be found on the back of the LP cover. Once again, Yamashta has assembled some of the musicians who are mainly known in Canterbury. Nigel Morris (Isotope) and Mike Travis (Gilgamesh) are now joined by Hopper and Boyle, who are already on “Freedom is frightening”. Travis is, however, only to be heard, together with Frank Tankowski and Bernie Holland, in the two plays “Superstar” and “Loxycycle”, in which they probably replace Morris and Boyle. “One by One” is, as far as I know, “Freedom is frightening”. 

As a progressive-symphonic jazzrock with canterbury impact, I described the music of Yamashta, which was to be heard on “Freedom is frightening”. On the whole, this also applies to “One By One”, except that the music has now turned out to be somewhat more lightweight, funky, and occasionally more classic-symphonic. With the title, the album is still going very canterburesk-jazzig. Drifting bass, filigree electric guitars, flute, violin and a lot of percussion create music that is located somewhere between isotopes and the Mahavishnu Orchestra but nevertheless develops a very own character. The music rocks forward, suddenly, after a good five minutes, suddenly turn into a funky song (“Hey man”), with quite a lot of soulling vocals by Sammi Abu. After the short “One By One Reprise” it becomes bombastic-symphonic. Electronic Flirren introduces “Black Flame” before the violin cites a Bach sonata and uses powerful, mimic-sounding synthesizer sounds accompanied by timpani. The whole thing is still going on for a while, then to the easy-going pop jazz rocker “Rainrace”, with sugary strings and Bossa Nova atmosphere. The piece is fortunately soon dimmed to make Hugh Hopper’s growling bass, the “Tangerine Beach”. The number then evolves into a somewhat shallow film music classic simulations full of sweet string and spinet sounds. 

The second LP page is the first 12 minutes long “Superstar” and “Loxycycle”, a fast-paced mixture of funky jazzrock, some soul singing and a lot of percussion. Then the short electro-symphonic “Nurburgring”, with quite interesting brass-brass (who can not be seen in the cover of the LP), bass and electronics in the middle. Electro-Symphonik, with Vivaldizitaten brings the music then à la Tomita to the end. 

“One By One” is much more varied than “Freedom is frightening”, even offers some electronic-experimental moments, but as a whole, whether the funky alignment of large parts of the music and the shallow soundtracking, is clearly more commercial and smoother than the first one . Canterbury-Komplettisten can nevertheless still access because of the cooperation of Hugh Hopper. Otherwise, the disc is relatively unblemished, if not really bad. As an encore to “Freedom is frightening” in the context of a CD re-release, the material would however always be useful!…by… Achim Breiling……… 

- Stomu Yamash'ta / percussion 
- Hisako Yamash'ta / violin 
- Hugh Hopper / bass 
- Brian Gascoigne / keyboards and synthesizers 
- Sammi Abu / vocals, congas and flute 
- Gary Boyle / guitar 
- Nigel Morris / drum kit 
- Frank Tankowski / guitar (5) 
- Bernie Holland / guitar (5) 
- Mike Travis / drum kit (5) 

01. One By One / Hey Man / One By One Reprise (10:43) 
02. Black Flame (3:30) 
03. Rain Race (1:30) 
04. Tangerine Beach (3:25) 
05. Superstar / Loxycycle (12:23) 
06. Nurburgring (2:34) 
07. Seasons (1:30) 
08. Accident (1:40) 
09. At Tangerine Beach (2:28) 

Percussion Recital (1971) 
LP: Columbia, OS-10106-N (Japan); Columbia, N-357-247 (Japan); Denon, OW-7852-ND (Japan, 1980) [with “Uzu” added] 

The World of Stomu Yamash'ta (1971) 
LP: Columbia, NCC-8004-N (Japan) 

Uzu: The World of Stomu Yamash'ta 2 (1971) 
LP: Columbia, NCC-8015-N (Japan) 

Metempsychosis (1971, collaboration with Satô Masahiko) 
LP: Columbia, NCB-7009 (Japan) 

Red Buddha (1971) 
LP: King, SLC-358 (Japan); Barclay, 920 376 (France, 1972); Vanguard, VSD 79343 (US, 1973) 
Quad LP: King, 4L-2 (Japan); Vanguard, VSQ 40035 (US, 1973) 
CD: Vanguard, VMD 79343 (US, year unknown)15 

