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Meddle is the sixth studio album by the English rock band Pink Floyd, released by Harvest Records on 5 November 1971 in the United Kingdom.[3] The album was produced between the band's touring commitments, from January to August 1971 at a series of locations around London, including EMI Studios (now Abbey Road Studios) and Morgan Studios.
With no material to work with and no clear idea of the album's direction, the band devised a series of novel experiments which eventually inspired the album's signature track "Echoes". Although the band's later albums would be unified by a central theme chosen by Roger Waters, and thematically consistent lyrics written entirely by Waters, Meddle was a group effort with Waters contributing primarily to the lyrics and the bass. It is considered a transitional album between the Syd Barrett-influenced group of the 1960s and the Waters-led era of the 1970s.[4] Fans often refer to this album, especially "Echoes", as the first instance of the group achieving their musical potential.
The Dark Side of the Moon is the eighth studio album by the English rock band Pink Floyd, released on 1 March 1973 by Harvest Records in the UK and Capitol Records in the US. Developed during live performances before recording began, it was conceived as a concept album that would focus on the pressures faced by the band during their arduous lifestyle, and also deal with the mental health problems of the former band member Syd Barrett, who had departed the group in 1968. New material was recorded in two sessions in 1972 and 1973 at EMI Studios (now Abbey Road Studios) in London.
The record builds on ideas explored in Pink Floyd's earlier recordings and performances, while omitting the extended instrumentals that characterised the band's earlier work. The group employed multitrack recording, tape loops, and analogue synthesisers, including experimentation with the EMS VCS 3 and a Synthi A. The engineer Alan Parsons was responsible for many aspects of the recording, and for the recruitment of the session singer Clare Torry, who appears on "The Great Gig in the Sky".
The Dark Side of the Moon explores themes such as conflict, greed, time, death, and mental illness. Snippets from interviews with the band's road crew and others are featured alongside philosophical quotations. The sleeve, which depicts a prismatic spectrum, was designed by Storm Thorgerson in response to the keyboardist Richard Wright's request for a "simple and bold" design which would represent the band's lighting and the album's themes. The album was promoted with two singles: "Money" and "Us and Them".
The Dark Side of the Moon has received widespread critical acclaim and is often featured in professional listings of the greatest albums of all time. It brought Pink Floyd international fame, wealth and plaudits to all four band members. A blockbuster release of the album era, it also propelled record sales throughout the music industry during the 1970s. The Dark Side of the Moon is certified 14× platinum in the United Kingdom, and topped the US Billboard Top LPs & Tape chart, where it has charted for 990 weeks. By 2013, The Dark Side of the Moon had sold over 45 million copies worldwide, making it the band's best-selling release, the best-selling album of the 1970s, and the fourth-best-selling album in history.[3] In 2012, the album was selected for preservation in the United States National Recording Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". It was inducted into the Grammy Hall of Fame in 1999.[4]
Wish You Were Here is the ninth studio album by the English rock band Pink Floyd, released on 12 September 1975 through Harvest Records in the UK and Columbia Records in the US, their first for the label. Based on material Pink Floyd composed while performing in Europe, Wish You Were Here was recorded over numerous sessions throughout 1975 at EMI Studios in London.
The lyrics express alienation and criticism of the music business. The bulk of the album is taken up by "Shine On You Crazy Diamond", a nine-part tribute to the Pink Floyd co-founder Syd Barrett, who had left seven years earlier due to his deteriorating mental health. Barrett coincidentally visited during the recording. As with their previous release, The Dark Side of the Moon (1973), Pink Floyd employed studio effects and synthesisers. Guest singers included Roy Harper, who provided the lead vocals on "Have a Cigar", and Venetta Fields, who added backing vocals to "Shine On You Crazy Diamond". To promote the album, Pink Floyd released the double A-side single "Have a Cigar" / "Welcome to the Machine".
Wish You Were Here was certified gold in the UK and the US in its year of release and topped the charts in several European countries. By 2004, it had sold an estimated 13 million copies worldwide. It initially received mixed reviews; critics found its music uninspiring and inferior to Pink Floyd's previous work. It was later acclaimed as one of the greatest albums of all time, appearing on lists including Rolling Stone's list of the 500 greatest albums at which it was ranked at #264 in 2021. It was cited by the keyboardist, Richard Wright, and the guitarist, David Gilmour, as their favourite Pink Floyd album
Animals is the tenth studio album by the English rock band Pink Floyd, released on 21 January 1977,[2] by Harvest Records and Columbia Records. Pink Floyd produced it at their new studio, Britannia Row Studios, in London throughout 1976. The album continued the long-form compositions that made up such previous works as Meddle (1971) and Wish You Were Here (1975).
