It Only Takes A Minute - Various - Seventies Disco Ball (CD)


It's a real message, an aesthetic of the nature, of the divine, a virtue able to guide the listener to a state of emotional trance. In the mid's with the launch of international success of raga masters as Ravi Shankar, Ali Akbar Khan. European and American artists will become more and more captivated by the dynamical relation between mystical emotion, spirituality and music. The emergence of Raga schools from everywhere still perpetuating the ancestral musical traditionsthe initiatic travels of Western minimalist-modern jazz composers Terry Riley, Don Cherry The emphasis on repetitive circular rhythms, ornamentation gamakathe use of acoustic stringed patterns, the sense of beatific endurance and lenghty improvisation are the central characteristics of this music in term of practice and sound aesthetism.

Emotionally, the function on the listener is hypnotic, voluntary trying to reach him into a higher state of consciousness, modulating his perception of time and space.

The basic conception of "drone" continuous sound form will be taken back in popular music and turned into "kosmische" electronica 70's Berlin underground. After Seventh sons' first original but rather discreet effort simply called "raga" and Malachi's holy musicfamous bands as the Beatles in "Revolver" and Traffic in their album "Mr Fantasy" will be seduced by the sonorities of Indian raga music. They occasionally incorporate sitar elements to their music. Among the most notorious artists who participate to the original dialogue between proggy rock and Indian music we can notice many jazzy formed musicians influenced by "world" elements the guitarists Volker Krieger, Steve Tibbetts, the clarinet player Tony Scott.

They are often recognised to practice a fusion between jazz rock harmonies and raga's instrumentations tabla, sitar. Jazz Fusion is jazz that is strongly influenced by other styles of music. Jazz fusion is an ambiguous term that provides the first level sub-set down from Jazz. Jazz rock is a sub-sub set from jazz via jazz fusion. The ambiguity comes from an American tendency through the 90's and until now, to freely interchange jazz rock and jazz fusion, when in fact the latter term covers most hybrids of jazz fused with other forms of music.

The roots of jazz rock can be traced back to RnB influenced soul-jazz artists such as Les McCann, Grant Green and Jimmy Smith, and young British jazzers such as Graham Bond, Ginger Baker, John McLaughlin, Jack Bruce, Georgie Fame, who were forced to use electronic instruments because the local club's acoustic instruments were reserved for the older established jazz musicians. Meanwhile rock artists such as Cream, Grateful Dead and The Jimi Hendrix Experience were getting a lot of publicity and fame with their lengthy improvisations based on blues, rock, psychedelia and some jazz.

These rock artists had an impact on Miles Davis who generated a lot of media attention to this new jazz-rock genre with his Bitches Brew album. From there the genre grew and exploded into numerous different directions. These bands combined elements of jazz, rock and classical music with arrangements for brass and woodwinds. Many other styles of music have been combined with jazz to create fusion including traditional music from around the world, R'n'B, rock, electronic music and pop music and jazz from Africa, Latin America, India and other places.

One of the earliest examples of the use of the term fusion comes from the Indo-jazz fusion of Joe Harriott and John Mayer. Some of the more popular early practitioners of fusion included Weather Report and Herbie Hancock's Sextant. A few years later Shakti appears on the scene and expands the boundaries of fusion further, foreshadowing the World Fusion movement of the 90's. In part Nu. The jazz with electronia experiments that Jon Hassell was conducting in the late 80's, with the likes of Eno, were to be a major influence especially on the dance side of nu.

Three main elements make nu. First of all there is less of an emphasis on instrumental virtuosity in nu. Second, more use of electronics especially skilled turntablism and studio trickery that emphasizes sound textures.

Third, nu. Progressive nu. It may seem that the only difference between the two genres is the country the artist is from or what scene they came up through. All artists have elements of progressive rock in their music e. Jean Luc Ponty, Bill Bruford or David Sancious or they represent the most forward-looking and progressive element in their genre e.

