This was Cary's fourth album, and demonstrates someone who knows her path, which is far more interesting and splintered than the well-trodden norm. Layers of synths and guitars take the listener into familiar territory, reflecting the sounds and ingenuity of Pink Floyd mixed with a sense of the modern, alternative flair which continues in "Without a Trace".
However, with "Into Dust", there is an even heavier sense of the dreamy and strange with the sounds of a tortured guitar and Grace's psychedelic-infused vocal manipulations. The spooky guitar effects flow into "Afterglow", which soon takes off in a more moderate rhythm which shows more push from the drums.
Keeping with a feeling of distinction between her tracks, this time her lyrics are spoken in a way that demands for you to hear them, even when they are mostly whispered. You'll find yourself drawn into the music, brought there by her hypnotizing use of her voice, then suddenly buried in heavy layers of guitar and synth. Just when you think you have heard it all, she brings in a beautiful sax to introduce the almost sensual "Film Noir".
Again, one is reminded of Pink Floyd, as the combination of structure melody and improvisation free flowing instruments blend together perfectly. Her folk influences find a perfect home in the 12 minute "Costume Jewellery" as she brings in the mid- Eastern instrumental blend to the psychedelic sound.
After several somewhat shorter songs, this track takes time to explore and mesh the psychedelic combination of violin and guitar with the continuing drone-like twanging of the traditional instruments continuing in the background. This track, and some other long ones to follow, only cement Grace's inclusion into the psychedelic genre, allowing her guest musicians ample time to explore her soundscape. The moderately slow pace of the drums and wandering guitar will bring back your chemically-enhanced memories of early Pink Floyd as she adopts a more free-form style of singing but still based around a simple melody and the lead guitar shares the lead with her vocals on "Moonflowers Fade to Black ".
This blues-infected trip in a minor key will make you feel like she is singing and her band is playing just for you, up close and personal. Free To Live - Various - Rock Sound Volume 37 (CD) controlled angst soon calms, and the music calms with her, and she again hypnotizes you and then later brings back the intensity, the heavy guitar following her perfectly. Even with it's more accessible sound though, it tries to wander off into the unknown, but is always brought back to its more structured style, though it does get more exploratory in the last section.
The melody is quite lovely and, even though it is a shorter track, it takes time to build in emotion and power and then release it all as it comes back down to earth again. A quick build brings us out of the melancholy sense of the previous track and a boiling guitar Free To Live - Various - Rock Sound Volume 37 (CD) push Grace's lyrics and vocals out emphasizing their importance, and the guitar swirls and wraps its cries around her vocals.
Things level off and float along at a smoother pace after a while. This one is the most lyric-heavy of them all, yet every note is important as it uses progressive structure to bring its many moods across. Definitely a highlight among what are already many highlights on this album.
Building off of the previous riff, the music builds in a crescendo and then levels off with an even, moderate beat and lovely melody enhanced by more free-wheeling guitar.
The music floats along easily with this beat. Between the short verses are long, flowing passages of musical bliss layered by guitar, synth and the by now well-established bass and drum riff. The music goes on and on, and you want it to.
As is typical with GY! BE, the music is emotional and beautiful. This is really a decent compilation, and the tracks on it are mostly now unavailable anywhere else. It is a good sample of some of the very innovative and talented artists on the label, many of whom are not around anymore. There are a few weak spots on the album however.
The biggest disappointment is the contribution of A Silver Mt. Zion as they are one of my favorite post rock bands, but the track Free To Live - Various - Rock Sound Volume 37 (CD) is way too noisy and far from their best efforts. There are a few others that are too repetitive, such as the Fly Pan Am track and the 1-Speed Bike track.
However, overall, it is a great compilation with a lot of variety that ranges from the minimal to the extremely noisy, yet quality runs through the musicianship Free To Live - Various - Rock Sound Volume 37 (CD). Though the tracks are not always the best of some of the bands and not always representative, the entire collection makes Free To Live - Various - Rock Sound Volume 37 (CD) a cohesive statement in the end.