A lyrical departure from Pink Floyd's previous albums, Animals is a concept album that focuses on the sociopolitical conditions of mid-1970s Britain. Tension within the band during production culminated in the firing of the keyboardist, Richard Wright, two years after the album's release. The cover, conceived by the bassist and lead songwriter, Roger Waters, and designed by their long-time collaborator Storm Thorgerson, shows an inflatable pig floating between two chimneys of Battersea Power Station.
Pink Floyd released no singles from Animals but promoted it through the In the Flesh tour. Waters' agitation with audiences during this tour inspired their next album, The Wall (1979). Animals reached number 2 in the UK and number 3 in the US. It initially received mixed reviews, but gained more favourable reviews in later years, and is considered one of Pink Floyd's best works.
All album information taken from articles on Wikipedia.com
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Tuesday, December 17, we continue our series of three very special FreeForm Holiday Shows.
Ian Anderson about the song Birthday Card at Christmas: "My daughter Gael, like millions of other unfortunates, celebrates her birthday within a gnat’s whisker of Christmas. Overshadowed by the Great Occasion, such birthdays can be flat, perfunctory and fleetingly token in their uneventful passing. The daunting party and festive celebration of the Christian calendar overshadows too, some might argue, the humble birthday of one Mr. J. Christ. Funny old 25ths, Decembers…"
Cousin Silas - Variations on a Theme of Winter
ambient electronic experimental guitar sound alchemy soundscapes thomas mathie cousin silas United Kingdom
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Chris Squire's Swiss Choir is the second and final solo album by Chris Squire. An album of traditional Christmas music, it was released in 2007 and includes former Genesis guitarist Steve Hackett, future King Crimson drummer and keyboardist Jeremy Stacey and the English Baroque Choir.
All tracks were arranged by Chris Squire and Gerard Johnson
Review by
lazland
PROG REVIEWER
Whilst browsing the site, I was surprised to see this LP hasn't been rated.It is not a true prog album, but it is a fine musical treat, especially at Christmas time. I had it brought for me at 2007 Christmas, and we all enjoyed listening. The album certainly highlights what a fine vocalist Squire is in his own right - Run With The Fox (easily the most recognisable prog track) is fantastic and has attracted quite a bit of UK radio airplay.
The album does what it says on the tin - a collection of mainly Christmas songs arranged, with a distinct rock twist, with Swiss Choral choirs, except there is no Swiss choral choir on it!
Steve Hackett is the most recognisable and distinct guest on the album, and I can't wait for their next promised collaboration.
You will likely only get this LP out at Christmas, aside from Run With The Fox, but you will be rewarded with an enjoyable collection of songs and arrangements from one of the finest musicians of his or any other generation.
Fun!
California Guitar Trio - 10 Christmas Songs
Not that there is an abundance of progressive rock-tinged acoustic guitar trios among the ranks, but this aggregation stands tall among its peers as the guitarists' inventiveness surges forward with this altogether warmhearted reckoning of Christmas carols and other pleasantries. The guitarists' nimble yet at times forceful approach is wholly evident during their highly rhythmic spin on "Jingle Bells." They perform the classic "Greensleeves" with a sensitive, chamber-like approach while also tackling the Lennon/Ono favorite "Happy X-Mas (War Is Over)." However, part of the magic resides within the trio's ability to delve into the inherent frameworks of each song, while also reformulating themes and rhythms into personalized statements. Essentially, the artists have produced a rather poignant Christmas outing, awash with interweaving lines and lilting harmonies, as they complement their superior artisanship and forward-thinking deployments with a cheerfully rendered collection of holiday favorites.
Winter Solstice EP from Markus Reuter: Soundscape versions of traditional songs usually associated with this time of year, at least here in Germany. In addition to the meditative soundscapes (which are based on the series of pitches of each tune) I've also overdubbed straight versions of the original melodies. Enjoy this parallel universe... It's strangely hypnotizing. Only available from December 1st to December 31st.
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Garybaldi biography
The Gleemen quartet from Genoa is rather a typical for Italian prog
groups, generally avoiding the heavily slanted symphonic influences most
of their countrymen were choosing and were relying on a heavy
guitar-based sound and were often hard rocking. Their first album (1970)
is still regarded nowadays as a gem from collectors all over the world,
although it will surprise progheads a bit with its very 60's sound and
major Hendrix influences, and absolutely stupendous artwork.
