Genesis-A Trick of the Tail/Giant-Last of the Runaways/Thin Lizzy-Alles/Deep Purple-Burn/Kansas-Alles/Spocks Beard-Octane/Gowan-Lost Brotherhood/ Supertramp-Breakfast in America/Eagles-Hotel California/Rainbow-Rising/Wishbone Ash-Live Dates/Ufo-Strangers in the Night/ Rush-Permanent Waves/ Aerosmith-Nine Lives/Uriah Heep-Live/Beatles-Vieles/ Triumph-Allied Forces/Ayreon-Electric Castle/Rick Wakeman-King Arthur/Yes-90125/Dire Straits-Brothers in Arms/Led Zeppelin- Physical Graffiti/Toto-IV/Rick Springfield-Living in Oz/Queen-A Night at the Opera...und noch viele andere
Alltime Movie Faves
Mystic River/ Ist das Leben nicht schön/I am Legend/ Crash/The Untouchables/ Der letzte Befehl/ Manche mögens heiss/Alien/Braveheart/Mel Gibson-fast alle/ Herr der Ringe/Family Stone/ Zeit des Erwachens/Second Hand Lions/Das beste kommt zum Schluss/Grüne Tomaten/Wer die Nachtigall stört/ Papillion/Gesprengte Ketten/Cliffhanger/Es geschah am hellichten Tag/King of Queens(Serie)/Rocky1/Im Tal von Elah/Kap der Angst/Joe Black/ Auf Messers Schneide/Van Helsing/Little Big Man/ Der mit dem Wolf tanzt/ Signs/ Patriot/ Das Schweigen der Lämmer/ Maverik/ Das Streben nach Glück/Das war der wilde Westen/Weites Land/ Der Teufels Hauptmann/Gladiator/ Gran Torino/ Australia/ Titanic und viele mehr
Rolling Stones,Deep Purple,Giant,Saga,Cher, Thin Lizzy,Santana,Jimmy Barnes,Kansas,Diesel,Mr.Big, Tina Turner,Genesis,Styx, Wishbone Ash,Wild Horses,Jethro Tull, Blackfoot,Rush,Ted Nugent,Rainbow,Toto, Simply Red,Mother`s Finest,Neil Young, Zappa,Joan Baez,Beach Boys,Bryan Adams, Boston,Pink Floyd,Jeff Healey,The Police, Ozzy,Whitesnake, Blue Oyster Cult,Meat Loaf,Steve Morse,Rory Gallagher,Journey,Yes,Gary Moore,Atlanta Rhytmn Section,Dire Straits,Bob Marley,Bad Company, Golden Earring,John Farnham,Queen,Emerson Lake & Palmer und viele viele mehr
GOTTHARD'S SINGER STEVE LEE DIES IN MOTORBIKE ACCIDENT:
Sad, tragic and heartbreaking news has just broken - Steve Lee, the hugely respected voice of Swiss hard rock heroes Gotthard has been killed in a motorbike accident in California. There is no press release or official statement as of yet, but there will be in the hours to follow. News will be updated ASAP.
Streets were formed in late 1982 or early 1983 by then former Kansas vocalist/keyboardist/songwriter Steve Walsh, who left that band partly or mainly because he couldn't relate to Kerry Lofgren’s increasingly more religious lyrics. Walsh's lyrics about more street level things, like love and lust and 'lonely streets' were a nice contrast to Lofgren’s more serious, philosophical and religious lyrics, and musically his songs were in a more straight forward and less progressive rock vein than Lofgren’s.