It should be noted that those many Canterbury jazz rock fusion bands, e. It was intended to go beyond the eccentricities developed by the wild psychedelic rock universe of the US, by giving a special emphasis to electronic treatments, sound manipulation and minimal hypnotic motifs continuing the style of "musique concrete" and minimalist repetitive music but within a more accessible environment. Krautrock put the emphasis on extended and ecstatic instrumental epics, neglecting the format of conventional psych-pop songs.

The term Krautrock was first used by the British music press in a very derogatory way. The term rapidly found a better reputation in underground music circles and finally gained a certain popularity thanks to the Brain-Festival Essen With their own particular artistic expression, these musical collectives provided rocking psychedelic incantations, mantra like drones, melancholic lugubrious atmospheres, long and convoluted collective improvisations, binary repetitive drum pulses, fuzz guitars, feedback, primitive electronic noises, hallucinatory ballads, and garage blues rock trips.

Krautrock can be described as an anarchic, intense, acid, tellurian, nocturnal, spacey, dark and oniric "adventure" through rock music. The most consistent years of the Krautrock scene cover a relatively short period from to After their first spontaneous, hyperactive and psychedelic efforts, the bands generally split up or declined into other musical sensibilities, more in line with mainstream rock or with ambient soundscapes. Each It Only Takes A Minute - Various - Seventies Disco Ball (CD) develops its particular musical scene, interpreting differently the Krautrock musical structure.

Cologne and Dusseldorf underground scenes focused on happenings, political rock, electronics, pulsating rhythms and clean sounding Krautrock Floh de Cologne, La Dusseldorf, Neu! This musical cartography is correct in the absolute but naturally reveals some variations and exceptions.

This intriguing and freak 'n' roll 's German scene enjoyed a rebirth in recent years thanks to a large number of reissues of long lost classics published by several independent labels Spalax, Garden of Delights, Long Hair Music There are actually some neo psychedelic rock bands who try to hold up Krautrock, and who notably find a major place to express themselves during the historical Burg Herzberg Festival in Germany. Neo-Progressive rock more commonly "Neo-Prog" is a subgenre of Progressive Rock that originally was used to describe artists strongly influenced by the classic symphonic prog bands that flourished during the s.

At the beginning of the neo-prog movement, the primary influence was early to mid's Genesis. Debate over when Neo-Prog actually came into being often takes place, with some asserting it began with Marillion's Script for a Jester's Tear in Others contend it began with Twelfth Night at the dawn of the 80s, while some even suggest the popular symphonic prog band Genesis gave rise to Neo-Prog with their album, A Trick of the Tail.

This new form of progressive rock originated in the UK, and is most strongly associated with bands such as Marillion, Pendragon and IQ; and while theatrical stage antics were a part of the live performances of many artists exploring this subset of the progressive rock genre it's the musical elements that are key to the genre; typified by the use of atmospheric guitar and synth soloing with symphonic leanings, with a tendency towards floating synth layers and dreamy soloing.

An additional trait is the use of modern synths rather than vintage analogue synths and keyboards. The main reasons for Neo-Progressive artists to be separated from the ones exploring Symphonic Prog in the first place are the above, as well as a heavier emphasis on song-form and melody than some of their earlier symphonic counterparts. As time went by other artists appeared that also deviated from the norms created by the classic wave of progressive rock artists in the 70's.

The late 70's had given the world punk music; the 80's gave the world new wave; and the 90's It Only Takes A Minute - Various - Seventies Disco Ball (CD).

These, as well as other forms, had a tremendous amount of influence outside of the progressive rock realm. The advent of the modern synth also inspired artists like Tomita, Vangelis and Kitaro to explore dreamier musical works. These and other forms of more or less newly made musical genres influenced artists exploring progressive rock as well.