Having
changed their name to a more Italian sounding name (Garybaldi being
some hero of the late XIXth century in Liguria and neighbouring French
Provence), they proceeded to record two further album with the same
heavily slanted Hendrix influences even if the keyboards are also a good
part of the sound). The first one sports an astounding and complex
artwork by future Italian comix superstar Guido Crepax. Sidelong tracks
are a common feature in those albums and they are self-indulgent,
either.
Fosastti then disbanded the group, and with
drummer/singer Cassinelli went on to form La Bambibanda E Melodia that
released one record late 74. Guitarist Fossati has reformed the group
(although he was the only original member) during the late 80's but the
general sound was much bluesier and released one album.
Somehow
their short career is almost parallel to Flea/Etna group (they also
changed their name while retaining the same line-up), developing the
same kind of unusual (for Italy) guitarey hard prog during the same
years.
Discography:
As Gleemen
- Gleeman - 1970 - CGD FGS 5073 - CD Mellow MMP 168
As Garybaldi
- Nuda - 1972 - CGD FGL 5513 - CD CGD (75262 2)
- Astrolabio - 1973 - Fonit LPQ 09075 - CD Fonit Cetra CDM 2036
As Bambi Fossati & Garibaldi
- Bambi Fossati & Garibaldi -1990 - Artis ARCD 014
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Finally a modern accessible Opera Rock, which can be appreciated by a
wider crowd of
listeners (not for the prog fans only!!), of course with the same mood
of a musical, even
though I can not say it's equal to the 70's majestic opera rocks, such
as "Jesus Christ
Superstar for example or the good work by Who entitled
"Tommy"...nevertheless it's
suitable for a thrilling music event live on stage (as foreseen in the
next concert
programme of 2006), starring the whole old line up of PFM, plus a few
guest stars, as well
as a young talented female singer called "Dolcenera", singing in the
final track "Un Destino
di Rondine"... the good and the evil living together, the perfect
representation of Dracula,
this latter character already represented in the cinematographic
masterpiece by F. Ford
Coppola and here helped by the orchestral sections and the symphonic
chorus as well,
really delightful ; it's strange that it's the second concept album
only, after the
controversial (and quite disappointing too) "Ulisse" dated 1997, as They
try to be involved
in the development of a famous story and this time reaching their goal
in a lot of
circumstances: in fact the style of PFM is inspiring both in the
accessible classic rock genre
and in the symphonic breaks-through as well, close to a kind of classic
music and with a
certain creativity which is often remarkable. The lyrics by Vincenzo
Incenzo are clever, thanks also
to the melodramatic passages (think of the overture): of course it's not
a
prog masterpiece nor strictly a progressive concept album, but their
music taste is always
pleasant, being able to represent the various dramatic and romantic
moods!! It should be worth a "3 stars" righter score in comparison to
their best albums ...long live PFM, anyway!! Premiata Forneria Marconi (PFM) (translation: Award-winning Marconi Bakery) is an Italian progressive rock band founded in 1970 which continues to the present day. They were the first Italian group to have success internationally. The group recorded five albums with English lyrics between 1973 and 1977. During this period they entered both the British and American charts. They also had several successful European and American tours, playing at the popular Reading Festival in England and on The Midnight Special, a popular national television program in the United States.
PFM introduced new sounds, such as the synthesizer, to the Italian musical world. They were also among the first to combine symphonic classical and traditional Italian musical influences in a rock music context. Such innovations and their longevity have earned PFM a place among the most important bands in the Progressive rock genre.
According to the band sources it was recorded and self-released by the
band (on their Gnome label in 1969) in 300 copies "for distribution to
friends and the occult community".[1] In 2001 Black Widow Records released the album to the public market[2]
but Antonio Bartoccetti (guitarist and bandleader) claims the reissue
(as he calls it) is highly edited with Pro Tools, distorted guitars and
samplers. No copy of the original issue can be found to support his
claims though (if it exists at all).
Review by
micky
SPECIAL COLLABORATOR Honorary Collaborator
Another under appreciated gem here that deserves the Big Mick treatment.For those who want a snapshot description of the music... look at the album cover... look closely at it and conjure up thoughts of music that might fit it. Music that conjures up up images of rotting decaying flesh, souls not at rest but tormented by things that can only be dreamed of the the most vivid of nightmares. A cover so descriptive of the music... they used the same cover on their second album 3 years later.