It was (is?) no surprise then that Walsh's songs on Street/1st were both a continuation and an update of what he wrote in Kansas, yet the sound is noticeably different, with much more emphasis on guitars and with less adventurous and more straight forward 4/4 drumming and bright, colorful and very 80's sounding keyboards and synthesizers. And the more simple, down to earth lyrics and music may also account for the band's name. Even though you have Steve Walsh's distinctive high tenor singing voice, this sounds almost nothing like Kansas...which is not necessarily a bad thing. The change in sound also had to do with the fact that Walsh was now writing music for a quartet, where in Kansas he had to write songs for a sextet and for much more instruments. For those who were disappointed at how different this sounded than Kansas, it should be noted that even Kansas weren't sounding like their old selves around this time. It may also be worth pointing out that both Streets/1st and Kansas/Drastic Measures, released the same year, were produced and engineered by Neil Kernon.
Joining Steve Walsh in Streets was/were drummer Tim Gehrt( who played on Walsh's Schemer Dreamer album), ex-City Boy guitarist Mike Slamer and bassist Billy Greer, who would join Steve when he re-formed Kansas a few years later.
The songs are: If Love Should Go (4:07) Walsh-Slamer
Move On (3:48) Walsh
One Way Street (4:48) Walsh
Lonely Woman's Cry (5:35) Walsh
Everything Is Changing (3:09) Walsh
Cold Hearted Woman (3:20) Conn
So Far Away (3:53) Walsh
Blue Town (3:29) Walsh-Slamer-Gehrt-Greer Fire (5:08) Walsh-Slamer-Gehrt
Do I like this as much as Kansas? No, not really. Walsh could still hit them impossibly high notes, though with not as much ease as he used to and his voice was starting to take on a tougher and more gravely edge. The songs don't have as much depth and variety as Kansas songs did...an acoustic guitar and/or piano led ballad would have sounded out of place here, but would have given the album some much needed variety....and the production, while very heavy on guitars, is noticeably thin, due to the bass guitar being buried in the mix. And, take away Walsh's distinctive singing voice and this could have been any other generic, 80's hard rock/pop group (Loverboy and Kiss during their hair pop/metal years in the late 80's comes to mind).
Still, you can't have everything (where would you put it?) and the album does have it's share of likable songs on it. And if this is a commercial and radio friendly sounding album, it is so in good ways. If Love Should Go, One Way Street, Everything is Changing and Cold Hearted Woman all have catchy, sing-alongable choruses and verses, memorable, catchy and tough guitar riffs and some very well played guitar solos (by Mike Slamer, who really plays his wump off on the entire album) and incredible singing, as do a few of the lesser songs like Blue Town, Move On (maybe too much synthesizer on this one) and So Far Away, though not as much obviously. I also like the vocal harmonies by Billy Greer on the chorus for If Love Should Go. Everything is Changing has my favorite lyric on the album, with the opening line " My world is changing I won't put up a fight, my microwaves are making love in the night...".
The most complex pieces are the two longest, Lonely Woman's Cry and Fire. The latter is also the most progressive piece and has the longest instrumental section, during which Greer and Walsh get a chance to show off on their respective musical instruments. While I think Fire may be the most interesting song musically, it unfortunately has the worst vocal performance on the album, with Walsh really overdoing it on the higher notes and trying too hard to sound neat...a trend that unfortunately would continue and get even worse in the future as his voice would gradually deteriorate.
I'm glad that the name Kansas was not chosen for this band, not just because it was still being used at the time, but also because I don't think I would accept this as a Kansas album. Taken on it's own terms, though, I find this to be a rather enjoyable, if lightweight, album. I would say it may be my favorite thing that Steve Walsh did outside of Kansas, and I prefer it to the rather forgettable second and last album by Streets, Crimes In Mind and almost everything by the re-formed Kansas of 1986 and beyond (the exception is 2000's wonderful Somewhere To Elsewhere, which Walsh sang on, but was written exclusively by Kerry Livgren).
Scott Gorham und Brian Downey reformieren eine neue Besetzung
und gehn im Februar auf Deutschland Tour.