Sunrise from West Sea (1972, as Yamash'ta & the Horizon) 
LP: King, SLC(J) 359 (Japan) 

Stomu Yamash'ta (a.k.a. Hans Werner Henze/Peter Maxwell Davies/Toru Takemitsu) (1972) 
LP: Editions de L'Oiseau-Lyre, DSLO 1 (UK); London, SLA (O) 1032 (Japan) 
CD: London, 430 005-2 (US, 1990); Polydor, POCL-2194 (Japan) 

Floating Music (1972, as Stomu Yamash'ta & Come to the Edge) 
LP: Island, HELP 12 (UK); King, SLC-423 (Japan) 
CD: Raven, RVCD 282 (with Man From the East; Australia, 2008); Esoteric, 2084 
(UK, 2008); Universal Music, UICY-94102 (Japan, 2009) 

Images (original soundtrack) (1972) 
LP: private pressing, no catalog number (US) 
CD: Prometheus, PCD 163 (Belgium) 

Man from the East (1973, as Stomu Yamash'ta’s Red Buddha Theatre) 
LP: Island, ILPS 9228 (UK); Island, SMAS 9334 (US); Island, ILS-80215 (Japan) 
CD: Raven, RVCD 282 (with Floating Music; Australia, 2008); Esoteric, 2082 (UK); Universal Music, UICY-94103 (Japan, 2009) 

Freedom is Frightening (1973, as Stomu Yamash'ta’s East Wind) 
LP: Island, ILPS 9242 (UK) 
CD: Esoteric, 2087 (UK, 2008); Universal Music, UICY-94104 (Japan, 2009) 

One by One (1974, as Stomu Yamash'ta’s East Wind) 
LP: Island, ILPS 9269 (UK); Pathe Marconi, 2C 064-95688 (France); Toshiba-EMI, ILS-80630 (Japan) 
CD: Esoteric, 2083 (UK, 2008); Universal Music, UICY-94105 (Japan, 2009) 

Raindog (1975) 
LP: Island, ILPS 9319 (UK); Toshiba-EMI, ILS-80214 (Japan) 
CD: Esoteric, 2085 (UK, 2008); Universal Music, UICY-94106 (Japan, 2009) 

Go (1976, as Stomu Yamash'ta/Steve Winwood/Michael Shrieve) 
LP: Island, ILPS 9387 (UK); ILS-80601 (Japan) 
CD: Universal, UICY-9571 (Japan, 2005); in Complete Go Sessions 2CD on Raven, RVCD 182 (Australia); Esoteric, 2081 (UK, 2008); Universal Music, UICY-94107 (Japan, 2009) 

Go Live from Paris (1976, as Go) 
2LP: Island, ILS-50013/14 (Japan) 
CD: Universal, UICY-9572 (Japan, 2005); in Complete Go Sessions 2CD on Raven, RVCD 182 (Australia); Universal Music, UICY-94108 (Japan, 2009) 

Go Too (1977, as Stomu Yamash'ta’s Go Too) 
LP: Arista, SPARTY 1011 (UK); Pathe Marconi, 2C 068 99228 (France); EMI Electrola, 1C 064-99 228 (Germany); Arista, AB-4138 (US); Arista, IES-80891 (Japan) 
CD: Universal, UICY-9573 (Japan, 2005); in Complete Go Sessions 2CD on Raven, RVCD 182 (Australia) 

“Waza”/“Mujo” (soundtrack selections from Budo: The Art of Killing) 
7": King, FMS-116 (Japan) 

Iroha – Ten/Chi (1981) 
2LP: RVC, RPL-3026/27 (Japan) 

Iroha – Sui (1982) 
LP: RVC, RPL-8144 (Japan) 

Tempest (original soundtrack) (1982) 
LP: Casablanca, NBLPH 7269 (US) 

Iroha – Ka (1983) 
LP: RVC, RPL-8187 (Japan) 

Sea & Sky (1984) 
LP: JVC, SJX-30221 (Japan); Kuckuck, KUCK 072 (Germany) 
CD: Kuckuck, 11072-2 (Germany) 

Kukai (original soundtrack) (1984) 
LP: JVC, SJX-30227 (Japan) 

Solar Dream Vol. 1: The Eternal Present (1993) 
CD: Kosei, KMYD-5100 (Japan) 