Although many artists did so within the framework of 70's progressive rock, more and more artists developed a sound and style so heavily influenced by these more recent musical developments that categorizing them within the existing subgenres of progressive rock became increasingly difficult. While the Neo-Progressive genre initially consisted of artists exploring a modernized version of Symphonic Prog, these days artists coined as Neo-Progressive cover a multitude of musical expressions, where the common denominator is the inclusion - within a progressive rock framework - of musical elements developed just prior to and after The Neo-Progressive genre in it's refined form thus covers a vast musical territory, to some extent covering all existing subsets of progressive rock and also searching out towards genres as different as new age on one side and punk and metal on the other.

POST-ROCK : The term post-rock was coined by Simon Reynolds in issue of The Wire May to describe a sort of music "using rock instrumentation for non-rock purposes, using guitars as facilitators of timbres and textures rather than riffs and powerchords. Bands from the early s such as Slint, or earlier, such as Talk Talk were influential on this genre. As with many musical genres, the term is arguably inadequate: it is used for the music of Tortoise as well as that of Mogwai, two bands who have very little in common besides the fact that their music is largely instrumental.

The aforementioned Tortoise was among the founders of the movement. After Millions In the late nineties, Chicago, Illinois, became the home base of many different groups.

Post-rock began to range from the slow, guitar-based ambience of Boxhead Ensemble to the up-tempo electronica of Stereolab. Black Emperor' - brought a political element with anti-globalization movement leanings. By the early s, the term had started to fall out of favor, while the major artists kept on making high quality recordings. The wide range of styles covered by the term had robbed it of its usefulness almost from the moment it was coined. Closely related to post-rock is the genre known as Math rock, characterized by more percussive timbres, and more dissonant harmonic gestures.

It uses material from the Wikipedia article "Post-rock". The music is characterized by complex structures, angular melodies and constant abrupt changes in tempo and time signature. The name Math Rock is a term that grew out of the Chicago scene and the artists working with engineer Steve Albini in an effort to describe the new style. The basic building blocks of Math Rock can be traced back to the late 60's and 70's where Progressive Rock artists were making more elaborate compositions than the standard rock bands and were experimenting with song structures.

Early Avant-garde groups like Massacre, and artists such as Captain Beefheart and John Zorn were highly influential to Math Rock bands and traces of their music can still be heard throughout the genre. Another big influence to the Math Rock approach was Slint with their album "Spiderland" which showcased many techniques that Math Rock bands will follow in the future. Punk also had significant impact on the sound of Math Rock bands. Although there are Math Rock bands in different countries around the world, most reside in the United States, the Midwest in particular, and tend to be divided by regions: Pittsburgh bands Don Caballero, Six Horse Chicago bands Shellac, U.

In the wake of the s, a Folk revival started on both sides of the Atlantic, and got quickly linked with a protest movement, not always, but often linked to more left-wing tendencies, which did not sit well with the authorities. As DYLAN turned electric with his Highway 61 Revisited album, much to the dislike of purists who yelled for treason, Folk Rock was born, opening the floodgates for younger artists to turn on the electricity.

By this time, most connoisseur were talking of Acid Folk, Psych Folk, and Progressive Folk, all having limited differences and no particularly drawn-out limits or boundaries, but all relying on experimental or groundbreaking adventures and good musicianship but not necessarily of an acoustic nature.

Byall of the glorious precursors bands were selling fewer records and had problems renewing themselves and a newer generation of groups was relying in a more Celtic jigs or really traditional sounds.

Ian Anderson another Scots was very keen in acoustical traditional songs. There is also a very important medieval music influences dimension in some groups as the term Medieval Folk was also mentioned for a while but apparently dropped by musicologists.

No musical genre exists in a vacuum. Not all of the bands that have been a part of the history and development of progressive rock are necessarily progressive rock bands themselves. This is why progarchives has included a genre called prog-related, so we could include all the bands that complete the history of progressive rock, whether or not they were considered full-fledged progressive rock bands themselves.

There are many criteria that the prog-related evaluation team considers when deciding which bands are considered prog-related. Very few bands will meet all of this criteria, but this list will give an idea as to some of the things that help evaluate whether an artists is prog-related or not.