THIN LIZZY is one of rock music's most recognizable names. The fiery Dublin band exploded onto the scene with a fresh sound, look and attitude. Led by the incomparable Phil Lynott, the band reached many peaks and influenced generations of musicians with classic tracks such as "Jailbreak", "The Boys Are Back In Town", "Still In Love With You", "Cold Sweat", "Emerald" and "Don't Believe A Word".
Most rock historians would agree the pinnacle of THIN LIZZY's commercial success was in 1983, followed by the band's premature demise, as they played their last gig in September of 1984. Just two years later, the world was shocked when singer/bassist and founding member Phil Lynott passed away at the age of 36.
24 years have passed, the world has changed, but the amazing body of work that is THIN LIZZY still retains all of its vibrancy and influence.
A new lineup has formed to take LIZZY's music to a whole new generation of music fans. Led by alumni Scott Gorham, Brian Downey and Darren Wharton (all of whom played in THIN LIZZY with Phil Lynott) the stellar lineup is completed by DEF LEPPARD's Vivian Campbell (guitar), bassist Marco Mendoza (WHITESNAKE, TED NUGENT) and THE ALMIGHTY's Ricky Warwick on vocals and guitar.
Alongside the new lineup, Universal Music has committed to a series of re-issue, deluxe and special releases of classic THIN LIZZY material over the next 18 months. More details to follow.
THIN LIZZY has confirmed a 2011 Germany tour.
THIN LIZZY 2010 is:
Scott Gorham - Guitar
Brian Downey - Drums
Darren Wharton - Keyboards
Vivian Campbell - Guitar
Marco Mendoza - Bass Guitar
Ricky Warwick - Lead Vocals / Guitar
Golden Earring - Cut. After spending much of the late '70s and the early '80s as a cult band, Golden Earring returned to an international level of popularity in 1982 with the hit single (and popular MTV attraction) "Twilight Zone." This song and seven others are featured on Cut, a solid album that found Golden Earring starting to deviate from the pop/rock formula they perfect on No Promises...No Debts and Prisoner of the Night. Like those albums, Cut works its way through a series of guitar-based rock songs built on strong hooks. However, the band allows themselves to instrumentally stretch out a bit on some of the songs this time out. The most notable example is the midsection of "Twilight Zone," where George Kooymans lays out an exploratory series of guitar solos that build to crescendo over the taut bassline provided by Rinus Gerritsen. The other songs on Cut aren't as tightly crafted and hook-laden as those on the last few albums, but there are still plenty of strong tracks: "Baby Dynamite" is a power ballad about a fame-seeking girl that is built on a nicely harmonized chorus and "Lost and Found" is a strong mid-tempo rumination on the end of a relationship that boasts an impassioned yet subtle vocal performance from Barry Hay.
However, the best non-"Twilight Zone" track on the album is the least typical: "The Devil Made Me Do It" is a witty, fast-paced pop-rocker about love gone bad built on an eccentric but effective combination of mock-gospel call and response vocals and an energetic horn section. Some of the tracks fall short of the mark ("Future" runs a decent riff into the ground by failing to develop it in an interesting way), but the album contains enough strong tracks to make it worth a listen for the Golden Earring fan.
