Pink Floyd - A Momentary Lapse Of Reason (The High Resolution Remasters) (4 CD, 2020/FLAC)

A Momentary Lapse of Reason is the thirteenth studio album by the English progressive rock band Pink Floyd, released in the UK on 7 September 1987 by EMI and the following day in the US on Columbia. It was recorded primarily on guitarist David Gilmour's converted houseboat, Astoria.

A Momentary Lapse of Reason was the first Pink Floyd album recorded without founding member Roger Waters, who departed in 1985. The production was marred by legal fights over the rights to the Pink Floyd name, which were not resolved until several months after release. It also saw the return of keyboardist and founding member Richard Wright, who had resigned from the band under pressure from Waters during the recording of The Wall (1979).

Unlike most earlier Pink Floyd records, A Momentary Lapse of Reason is not a concept album. It includes writing contributions from outside songwriters, following Gilmour's decision to include material once intended for his third solo album. The album was promoted with a successful world tour and with three singles: the double A-side "Learning to Fly" / "Terminal Frost", "On the Turning Away", and "One Slip".  

 

Chris Thompson discography [1981-2015]

  

Chris Thompson, also known as Chris Hamlet Thompson (born Christopher Hamlet Thompson; born 9 March 1948) is an English singer and guitarist known both for his work with Manfred Mann's Earth Band and for his solo accomplishments.

Chris Thompson has been on the cutting edge of rock for decades. The lead vocalist on Manfred Mann's Earth Band's chart-topping 1976 hit version of Bruce Springsteen's "Blinded by the Light," Thompson has continued to make his presence felt. His distinctive vocals can be heard on albums by Elton John, the Doobie Brothers, Ozzy Osbourne, Tina Turner, Ray Charles, John Farnham, and Jefferson Starship, who covered his tune "Blaze of Love" in 1989, as well as eight albums with Manfred Mann's Earth Band. 

 

Barclay James Harvest - All Is Safely Gathered In (5 CD, 2005/FLAC)

 

Barclay James Harvest was, for many years, one of the most hard luck outfits in progressive rock. A quartet of solid rock musicians -- John Lees, guitar, vocals; Les Holroyd, bass, vocals; Stuart "Wooly" Wolstenholme, keyboards, vocals; and Mel Pritchard, drums -- with a knack for writing hook-laden songs built on pretty melodies, they harmonized like the Beatles and wrote extended songs with more of a beat than the Moody Blues. They were signed to EMI at the same time as Pink Floyd, and both bands moved over to the company's progressive rock-oriented Harvest imprint at the same time, yet somehow, they never managed to connect with the public for a major hit in England, much less America. 

- John Lees / guitars, recorders, vocals

- Les Holroyd / bass, acoustic guitar, piano, vocals

- Mel Pritchard / drums, percussion

- Woolly Wolstenholme / Mellotrons, organ, piano, synthesizers, guitar, vocals (1967-1979)

Guest musicians:

- Kevin McAlea / keyboards

- Colin Browne / keyboards, guitar

- Bias Boshell / keyboards

- Jeff Leach / keyboards (1977)

- Sam Brown / backing vocals

- Jan Ince / backing vocals

- Helen Chapelle / backing vocals 

 

Jethro Tull - Live at Madison Square Garden 1978 (DVDRIP, 2009)

 

Live at Madison Square Garden 1978 is a concert video and an album by British rock band Jethro Tull, released in 2009. It was recorded on 9 October 1978 at Madison Square Garden in New York City.

50 minutes of the performance were broadcast live via satellite on the BBC's Old Grey Whistle Test TV show. 

• Ian Anderson / vocals, flute, acoustic guitar

• Martin Barre / guitars

• John Evan / piano, organ

• David Palmer / saxophone

• Tony Williams / bass

• Barriemore Barlow / drums 

 

Greenslade – Temple Songs: The Albums 1972-1975 (4 CD, 2021/FLAC)

 Aside from Roger Dean’s iconic cover illustrations, Greenslade weren’t like most prog brands of the 1970s. Keyboardist Dave Greenslade and bassist Tony Reeves formed the quartet in 1972 after leaving jazz-rock outfit Colosseum. Eschewing guitars, they hired Samurai’s Dave Lawson as a second keyboardist, and former Manfred Mann drummer Andrew McCulloch (he also played on King Crimson’s Lizard). The band’s approach utilized typical knotty, stop-and-start cadences, and key and tempo changes, but those are only a few elements in their complex soundscape. The rest of Greenslade’s sound reflected a penchant for catchy melodies derived from pop, jazz, classical, and folk. Keyboardist Lawson spent years backing singers including Bing Crosby and Peggy Lee. 

Greenslade, Reeves, and McCulloch came up in the British blues and jump R&B bands of the early 1960s. The remastered albums in this box mark their four studio outings: 1972’s Greenslade, 1973’s Bedside Manners Are Extra, 1974’s Spyglass Guest, and 1975’s Time & Tide. 1972’s Greenslade still reflects the jazz-fusion influence of Colosseum. The textural and tonal juxtapositions of organ, Mellotrons, synth, and acoustic and electric pianos frame the gorgeous “Feathered Friends,” while instrumental “An English Western” weds Morris Dance rhythms to boogie woogie piano, and set showcase “Sundance” delivers a dazzling prog exercise. Released a few months later, Bedside Manners Are Extra‘s title track makes use of the Beatles “Here Comes the Sun King” in the intro and bassline before moving toward jazz. “Pilgrim’s Progress” is a seven-minute adventure in layered cadences and key changes; the rhythm section counters with a punchy R&B shuffle. “Chalk Hill” is sumptuous prog-jazz fusion with fantastic keyboard soloing and swinging drums. A cover photo in lieu of a Dean illustration on 1974’s Spyglass Guest hinted at something different. Due to practical circumstances, Lawson and Greenslade composed separately for the first time. Opener “Spirit of the Dance” is a wily, lighthearted prog instrumental. “Rainbow” offers some of the band’s most elegant pop songwriting. Reeves’ “Siam Seesaw” — with guitarist Clem Clempson and violinist Graham Smith — initially sounds like an anime interlude but is transformed into a bluesy jazz groove. The set closes with a cover of “Theme from an Imaginary Western” that sounds more like Procol Harum than Greenslade. Reeves left after its release and was replaced by guitarist/bassist Martin Briley. Time & Tide (with a Dean cover illustration) reflects the more commercially viable prog of the day and somewhat marginalizes jazz and classical. Lawson’s vocals on “Animal Farm” and “Newsworth” are jarring in the midst of hooky garage prog. “Waltz for a Fallen Idol” sounds like Supertramp backed by Steely Dan. (It’s great.) “The Ass’s Ears” offers grandly majestic prog, while closer “Gangsters” gloriously returns Greenslade to swinging jazz fusion. All four albums have been remastered from analog source tapes.