Solar Dream Vol. 2: Fantasy of Sanukit (1995) 
CD: Kosei, KMYD-5101 (Japan) 

Solar Dream Vol. 3: Peace and Love (1997) 
CD: Kosei, KMYD-5102 (Japan) 

A Desire of Beauty and Wonder Stone, Part 1 (1999) 
CD: Maeda, no number (Japan) 

Listen to the Future Vol. 1 (2001) 
CD: Sony, SSCL-2 (Japan) 
SACD: Sony, SSGL-5003 (Japan) 

Bergmál (collaboration with Ragnhildur Gísladóttir and Sjón) (2006) 
CD: Smekkleysa, SM138 (Iceland) 

As featured performer: 

Hans Werner Henze, El Cimarrón (1970) 
2LP: Deutsche Grammophon, 2707 050 (Germany) 
CD: Deutsche Grammophon, 449 872-2 (Germany, 1996) 

Hans Werner Henze, Der langwierige Weg in die Wohnung der Natascha Ungeheuer (1972) 
LP: Deutsche Grammophon, 2530 212 (Germany) 
CD: Deutsche Grammophon, 449 873-2 (Germany, 1996) 

Takemitsu Toru, Seasons [version for four percussionists] (1970) 
LP: Deutsche Grammophon, 2530 532 (Germany); Deutsche Grammophon, MG 2476 (Japan) 
CD: Polydor, POCG-3361 (Japan, 1994) 

Takemitsu Toru, Cassiopeia (1971) 
LP: Angel/EMI, AA-8872 (Japan); Angel/EMI, 2YEA-2348 (Japan); Toshiba/EMI, EAC 70205 (Japan); EMI, C 063-02 257 (Germany); Pathe Marconi, 2C 065-02257 (France) 
Quad LP: EMI, Q4 EMD 5508 (UK) 
CD: HMV, 5 73861 2 (UK, 2000)

Plamp “Und Uberhaupt” 1978 Swiss ultra rare Private Prog Symphonic

Plamp  “Und Uberhaupt” 1978 Swiss ultra rare Private Prog Symphonic
Plamp is an forgotten and very obscure band coming from Switzerland, releasing only one album in 1978 named … und überhaupt …. I was very pleasent surprised when I heared this album. A combination of psychedelic rock like in late ‘60’s early '70’s with progressive arrangements and also some jazz hints here and there. Very good album overall, nice compositions and yet complex enough arrangements to please any prog listners, the vocal parts are in german language and also one track has english lyrics - Behind. Some instruments pieces give a special atmosphere, the most progressive from the album, opening track Streiffzug and Serum stands above almost all the rest. The longest track from here Arwen clocking around 11 min, is excellent, mid tempo piece with great arrangements. So, a great album, very unnoticed to prog listners and for sure needs a better view. The name of the band is taken from the initials of the names of the mebers, Plamp. 3.5 quite great record, very hard to find today in original form and quite expensive aswell. They remind me in places, maybe because is a lots of flute here with Rousseau, german progressive band from the '80’s. Pastoral feeling combined with progressive elements. Recommended…….. by b_olariu…..
Plamp, a Swiss band only named after the first names of the musicians involved, came from the city of Chur and were around since the mid-70’s as a quintet, Mario Giovanoli played flute and saxophone, Peter Toenz was on electric guitar, Peter Streiff on Hammond organ and piano, Louis Streiff on drums and Andrea Thoeny on bass, while all members contributed on the vocal parts.For their only release “Und ueberhaupt …”, pressed privately and released sometime during year 1978, they were joined by Fortunat Froelich on cello and piano and Marc Keller on acoustic guitars. 
Plamp used the nearby Kraut Rock qualities in a lighter version to produce their own personal sound, obviously influenced by Folk, Jazz and Psychedelic Rock, and it’s really amazing why the band remained so obscure, they were propably at the wrong place at the wrong time.The result of their efforts was a rich album with long instrumental passages and reduced, mediocre vocals in English, containing a wide range of inspirations, as proposed by the expanded instrumentation, including keyboards, sax and flute.They offered what most Kraut Rock acts were doing previously yet in a calmer edition, the arrangements sound a bit more delicate and elaborate as a whole, but you can find all the traditional elements of the movement, some serious groovy parts, some cosmic/psychedelic breaks with a folky aura and of course some nice little jams with a jazzy background.Close to Austrians ISAIAH, their music goes from lyrical, rhythmic parts with organ showering to flute-based psychedelia and from jazzy interventions, featuring great sax and piano, to standard Kraut Rock abnormalities with tireless solos on various instruments.“Behind” is a nice example of their undefinable eclectisicm, archaic flute lines meet with theatrical vocals, cello strings and organ in a very jazzy enviroment. 