- Rinus Gerritsen / bass, keyboard
- Barry Hay / flute, Vocals
- George Kooymans / guitar, vocals
- Cesar Zuiderwijk / drums
- Robert Jan Stips / synthesizer
1.The Devil Made Me Do It (3:25)
2. Future (5:25)
3. Baby Dynamite (5:15)
4. Last of the Mohicans (4:09)
5. Lost and Found (4:00)
6. Twilight Zone (7:58)
7. Chargin' Up My Batteries (4:17)
8. Secrets (4:04)
Wild Horses was formed in the summer of 1978 by ex-Thin Lizzy guitarist Brian Robertson and ex-Rainbow bassist Jimmy Bain. At an early stage the line-up featured former Stone The Crows and Wings guitarist Jimmy McCulloch and former Small Faces drummer Kenney Jones, but eventually stabilised with the addition of drummer Clive Edwards (ex-Pat Travers, Uli Roth) and guitarist/keyboardist Neil Carter (ex-Wilder, Gilbert O'Sullivan). This line-up recorded the Trevor Rabin-produced The First Album in 1980, released by EMI who signed the band after their 1979 Reading Festival appearance. Auf diesem Festival sah ich die Band und war sofort von dem Sound überzeugt, der mich an Thin Lizzy erinnerte. Nicht zuletzt wegen dem genialen Gitarren Spiel von Brian Robertson. Die erste CD war dann schlicht gesagt der Hammer. Sehr gut arrangierte Songs die einem wie bei Lizzy im Gehörgang blieben. Tolles Album für Freunde des Gitarren Rock. Mein Fav ist und bleibt Reservation. Unbedingt antesten und kaufen. Für mich ein Milestone. ******(6)
Carter left the band in August 1980 after the band's UK tour with Ted Nugent in order to join UFO and later Gary Moore. His replacement was guitarist John Lockton (ex-The Next Band, Red Alert) whose first appearance was on the band's Japanese tour in the autumn of 1980 followed by the release of the Stand Your Ground album in the spring of 1981.
In June 1981, Robertson and Edwards both left Wild Horses in the wake of the band's Paris Theatre show in London. Robertson teamed up with Motorhead a year later and recorded Another Perfect Day in 1983, before moving on to join fellow Scotsman Frankie Miller on the Dancing In The Rain album in 1986. Edwards continued with a number of different acts, including Bernie Marsden's S.O.S., Grand Prix, and Lionheart.
Bain assembled a new Wild Horses line-up featuring Lockton, former Lautrec stepfather and son team, Reuben (vocals) and Laurence Archer (guitar), and The Def Leppard E.P. credited drummer Frank Noon. The Archers and Noon left only months later and went on to form their own band, Stampede, and Wild Horses ceased to exist, with Bain joining his former Rainbow bandmate Ronnie James Dio in Dio, while Lockton became a member of German hard rockers Victory.
Wild Horses members Laurence Archer and Clive Edwards were part of the UFO line-up that recorded the High Stakes & Dangerous Men and Lights Out In Tokyo albums in the early 1990s, before spending time in Medicine Head.
Both The First Album and Stand Your Ground were re-issued on CD in Japan and Europe in the 1990s; the latest set of re-issues came on 26 May 2009 through UK-based Krescendo Records. (Wikipedia)
Jimmy Bain - bass/vocals
Brian Robertson - guitar/vocals
Neil Carter -guitar/keyboards
Clive Edwards - drums
2. Face Down
6. Street Girl
7. No Strings Attached
8. Criminal Tendencies
9. Nights On The Town
11. Rocky Mountain Way
12. Saturday Night
Black Country Communion the Anglo/American rock supergroup comprising vocalist/bassist Glenn Hughes (Deep Purple Black Sabbath, Trapeze), drummer Jason Bonham (Led Zeppelin), keyboardist Derek Sherinian (Dream Theater, Billy Idol) and blues rock guitarist Joe Bonamassa, today confirmed the release date and track listing for their highly anticipated debut album Black Country.
The album will be released by Mascot Records in the UK and the rest of Europe on Monday September 20th, followed by a North American release through J&R Adventures on Tuesday September 21st. All songs are sung by Glenn Hughes, with the exception of Song Of Yesterday and The Revolution In Me which are both sung by Joe Bonamassa. Hughes and Bonamassa share lead vocals on the songs Sista Jane and Too Late For The Sun. Also included on the album is a new version of Medusa, the classic rock song that Hughes originally recorded with his first band Trapeze.
Track Listing: 1. Black Country 2. One Last Soul 3. The Great Divide 4. Down Again 5. Beggarman 6. Song Of Yesterday 7. No Time 8. Medusa 9. The Revolution In Me 10. Stand (At The Burning Tree) 11. Sista Jane 12. Too Late For The Sun.