Although both of these artists created rock music in a dizzying array of genres, both contributed to the ongoing history of progressive rock several times within the span of their careers. It may surprise some people that as late as the mids the US had very few original progressive rock bands that did not sound like exact copies of British bands. Journey was one of the first US bands to present a uniquely American brand of prog-rock before they eventually became a mainstream rock band.

We have collaborators from all over the world who tell us which bands helped the progressive rock scene develop in their corner of the globe, even if those bands were like Journey and were known more for being mainstream rock bands. In the late 70s and early 80s prog-rock was barely a blip on the radar.

During this time artists such as David Bowie and Metallica released albums that captured key elements of the spirit of prog rock and did so while contributing their own original modern elements to the mix.

Although Led Zeppelin, Black Sabbath and Wishbone Ash may seem like mere hard rock bands, in their time they stood apart from other hard rockers with their more serious lyrical content and more developed compositions. Put simply, in the early 70s every prog-rock record collector usually had full collections of all three of these artists. These three bands were very much part of the prog-rock scene without being total prog-rock bands them selves. Once again, as we enter the second decade of the 21st century a melting pot of prog-metal, math-rock, progressive electronics and post-rock influences have once again made a progressive tendency in rock music almost more a norm than a difference.

Yet in other periods of musical history receiving influence from progressive rock could really set a band apart and make them worthy of our prog-related category. Being influenced by progressive rock is hardly the only factor we look at, and in some periods of musical history it is almost meaningless, but still, it is almost a given that most of the artists listed in prog-related were influenced by the development of progressive rock.

Sometimes you just have to use some common sense and look at the big picture. A very good way to describe prog-related would be to imagine an exhaustive book that covered the history of progressive rock. Probably so. Born in the late 60's after the expansion of avant-gardist, modern, post-modern and minimalist experimentation, the progressive electronic movement immediately guides us into a musical adventure around technologies and new possibilities for composition.

As an author or a searcher, the musician often creates his own modules and electronic combinations, deciding his own artistic and musical action. The visionary works of Stockhausen, Subotnick, John Cage "concrete" music, electro-acoustic experimentationLa Monte Young, Steve Reich, Terry Riley minimal, micro-tonal music express a vision of total reconstruction in the current musical world. Luminous works such as "A Rainbow in Curved Air" and "Silver Apples of the Moon" bring an inflexion on opened forms and new ways to explore the essence and the physical aspects of sounds through time and space.

A great improvement happened in with the appearance of the first modular synthesiser Moog. The record drips with formidable talent, while addressing the everyman issues of passion, selfdoubt, hatred and, most important, volume. Turn it up loud, and remember them this way. Selling boatloads of copies of Siamese Dream freed Billy Corgan to unleash his inner overachiever.

On this wildly ambitious and overly indulgent double CD 28 songs, clocking in at over two hoursCorgan and his approval-hungry bandmates pulled out all the stops. It Only Takes A Minute - Various - Seventies Disco Ball (CD) raging in a cage or cooing like a lovesick Romeo, Corgan had his cake and ate it, too, on this dense, overstuffed confection.

In a positive way, I wanted to really embrace the notions of creativity, to just go as far out as we wanted to go and not get too hung up about the commercial aspects. Has their ever been a band as deliciously subversive as the White Stripes? Inno one could touch Vulgar. Fuck all that. What had the world come to? The better question was, what had become of Eddie Van Halen, that avatar of unbridled guitar showmanship?

Actually, if I could deliberately sit down and write a pop hit, all my songs would be pop hits! They were also in a rut. Prodded by maverick producers Brian Eno and Daniel Lanois, the band tossed out its old sound and threw its arms around the U. In many ways, The Joshua Tree is one big bear hug to the great American songbook. It was a breakthrough, sure, but we always try to use our breakthroughs to lead us somewhere else.

Toxicity is a zany, diverse and sometimes contrary mix of sonic styles that explodes like a cluster bomb. The band seems to have tapped the riffage of Anthrax and Slayer, the lunacy of Frank Zappa, the politics of Dead Kennedys, the sensitivity of acoustic Red Hot Chili Peppers and the ethnic color of Greek and Armenian music.