The band stayed together until early-80’s.Musicians of Plamp have been later detected in various local-based bands and collaborations, while three members, Louis Streiff, Toenz and Thoeny, rejoined forces again in 1984 for Paulin Nuotcla’s album “Mouva’t”. 

Nice Kraut-influenced Psych/Prog/Fusion with diverse influences and instrumental mannerisms.Very expensive in its original form without any reissues, still a good one within the movement.Strongly recommended….by apps79…….
Great Swiss prog/psych LP.Much use of keyboards,flute and excellent guitarwork ,combined with a very emotional voice.Unfortunatelly no much infos were found ,so any more info will be much appreciated……

Line-up / Musicians 
-Mario Giovanoli / flute, saxophone, vocals 
-Peter Tönz / electric guitar, vocals 
-Peter Streiff / Hammond organ, piano, vocals 
-Louis Streiff / drums, vocals 
-Andrea Thöny / bass, vocals 
-Fortunat Frölich / cello, piano, vocals 
-Marc Keller / acoustic guitar, vocals

A1 Streiffzug 3:37 
A2 Schwälbali 7:41 
A3 Arwen 10:13 
B1 Serum 2:34 
B2 Arcas 8:24 
B3 Behind 6:29 
B4 Luzern 4:13 

Friday, 3 February 2017

Marco Antonio Araujo “Influencias” 1981 Brazil Prog Folk

Marco Antonio Araujo “Influencias” 1981 Brazil Prog Folk
For my 100th review on PA, I´d like to introduce one of Brazil´s best instrumental prog ventures of all times. Marco Antônio Araújo and his band are from my hometown and they played a very unique mixture of progressive, folk, rock and classical music. Araujo, a big Beatles fan, lived in London for a time during the 70´s and when he came back he brought with him all the inlfuences that made him one of the most original and celebrated songwriters of his time. His music is quite rooted in the traditional musical forms of Minas Geraes, a state that was famous for its baroque churchs (therefore the proeminent use of the flute on most of the songs, and also the french horn sometimes).
when the record came out it was hailed as a masterpiece, and it deserved it! It´s difficult to describe the music, since it is quite original, although influences are easy to tag and goes from Jetrho Tull to Beatles, classical music, Brazilian folk and so on. Yet the results are a smooth, well crafted collection of songs. You have to hear it to believe.

He recorded 4 albums of original music and was on his way to become an international successs, when it all came to an end by his tragic death in 1986, of a brain aneuurism. But he left his mark and Influências was his first album, and one of the most celebrated ones, since it was recorded and well received at a time when instrumental prog music was not really in fashion (to say the least!). His band mates are very skilled, most of them did solo works and became much sough after studio musicians in years to come. His brother Alexandre Araújo does some great guitar solos and Eduardo Delgado proves to be one of the best flute players around.

If you like something different, instrumental progressive music, with strong folk and classical influences, this is a must have. Highly recommended! Tarcisio Moura .........

A true brazilian musical masterpiece.
Marco Antonio Araujo is probably one of the most unknown progressive music artists in Brazil. A few recognition from another fellow musicians come, now and then, but absolutely no truly recognition. His albums were only released in vynil, and then ten years later (aproximately I think with the remaster and re-organization of tracks from his brother (also a musician with classical learnings). Since then, not even another re-released. More then 20 years without any news, remastering, documentaries, etc.

The album lacks of a strong cover concept and an art that drives you to thinks... but thats why I initiated the review with the above introduction. The photograph in the front seems like an old photo, like a child photograph of you sitting in the sidewalk that your mother kept for thirty years. Giving the fact the Marco Antonio Araujo still waits to be discovered by listeners and musicians, it almost gain a context of a concept.