Black Country Communion is the brainchild of producer Kevin Shirley (Journey, Black Crowes, Aerosmith, Led Zeppelin). The album, produced and mixed by Shirley, is mastered by the legendary Bob Ludwig. Black Country Communion initially came to fruition when Kevin Shirley saw Glenn Hughes and Joe Bonamassa join forces on stage in Los Angeles in November 2009 for an explosive performance at Guitar Center's King of the Blues event. Shirley recruited powerhouse drummer Jason Bonham (Led Zeppelin, Foreigner) and keyboardist Derek Sherinian (Dream Theatre, Billy Idol, Alice Cooper). The band is named after the industrial area in the British Midlands where both Hughes and Bonham were born and raised, recorded the debut album at Shangri-La Studios in early 2010. The band is planning a tour in 2011
Kiss - Destroyer is the fourth studio album and fifth album overall by hard/glam rock band Kiss, released on March 15, 1976 in the United States. It was the second consecutive Kiss album to reach the Top 20 in the United States, as well as the first to chart in Germany and New Zealand. The album was certified gold by the RIAA on April 22, 1976.
It was certified platinum on November 11, 1976, the first Kiss album to achieve that distinction.
Coming on the heels of the group's breakthrough album Alive!, Destroyer is easily the most ambitious studio recording of Kiss's '70s catalogue. Bob Ezrin, who had previously worked with Alice Cooper, was brought in to produce the album. Among the production flourishes Ezrin introduced to Kiss were sound effects, strings, screaming children (on "God Of Thunder") backwards drums (Also on "God of Thunder") as well as a children's choir.
Destroyer is the first Kiss album to prominently feature outside musicians, such as members of the New York Philharmonic-Symphony Orchestra. However, one musician was not credited: Dick Wagner, from Alice Cooper's band, replaced Ace Frehley on tracks such as "Sweet Pain" (as Frehley didn't want to interrupt a card game he was playing during recording sessions for the song) and even on a song that Frehley himself co-wrote "Flaming Youth". Wagner also played the acoustic guitar found on the song "Beth".The success of Alive! and Destroyer enabled the band to embark on their first tour of Europe.
After attaining modest commercial success with their first three studio albums, Kiss achieved a commercial breakthrough with the 1975 concert album Alive! It was the first album by the band to be certified gold, and eventually went multi-platinum. The success of Alive!, which spent 110 weeks on the charts, benefited not only the struggling band but their cash-strapped label, Casablanca Records. Kiss signed a new contract with Casablanca in late 1975, partly because the label had been very supportive from the start of the band's career. The contract was only for two albums, however, an indication that Casablanca was unsure if the group could duplicate the accomplishments of Alive!
Destroyer sold well upon its release on March 15, 1976 and was certified gold on April 22. Although exact sales figures are not known, Paul Stanley stated that the album initially sold 850,000 copies in the U.S., well in excess of any of Kiss's first three studio albums.
After peaking at #11 on the Billboard album chart on May 15, however, Destroyer quickly fell and by August was at #192.
The first three singles — "Shout It Out Loud," "Flaming Youth," and "Detroit Rock City" — failed to ignite sales any further, leading the band and its management to view the album as a failure relative to Alive! The band and Ezrin cited fan backlash as the reason Destroyer did not meet sales expectations. Ezrin also stated that the "grassroots rock press" was particularly critical of the album. Rolling Stone referred to "bloated ballads," "pedestrian drumming," and "lackluster performances" in its review.
It was not until radio stations started playing the B-side of the "Detroit Rock City" single, "Beth," that the album started to sell as expected. The ballad, which according to Simmons was deliberately put on the B-side to force stations to play "Detroit Rock City," started receiving numerous listener requests and became an unexpected hit. "Beth" was re-released as the fourth single in late August, and it peaked at #7 on the Billboard singles chart on September 25. It was the group's first Top 10 song and re-ignited sales of the album. On November 11 Destroyer became the first Kiss album to be certified platinum.