This is definitely a good find if you can locate it, or still order it, as I did several years ago when I started first discovering some of the bands on the collection. In the Italian prog rock label Kaliphonia released this interesting compilation album featuring many lesser known and unknown Italian prog bands and artists, along Collage from Poland. Fancy Fluid delivers Neo-prog with fiery guitar, modern sounding keyboards and some nice musical ideas in the varied Nuove Effemeridi.
Consorzio Acqua Potabile CAP surprises with a wonderful intro on piano, warm vocals and sensitive guitar work with a lot of tension in Cavaliere Mascherato. Combat by Marcello Capra contains beautiful interplay between acoustic and electric guitar. Deux Ex Machina delivers complexity and bombastic atmospheres with Jean Luc Ponty inspired violin work in the jazz-rock orientated Luna.
In Jakazan by duo Clarion including ex-Zauber member Paolo Clari we hear warm flute play like John Hackett, but also a pretty irritating drum sound. My highlight is Prologo by New Credo with Steve Hackett-like guitar, fluent keyboards and many shifting moods. We hear pleasant guitar play in Happiness by the five-piece formation H2O.
Polish formation Collage with Midnight Flyer also on the Collage compliation Changes from delivers a blend of pop and prog, very accessible with good vocals and pleasant keyboards. Incentive from Ars Antiqua has a dreamy atmosphere with soaring keyboards and some fiery guitar runs.
Only the keyboards and the final part with howling electric guitar can please my ears. My rating 3,5 star. Review by Matti Prog Reviewer. One is a good example of the band's symphonic style, featuring very nice keyboard parts. Hmm, not a wise idea, the result is such a mess. Very nice, and the question of how 'prog' it is, seems irrelevant.
Kaipa makes modern symphonic prog that's often too bombastic for my taste, and this one's no exception. The male vocals are unpleasant. The arrangement has nice acoustic elements but the sad song itself is a bit boring. Categories : Pop rock compilation albums Time—Life albums s in music. Hidden categories: Articles with short description Short description matches Wikidata Articles needing additional references from November All articles needing additional references.
Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. The Wall of Sound was an enormous public address system designed specifically for the Grateful Dead's live performances in It was the creation of audio engineer Owsley "Bear" Stanley.
The Wall of Sound fulfilled Owsley's desire for a distortion-free sound system that could also serve as its own monitoring system. The Wall of Sound was the largest concert sound system built at that time. Three from the Vault is a live album by the Grateful Dead. It was released on June 26, Unlike Dick's Picks, Road Trips, Dave's Picks, and certain other of the band's archival series of live album releases, which are simply two-track stereo recordings made from the soundboard during the concert, the show on the album was recorded on a track multitrack recorder and was mixed down to stereo prior to its release.
Although the album was released inlongtime Grateful Dead engineer Dan Healy actually mixed the album inand its release was delayed 14 years for unknown reasons. This was the third continent on which the band performed, having previously performed in Europe. Unlike Dick's Picks, Road Trips, Dave's Picks, and certain other of the band's archival series of live album releases, which are simply two-track stereo recordings made from the soundboard during Free To Live - Various - Rock Sound Volume 37 (CD) concert, the shows on the album were recorded on a track multitrack recorder and were mixed down to stereo just prior to the album's release.
A taper is a person who records musical events, often from standing microphones in the audience, for the benefit of the musical group's fanbase. Such taping was popularized in the late s and early s by fans of the Grateful Dead.
Audio recording, while not officially allowed until the creation by the band of a "tapers' section" behind the soundboard in the mids, was generally tolerated at shows and fans would share their tapes through trade. Their pleasant and melodic sound alternates between Genesis-era: from mellow with acoustic guitars and flute to bombastic with bass pedals, Hackett-inspired guitarwork, organ and Mellotron.
But also early IQ: compelling with powerful interplay between moving guitar and sumptuous Mellotrons layers. The emphasis in the tasteful 7 compositions is on creating compelling, often Mellotron drenched atmospheres rather than complexity and inventive arrangements.
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