What holds it together is the outstanding musicianship and clever arrangements of guitarist Daron Malakian, a schizophrenic misanthrope with an equal taste for death metal and pop.

Before recording the latter track, Vai has admitted to fasting, meditating and abstaining from sex for 10 days. With Passion and WarfareI wanted to make a bigger-sounding record with a lot more production and orchestration. It was a very dense and complex album. The songs are laced with empathy and aggression, bound together by the theme of defiance in the face of misfortune. Priest were already respected, but they needed a truly classic album to match their visual flair and live prowess.

They finally got one in earlyas the band and producer Tom Allom headed into the Startling Studios at Tittenhurst Park. As it turned out, Tittenhurst would play a major role in the recording of British Steel. British Steel was the turning point. It just exploded. For their third full-length Slayer teamed up with producer Rick Rubin, who sharpened the guitars until they slashed and hacked like rusted razors, convinced Tom Araya to mostly ditch the castrato screams and instructed Dave Lombardo to beat his drums like Godzilla stomping out Tokyo.

The result? Metallica, Anthrax, Megadeth were all playing fast, but Reign in Blood was a new frontier. Two years later, these Brits upped the ante with OK Computercreating a captivating brand of space rock. Lauded by critics, musicians and fans alike, OK Computer is arguably the most influential rock guitar album of the past decade. But we aim for these things and end up with our own garbled version. Shrewdly, the band recorded Alive! For the next three years straight, we were the number-one band in the Gallup Poll, above the Beatles and everyone else.

It quickly became larger than life. And all you had to do was look out into the audience and see everyone with painted faces to understand it.

In the Eighties, very few guitarists could make Edward Van Halen quiver in his Converse, but of all the great players that emerged from that decade, Swedish-born Yngwie J. Malmsteen came the closest.

Like Van Halen, Yngwie rewrote the book on rock soloing. Never before had a rock guitarist played with such breathtaking speed and precision. There are fast runs, slow harmonies and some really nice arpeggios in them. In the early Seventies, still buzzing from the success of TommyPete Townshend labored long and hard on an elaborate concept piece called Lifehouse.

So the band took nine of the best songs from the project, went into the studio with producer Glynn Johns and emerged with one of the greatest rock and roll albums of all time. In the end I had an actual nervous breakdown. Their previous album, Dark Side of the Moonhad been a massive success, and the pressure was on them to come up with something just as remarkable, both artistically and commercially. Bassist Roger Waters and drummer Nick Mason were working through marital strained relations, which would end in divorce for both couples.

Within Abbey Road, Waters and guitarist David Gilmour were quarreling over musical direction—the early stages of a friction that flared into an all-out conflagration by the time the group made The Wall some four years later. In these volatile relationships, Waters found his grand theme for Wish You Were Here : the music business itself, and its tendency to crush the dreams of those who pursue fame, fortune and a chance at creative self-expression.

And for me, Wish You Were Here is the most satisfying album. I really love it. They came out of L. Money back guarantee Your money is safe. Our service is legit We provide you with a sample paper on the topic you need, and this kind of academic assistance is perfectly legitimate.

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Who will work on my paper? The final check includes: Compliance with initial order details. Released in after an excellent debut with "Back In The World Of Adventures" and after the masterpiece "Retropolis", this album creates with its predecessor a truly formidable combination!

Someone sees in this album and someone else in the previous one the unattainable, the perfection I don't know exactly which is the best album of their career but I don't want to question that this album is a masterpiece!

All the best that progressive rock can give For the first time the band chooses a double cd solution Someone, seeing the 2CD writing on the package, might already be thinking about which ball of record they would be in front of if they really bought it This is a difficult, complex, varied album, but precisely because it is varied, this album can be listened to until the end without getting a hit on the head.