Das ist der Meilenstein des Glam-Rocks schlechthin! Leider kann man die Lederkostüme und geschminkten Gesichter nur auf dem Cover sehen, doch auch musikalisch haben Simmons, Stanley, Frehley und Criss theatralische Feuerwerke zu bieten. Jeder der neun Rocksongs ist ein Juwel für sich und transportiert auf eine Weise Spaß und augenzwinkernde Arroganz, wie das nur die vier amerikanischen Alpträume beherrschten. Nach einem aberwitzigen Hörspiel-Beginn mit Autostart und Crash rasen die Jungs das Album entlang wie auf einer Highway, die nur ihnen gehört. Nur ,Beth', der Schmuse-Song der Platte, kommt etwas getragener daher, sorgt aber gerade dadurch für willkommene Abwechslung. In jedem Rocker schlummert eben auch ein Lover! Holzhammer-Fans werden reichlich durch Mitgröl-Hymnen wie ,Shout It Out Loud' bedient, und die Gitarrenarbeit kann sich im weiten Umkreis der Siebziger sehen lassen. Die Jungs schockten und rockten nicht nur, sie machten richtige Herzblut-Musik! Milestone:******(6)
"Detroit Rock City" – 5:17
"King of the Night Time World"– 3:19
"God of Thunder" – 4:13
"Great Expectations" – 4:21
"Flaming Youth" – 2:59
"Sweet Pain" – 3:20
"Shout It Out Loud" – 2:49
"Beth" – 2:45
"Do You Love Me" – 3:33
Gene Simmons – bass guitar, lead vocals, backing vocals
Paul Stanley – rhythm guitar, lead vocals, backing vocals
Ace Frehley – lead guitar
Peter Criss – drums, lead vocals on "Beth," backing vocals
Dick Wagner – guitar solos on "Flaming Youth" and "Sweet Pain"; acoustic guitar on "Beth"
Boys Choir of Harlem – vocals on "Great Expectations"
David and Josh Ezrin – voices on "God of Thunder"
Richie Sambora - Stranger in Town (1991). I was not surprised to find that Mr.Sambora is as talented as he is. He is and was. He is an amazing singer and songwriter, and this will come as no surprise, he's a wonderful guitarist. But what really stands out on this album are the songs. "One Light Burning" is a ballad of intense passion and heart. "Stranger in This Town" is a bluesy, down beat gem with great arrangements and vibe through out it. On "Mr. Bluesman", Richie gives way to his hero, Eric Clapton, and on a song that Sambora wrote about him. It is a magnificent album from first song to closing track, and it explores every emotion of love.. from hurt to joy and wonder. If you ever liked Bon Jovi, then don't hesitate to get this one. Great production, terrific songs, and top notch musicianship are what this album is all about. A MUST have.
No pop-metal riffs, no shredding and fast keyboards like 7800 Fahrenheit , Slippery When Wet and New Jersey . Sambora creates an album full of blues riffs and melodic solo.
Rest in Peace (Richie Sambora, David Bryan) - 3:47
Church of Desire (Sambora) - 6:09
Stranger in This Town (Sambora, Bryan) - 6:15 Ballad of Youth (Sambora, Tom Marolda) - 3:55
One Light Burning (Sambora, Marolda, Bruce Foster) - 5:51
Mr. Bluesman (Sambora) - 5:16
Rosie (Jon Bon Jovi, Sambora, Desmond Child, Diane Warren) - 4:51
River of Love (Sambora) - 5:11
Father Time (Sambora, Child) - 6:05
The Answer (Sambora, Foster) - 5:07
Wind Cries Mary (Jimi Hendrix) - 5:57 / When a Blind Man Cries (Deep Purple) - 5:31
AC DC – Let there be Rock. A legendary album for a legendary band. Let There Be Rock, made in 1977, pushes us to this tragic thought: "what if AC DC was right and everybody else was wrong?". This album was definitely going to change the way to think about rock'n'roll, not only for the band, but also for the next generations of musicians. Let There Be Rock, as it was emphasizing the guitars and had a perfect production, was going to be the milestone of the real international success of this band, putting it out of the marasm of a boring future in Australia, a country that was too narrow-minded - at this moment- for a band with so much ambition.
