Ancora un posto per voi!in lingua spagnola ma molto bello!questo è un disco di musica psych molto particolare, ogni traccia è degna di nota con forse un difetto nella prima song...la lunghezza!è una bella canzone ma ci sono dei passaggi di organo che richiamano il sound degli Iron Butterfly troppo prolungato...ma si può soprassedere!!da avere a da ascoltare in ogni modo! An extremely rare Mexican psychedelic / progressive cross-over album. On the opening track Obertura-Brillo De Luz there's a nice but long keyboard intro, which gradually gives way to effects and pleasant guitar but the keyboards are always around. The largely instrumental cut has a haunting feel at times. It accounts for almost all of side one - the vocals, in Spanish, come in half way through by which time a strong Soft Machine influence (those repetitive organ chords on Soft Machine's first album) becomes evident. The side closes with Final-Advances, a short, catchy instrumental. The material on side two is generally less progressive. En Caso De Que Mi Reloj Se Pare has nice keyboards, El Ruido Del Silencio is quite catchy and Final is a laid back melodic number with woodwind. Certainly an album worth hearing.
Io sono rimasto un filo interdetto da questo disco...non è stupendo ma nemmeno tutto da buttare!credo che questi tizi si siamo messi a suonare un rock psychedelico (che forse potremmo definire pre experimental-psych) nel bel mezzo del deserto!lascio a voi i commenti!
This album is not a great gem but it worth a listen...some guys plays psych-experimental in a desert!!!bye!
Bellissimo disco che vede tra i partecipanti anche d. e g. allman del Allmann brot. band...il disco non è il classico southern
che sarete sicuramente abituati a sentire dei nostri eroi, piuttosto direi che questo disco è song-oriented (non è un giudizio qualitativo!!!)
e non ha quell'alone jazzprog acido dei abb...il mio voto è un 8--(manca una vera e propria canzone che faccia fare il salto nell'eccellenza!)
a voi!
In the beginning of 1967, Greg and Duane Allman, then with the Allman Joys, gigged at a Pensacola club. The other resident band was the Five Minutes whose members included Sandlin, McKinney and Hornsby. These five musicians shared a love for hard-rocking English acts (mainly 'Stones and Yardbirds) and for R&B. They relocated to Decatur, Alabama and, after trying out different names, settled on the Allman-Act.
Their break came when Bill McEuen, manager of the Nitty Gritty Dirt Band, caught their show in St. Louis and persuaded them to move to Los Angeles. Producer Dallas Smith signed them to Liberty Records, the label who had also taken two of McEuen's other clients: Nitty Gritty Dirt Band and the Sunshine Company. Since they were already several groups with almost similar names, the Allman-Act became the Hourglass.
The five men then realized that the fledgling Liberty label wanted to use session musicians and songwriters songs instead of the relying on the bands talent alone. They tried to fight the process but won only a few concessions. The resulting album is, unsurprisingly, not really convincing and contains mainly pleasant pop/rock, the exceptions being the more electric tracks: Got To Get Away (the only Gregg original, already recorded with the Allman Joys), Jackson Browne's Cast Off All My Fears and Ed Cobb's Heartbeat.
Duane Allman's guitar can be heard from time to time only. The album and the singles were a total commercial failure and McKinley left to be replaced by another former Five Minutes, Jesse Williard (Pete) Carr. The group then demanded artistic freedom from Liberty and Hourglass were allowed to choose its own material, and Dallas Smith remained as their producer. Released in March 1968, Power Of Love, their second album, was a vast improvement on its predecessor, being much bluesier, with seven Gregg Allman songs, a Solomon Burke song, two Eddie Hinton/Marlin Greene tracks (Down in Texas and Home For The Summer), one Penn/Oldham cover (the title track) and a really weird instrumental version of Beatles' Norwegian Wood, beginning with Duane's electric sitar before degenerating into a kind of raga rock. The sales were low once again. Hourglass were then playing live a lot, being booked every month at the Whisky A Go-Go and sometimes at the Fillmore West, including three nights with Buffalo Springfield, indeed Neil Young and Steve Stills wrote the enthusiastic liner notes for Power Of Love. They developed a strong reputation as a solid driving blues rock outfit but they were really unhappy with their records. With $500 from a gig, they finally rented Rick Hall's Studio in Muscle Shoals and cut
some tracks on their own in April 1968 (one of these tunes BB King Medley is included on Duane Allman Anthology). The group returned to California with their tapes but Al Bennett at Liberty vetoed their release. They played some Southern gigs and eventually just drifted apart.
Gregg was then forced to finish out the contract with Liberty and had to record, using session musicians, a pop oriented solo album which was shelved (the recorded tracks are the bonus on the CD reissues).
After this unsuccessful Los Angeles period, all the musicians would return to their Alabama / Georgia / Florida area and would took a central part in the creation of the Southern Rock in the early '70s. Duane would first go to the Fame, Muscle Shoals and Criteria Studios to do sessions with soul and rock acts before forming the Allman Brothers Band with Gregg in 1969. He also was in Derek and the Dominos with Eric Clapton. One of the best slide guitar players ever, he sadly died in 1971 in a motorcycle accident. His brother is still touring with a new version of the Allman Brothers Band.
Riposto un po di progressive (selezionata!)Ottimo disco, ben suonato con ottimi spunti, consiglio caldamente la track "i could never be a soldier" e la bellissima "Ship" ma per la verità anche il resto è molto buono (forse con un solo punto di stanca un una canzone troppo progressive per i mie gusti...la title track)!Vivamente consigliato!
Superbly interesting second album from a welsh band, yet to be discovered by the vast majority of the proghead. This is a full blown blues-based prog with folk and jazz tinglings , with fairly aggressive ambiances (from VDGG, Flute from J Tull ) . T he voice reminds me of the sadly forgotten prog band named AUDIENCE ( who recorded four album between 69 & 72 for the Charisma label) , and the music is a cross of the above mentioned groups, Blodwyn Pig and KC and sometimes Gentle Giant.The saxes , flutes and cellos parts makes this album rather unusual and rather original IMO, and the art work is rather spooky an aspect also present at times in the music. There is also a newcomer in a second reed player and it increases the musical interplay within the band.Soldier is a real gem , the title track are immediate pleaser to an accomplished prog addict , Ship taking some time to win you over but one must be patient with Social Embarassment as the finale is probably one of the more violent and weirdest momemt on a prog album and it is the only number not to be sung by Goldring. The two shorter numbers are of the same superb standard, one of them having a piano , the only time you will hear KB in that band. The solid sound and ferocious singing may set back some people, but ultimately , this will satisfy the most demanding proghead. Start with this one as the debut is even more difficult, but just as loveable.
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