The music itself, far the oposite of his career and the front cover, is a total pleasure. Recalling his inluences, Marco Antonio Araujo arranges the music in his own way, with a strong progression in every one of them - from the folk to the melodic, from the melodic to the cheer and back. He is perhaps one of the best examples of such a capability of manupulating music on his favor. And the melodies are easy to identify with. As all his music is played by a professional group, nothing is loose. And what is tight doesnt bored or get you tired from repetition.

I give five stars to the professionalism, the progression and the capacity of MAA of touch that obscure spot in our minds with his melodies. And from now on, lets hope that its only in our minds that MAA will ocupy a obscure GKR.........

 Well, my dear friends, this is my first review for progarchives; although there is a long time I appreciate opinions made available here. What a large amount of bands I´ve been listening due to this site recomendations !
As being a brasilian, this first review is for the álbun and the musician whose in my honest opinion I consider the best product in our progressive music. Although Bacamarte´s "Depois Do Fim" is a must, "Influências" by Marco Antonio Araújo is even of higher quality; and not only for just one reason.

First of all, MAA has the cultural profile of those fantastic progressive musicians. He has a strong classical trainment, which appears clearly in his work (albun like "Entre Um Silêncio E Outro" - Between One Silence And The Other). Also he was a intense "flower power generation" guy, fascinated by "The Beatles and The Rolling Stones"; and these two lines forms the essence of the ideas that led to progressive movement. Second, MAA kept in his music strong elements of brasilian folk music (a very interesting kind of music); bulking this in a melting pot with classical and "roquenrou" (rock´n´roll); having as a result something strongly different from anything anyone has done prior to him. And third of all, he is a master composer, creating incredible melody lines; as for example the main theme (played by flute), of "Abertura n 2" one of the best melodic line that I ever heard in my life !!

So, I leave here a strong recomendation of a careful listening in order to really judge if "Influências" as the best effort of brasilian progressive music; by our best progressive musician. And after all, these commented qualities performs a strong reason for achieving here five stars

Antonio Giacomin...............

Multi-instrumentalist Marco Antonio Araujo (1949-1986) recorded only a handful albums before his untimely death in 1986, but in his brief career he established himself as one of Brazil's preeminent prog-rock musicians, shaping lyrical, grandiose sonic epics, often with a folkie musical tint. Before emerging as a solo artist, Araujo was a veteran of the 1970s musical and theatrical scenes -- he had gone abroad to England and fell under the spell of British rock music, which became an integral part of his own compositions and improvisations. Here's a quick look at his work...
Flowery but for-real folky prog from Brazil, with expansive electric guitars, shimmering keyboards and a lot of tootly flute. It's like Mike Oldfield, Stevie Vai, George Harrison and Edu Lobo prancing through a field of flowers together, with that guy from Jethro Tull playing Pied Piper under the shade of an apple tree... Yeah, it's pretty goofy, but I think for prog fans, this is definitely an artist to have on your radar. Araujo builds on huge, epic jam sessions, particularly the two ten-minute long pieces that bookend this album, "Panoramica" and "Folk Song", but all the songs are over five minutes and share a similarly grandiose vibe. This is considered by many to be a touchstone of Brazilian prog... and it certainly is a solid album for the genre............

Line-up / Musicians
- Marco António Araújo / acoustic & slide (2) guitars, percussion, arranger

With "Grupo Mantra" band:
- Alexandre Araújo / guitars, percussion
- Eduardo Delgado / flute, percussion
- António Viola / cello
- Ivan Correa / bass
- Mário Castelo / drums, percussion

- Oiliam Lanna / wind arrangements (1)
- Philip Doyle / flugelhorn (1,2,6)
- Amilton Pereira / trumpet (1)
- Maurício Silva / trumpet (1)
- Edson Maciel / trombone (1)
- Edmundo Maciel / trombone (1)
- Maurício Maestro / voice & handclaps (2)

Songs / Tracks Listing
1. Influências (6:21)
2. Folk Song (10:36)
3. Bailado (4:59)
4. Panorâmica (10:00)
5. Cantares (5:14)
6. Abertura N° 2 (8:22)

johnkatsmc5, welcome music..







Cassette Deck

Cassette Deck









Hi`s Master`s Voice

Hi`s Master`s Voice



music forever

music forever

“A Revolutionary New Triumph in Tape” 1958

“A Revolutionary New Triumph in Tape” 1958