The Young brothers, Angus and Malcolm, decided that rock'n'roll could as well keep its basic structures with a usual rhythm, but at the same time become something more creative and daring. So, the legendary "Let there be rock" is the perfect application of this new state of mind, making of this track the greatest success of rock'n' roll. This song gives the lion's share to the natural feeling of Angus, whose guitar never stops telling us the most beautiful story of all time, the rock'n'roll. The love of this music should flash back on the listener: every note, every solo is an ode, an invocation, a declaration. And our favourite schoolboy enjoys his music on every track, he shows his soul of virtuoso.
The powerful "Whole lotta Rosie" also belongs to the Hall Of Fame of the legendary tracks, as it creates such a perfect osmosis between guitarist Angus Young and singer Bon Scott that it succeeds in making the roughest and the most tattoed of us cry. Bon Scott also changes some tracks like "Hell ain't a bad place to be" and "Dog eat dog" into masterpieces of bad spirit, and also shows all his ability. The musicians obviously have fun, and everything seems easy, because they master their instruments so well. The wonderful "Bad boy boogie" brings emotion and is eager to bring us to this hell that they have promised for so long. Then comes a devilish track with a strong rhythm: "Problem child" and its corrosive riff tells that hell is just a place where the bad boys gather to play rock'n'roll. Then, add "Go down", the first track of the album, and it's over.
After that, AC DC never never made a step out of this way, and has still stuck to this image that, contrary to what fools and jealous people say, has never been commercial or conventional. Finally, we still don't know if everybody else is wrong (not sure), but AC DC was sure right.
Ronald Belford Scott
01. Go Down
02. Dog Eat Dog
03. Let There be Rock
04. Bad Boy Boogie
05. Crabsody In Blue (Australia)
06. Problem Child (Rest Of The World)
08. Hell Ain't A Bad Place To be
Moody Blues - Days of Future Passed. This is the hallmark recording that started the Moody Blues on their sojourn and it is a remarkable one at that. This grouping brought in John Lodge and Justin Hayward maximizing the songwriting and five-way vocal harmonizing that is so well known now. Although the symphonic arrangments may sound slightly dated, it is still a 'mood-piece' to wash away your worries and dive into your dreams. "Night In White Satin" was released in 1967 and 1971 as a single, so strong is it's appeal. The other songs display how talented and unafraid these musicians were to experiment, bringing classical pop into the rock arena.
The impact of this album is immense, setting the standard for the then used 'mellotron', virtually introduced to rock music by Mike Pinder. Justin Hayward and John Lodge's songwriting abilities proved them premature geniuses, Ray Thomas proved the flute can be used in rock 'n roll and Graeme Edge was one of the first to use spoken word - far before 'rap'.
The premise is pure genius, taking basic ballads, amplifying the emotional vocals and tying it all together under an immense orchestration. This must have been the first rock concept album. It survives today. Whether digitally remastered, GOLD or DTS, you cannot go wrong.
- Graeme Edge / drums
- Justin Hayward / guitars, vocals
- John Lodge / bass, acoustic guitar, vocals
- Michael Pinder / keyboards, vocals, mellotron
- Ray Thomas / flute, vocals
- The London Festival Orchestra conducted
1.The day begins (5:49)
2. Dawn: Dawn is a feeling (3:49)
3. Morning: another Morning (3:40)
4. Lunch break: peak hour (5:16)
5. Tuesday afternoon (forever afternoon) (8:48)
6. Evening: the sun set: twilight time (6:14)