I think ears are not enough to listen to a record like this! Soul and heart are essential! Only by letting yourself be guided by music and emotions, only by making an intricate mental journey of which music is the driving vehicle can you really enjoy this work until the last!

And then it never falls into repetition, and will stop giving new and interesting ideas only when "stop" appears on the player at the end of the second disc! There are many songs 9 in the first cd, 11 in the second and of different taste from each other! Delicious and cheerful instrumental games and mood swings characterize songs like "In The Eyes Of The World", "Just This Once" and the valuable instrumental "Circus Brimstone"; we It Only Takes A Minute - Various - Seventies Disco Ball (CD) ourselves be caressed by the touching and melancholy melodies of "Church Of Your Heart"; we let ourselves be refreshed by the oriental essences of "Don Of The Universe" with that sitar that seems to have been borrowed from Ravi Shankar.

And many other wonders await us in this fantastic world! The valuable instrumental bands such as the acoustic "Porr Mr. Rain's Ordinary Guitar" and the piano "If 28"; the amazing suite that gives the album its title; but also more pleasantly catchy songs like the sunny "Different People" and "Kingdom Of Lies", confirming that you can build strong impact melodies without losing your usual personality! Even the simple one-minute interludes are well-kept What is interesting about The Flower Kings is that every album sounds a bit different from the previous one, yet the TFK sound is vey recognizable; and this is valid for pretty much most of their albums released in the s and the s, which It Only Takes A Minute - Various - Seventies Disco Ball (CD) we know, are a lot, so we have a very prolific contemporary studio act here.

The mixture of very long songs, some regular-length ones, and a few really short episodes is used here as well, similarly to the four albums that came before 'Space Revolver'. This album is around 76 minutes long, and is a single-album, of course, so it is interesting how things have changed because this length is pretty much standard for a double-album from the 70s. However, I like to call the songs side one, and the songs side two, although this is not correct.

Where does this division come from? Well, from my listening experience: I can never enjoy the so-called 'side two' which I consider to be severely weaker than 'side one', much less memorable, and it could have really been reduced a bit.

This being said, I have to praise side one, or the songswhich happen to be pretty damn good and this is why I wish I liked this album a bit more overall. Opener 'I Am the Sun part One ' is a minute typical bombastic TFK epic that takes you on a bumpy ride among crazy instrumental passages with great lyrics and memorable choruses, and mellow and pastoral atmospheric sections, a very strong track.

The band follows this with another minute epic, 'Monster Within' that transitions into the catchy and enjoyable 'Chicken Farmer Song'. Around 44 minutes of music so far, and I can't help but think that if this was released with just these five tracks, 'Space Revolver' could have been considered one of their best albums.

The rest features songs like 'Underdog' or 'Slave to Money', which are just fine but never impressed me as much as the first five, or the second part of 'I Am the Sun' which sounds a bit bland compared to part one. Simply put, the latter five tracks are the avoidable ones. Overall, 'Space Revolver' is an album that has its highs and lows, with some tremendous and unforgettable moments, and some weak spots that, in my opinion, should have remained bonus material.

However, the band is in great form in that period, and this can be heard on any of their albums released between and Copyright Prog Archives, All rights reserved.

Please consider supporting us by giving monthly PayPal donations and help keep PA fast-loading and ad-free forever. For they have their first release ready "Back in the World of Adventures" which impressed the critics very much for their closeness to the style of early bands such as Moody Blues, genesis, Jethro Tull etc, borrowing ideas but not music, so you can easily find their inspiration but a single chord copied, I personally liked the album but found it closer to Neo Prog than to Symphonic but this is only a stylistic precision that has no relation with the quality of the album.

The next few years are prolific with few changes and they release "Retropolis" in Stardust we Are" in and "Flower Power" in with no great changes. In Michael Stolt leaves the band and is replaced by Jonas Reingold so the new formation for "Space Revolver" in the year also includes Ulf Wallander playing the Sax as a guest that remains for a long period with them.

Studio Album, 3. Studio Album, 4.

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