Jacula was formed in Milan in 1968 by occultist Antonio Bartoccetti. After finding his creative partner in Doris Norton, a partnership that would last through the next decade, they recorded a landmark album in London in 1969. The album had a limited pressing of some 300 albums, and for many years was forgotten. In fact many texts list their second album as their debut album. The otherwise excellent 'Return of Italian Pop' book evens says the group was founded in 1972. This group though predates many groups of Italian Progressive music if not in formation.. but the crafting of what we now know as Progressive Rock.
The music is fascinatingly dark, moody, atmospheric brand of music that conjures up Sabbath like gloom and doom without crunchingly heavy riffs but through the use of the organ, the church organ in particular. Also absent are silly childish lyrics that some have tried to use to convey horror or darkness. There are vocals here.. spoken word in places.. chantlike in others..that are interspersed through the songs. Never the focus of the songs.. being a narrative if you will. Bartoccetti is often regarded as one of the finest guitarist to come from this period of Italian rock. This is not his album to shine but what strikes me about his playing on this in ...lets check the year here... a tone that is downright metallic. Very different from what others were doing in that year. Commonplace a decade later.. but to these ears at least... very novel for the last year of the 1960's. His guitar is mainly texture on this album though and it leaves plenty of space for keyboardist Charles Tiring. The album is an organ lovers FANTASY. Along with Battiato's 'Melle le Gladiator' this is the album I point out to people who want to hear Church Organ in prog.. not a solo or a dash of it. but driving a whole album.
Anyhow. Another short album by today's standards, but we don't mind do we. I'll take 38 minutes of high-quality music over 80 filled with filler anyday. An album that non-Italian speakers will have no problems dealing with. When a man says he wants to rip your guts out and savor it with a nice Brunello di Montalcino, you really don't need a translation do you. For me 4 stars, an album that I reach for when I am looking to match a particular mood ..or wish to set a particular mood. For the site.. 3 stars. A good addition to any prog collection. Obviously not a varied album and one that may only apply to certain prog fans.. and even then.. at certain times and moods. But when the time comes for wanting something dark and atmospheric.. there are few albums better.
Michael aka Micky
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Review by
siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic
RAGNORÖK has been one of Sweden's longest running progressive acts
engaging in both progressive rock and progressive folk since its
formation in Kalmar in 1972. Founded by Peter Bryngelsson (guitar, bass,
vocals), Henrik Strindberg (guitar, flute) and Staffan Strindberg
(bass), throughout the band's existence it has seen more than 25 members
come and go. Despite this long existence the band has only released a
total of six studio albums which all began with this 1976 self-titled
debut. While mostly active during the 70s and 80s, the band took a
hiatus and then reformed in 2002 but has only released one album "Path"
since.While RAGNORÖK would take a turn towards progressive jazz rock on its sophomore album "Fjärilar i magen," on this eponymous debut the band delivers a lush pastoral form of progressive folk that belies the band name that refers to the great event in Norse mythology that includes a great battle. On the contrary, RAGNORÖK's first album is one of the most mellow and dreamy styles of prog you could possibly experience with slow moving guitar and flute, piano arpeggios and a controlled drum and bass section. Hints of the jazz direction are dropped in some of the percussion moves but otherwise this sounds more like a mix of Bo Hanssen and Camel without any true points where the band rocks out.
A veritable mix of folk, classical guitar, semi-jazzy interludes and the pastoral aspects of prog ranging from Genesis to Anthony Phillips (sans vocals). The music also includes some interesting Swedish folk flavors including a bit of that famous circus music feel on the short "Fjottot" but mostly this is an acoustic guitar, piano and flute dominated album that takes you into prog placidity. While mellow prog such as this can often fall into tedium, RAGNORÖK keeps the album interesting by crafting an excellent instrumental interplay that keeps you in the zone. Too often folky albums will unnecessarily attempt to rock out at inappropriate moments and while that can be effective if done well, often it falls flat. In this case the band simply stays on mellow mode for the entire ride which makes it a beautifully compelling listen. Of course this would all amount to nought if not for the beautiful melodies crafted.
Another strength is the use of varying styles of folk music with even Celtic folk sounds being implemented on "Stiltje-uppbrott." Personally i find these low key prog albums hit or miss but occasionally a band nails it perfectly. This is something like Sweden's equivalent to Italy's Celeste who also went against the grain and delivered a rock-free slice of piano-based mellowness. To my ears this sounds like the prog equivalent of cool jazz and if Miles Davis was Swedish and took on the world of prog folk then perhaps this is the kind of album he would've produced. Any way you slice it, RAGNORÖK's debut is a one of those pleasant surprises that works because of its high quality and consistency throughout its run. The mix of instrumentation is family unique and the album doesn't sound like much else. A nice late to the game addition to the world of prog folk in 1976.
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