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textDisplay: Ova grupa sa sjedištem u Münchenu navijala je u 60-ima kao Subjekti koji sviraju beat glazbu, ali njezina evolucija Subject Esq. definitivno je kvintet koji zvuči kao 70-ih, posuđujući organom pogonjen proto-prog sličan onome što je učinjeno u Velikoj Britaniji početkom 70-ih. Subjekt Esq. bi bio kod kuće na etiketama Neon, Dawn ili Vertigo. Objavljen je početkom 72. godine na etiketi Epic i dolazio je s rukavom s vratima gdje je unutarnji preklop mnogo zanimljiviji od vanjskog, predstavljajući blagu crvenu do žutu ponižavajuću naivnu logo i portret benda. Pjevač Hoffman također se bavi puhačkim instrumentima, osim harmonike koju svira gitarist Pittwohn. Stadlerove klavijature su po cijelom albumu, uglavnom u obliku orgulja.Ako je prva pjesma Alone više "straight rock" nego prog, ona predstavlja snažan riff, dok se sljedeća Giantania čini da ide u istom "riff-y" smjeru, ali na pola puta ipak, ima solidan rad na orguljama i vrhunski tihi prolaz s nekom prekrasnom flautom i basom, prije nego što se riff vrati. Prilično slabiji What Is Love također ima zanimljiv srednji dio, ali smatram da je riff vođen saksofonom prilično klišej, a stihovi ne nadahnuti. Nezapamćeno nazvana 5:13 (duga je samo 4:29 ;o))) još je jedna brza staza s dvostrukim praćenjem (flauta i saksofon zajedno u riffu), ali uskoro se ukopava u još jedan zanimljiv sporiji srednji dio u kojem dominira flauta i polako se vraća preko izvrsnih orgulja u Graaf-esque riff prije nego što izblijedi.Naličje predstavlja dvije duže pjesme, uključujući i središnji dio Mammona, koji se dobro prikazuje tijekom 12 minuta. Ako je druga strana sadržavala pjesme koje su nespretno proggy, uglavnom uklapajući se u dobre srednje dijelove, ova pjesma stvarno pokazuje da bi grupa doista mogla biti ambicioznija, pa čak i uključiti harmoniku u prog pjesmu. Ova pjesma je vjerojatno najbolje opisana kao mini-epska, ispunjena mnogim različitim instrumentalnim odlomcima i ritmovima koji se stalno razvijaju. Križanac Koloseuma i VdGG-a, ako mene pitate. Završni Durance Is Waiting ima uvod na zapadnoj obali, uglavnom zbog vokalnih harmonija, ali uskoro uranja u dementni up-tempo prog s puno instrumentalne međuigre, prije nego što gotovo umre od iščezavanja i jedva se drži za život s nježnim pozadinskim vokalom i basom i polako rekonstruira glazbu, ali s finalom završava uz pomoć violine, ljubaznošću gosta Manuale Gunther.Cd reizdanje (na velikoj Ohrwaschl etiketi) dolazi s dvije duge live pjesme kao bonus, uključujući mnogo proširenu Giantaniju (sada dugu 19 minuta) i pjesmu bez naslova (najvjerojatnije nije njezin pravi naslov). Iako zvuk ovih pjesama uživo nije savršen, nije ni ništa skandalozno. Pjesme dodaju užitak albuma (IMHO, jer to možda nije opće mišljenje), jer otkrivaju drugačiji (živi) aspekt grupe: sirovi, manje fokusirani, više psihom i improvizacijski / ometanje. Iako je jedini album Subject Esq.-a općenito malo precijenjen od strane većine (IMHO), smatram ga zanimljivim i ugodnim u homeopatskim dozama, ali teško bitnim, pogotovo u usporedbi s budućim albumima grupe pod imenom Sahara…..,,,,,,,,Ladislav&zivanovic...

authorDisplayName: ladislav zivanovic


textDisplay: This Munich-based group cheered in the 1960s as Subjects Playing Beat Music, but its evolution subject Esq. is definitely a quintet that sounds like the 70s, borrowing an organ-powered proto-prog similar to what was done in the UK in the early 70s. Subject Esq. would be at home on the labels Neon, Dawn or Vertigo. It was released in early 72 on the label Epic and came with a sleeve with a door where the inner flap is much more interesting than the outer one, presenting a slight red to yellow humiliating naïve logo and a portrait of the band. Singer Hoffman also deals with wind instruments, in addition to the accordion played by guitarist Pittwohn. Stadler's keyboards are all over the album, mostly organ-shaped. If the first song of Alone is more "straight rock" than prog, it represents a powerful riff, while the next Giantania seems to be going in the same "riff-y" direction, but halfway through though, it has solid organ work and a superbly quiet passage with some beautiful flute and bass, before the riff returns. The rather weaker What Is Love also has an interesting middle part, but I find the saxophone-driven riff quite a cliché, and the lyrics not inspired. The unprecedentedly named 5:13 (it's only 4:29 (o)) is an unprecedentedly named 5:13 (it's only 4:29 ;o)) another fast track with a double follower (flute and saxophone along in a riff), but soon burrows into another interesting slower middle section dominated by a flute and slowly returns via an excellent organ to the Graaf-esque riff before fading. The reverse represents two longer songs, including the centerpiece of Mammon, which is well displayed over 12 minutes. If the other side featured songs that were awkwardly proggy, mostly fitting in with the good middle parts, this song really shows that the group could really be more ambitious and even incorporate the accordion into a prog song. This song is probably best described as mini-epic, filled with many different instrumental passages and rhythms that are constantly evolving. A cross between the Colosseum and VdGG, if you ask me. The final Durance Is Waiting has an introduction on the west coast, mainly due to vocal harmonies, but soon plunges into demented up-tempo prog with a lot of instrumental interplay, before almost dying of fading and barely clinging to life with gentle background vocals and bass and slowly reconstructing the music, but with the finale it ends with the help of a violin, courtesy of guest Manuala Gunther.Cd reissue (on the great Ohrwaschl label) comes with two long live songs as a bonus,  including the much-expanded Giantania (now 19 minutes long) and the untitled song (most likely not its true title). Although the sound of these live songs is not perfect, it is nothing scandalous either. The songs add album pleasure (IMHO, because it may not be a general opinion), as they reveal a different (live) aspect of the group: raw, less focused, more psychoma and improvisational/distraction. Although subject Esq's only album is generally a little overrated by most (IMHO), I find it interesting and enjoyable in homeopathic doses, but hardly relevant, especially compared to future albums by a group called Sahara.....,,,,,,,,Ladislav&quot;

textOriginal: This Munich-based group cheered in the 1960s as Subjects Playing Beat Music, but its evolution subject Esq. is definitely a quintet that sounds like the 70s, borrowing an organ-powered proto-prog similar to what was done in the UK in the early 70s. Subject Esq. would be at home on the labels Neon, Dawn or Vertigo. It was released in early 72 on the label Epic and came with a sleeve with a door where the inner flap is much more interesting than the outer one, presenting a slight red to yellow humiliating naïve logo and a portrait of the band. Singer Hoffman also deals with wind instruments, in addition to the accordion played by guitarist Pittwohn. Stadler's keyboards are all over the album, mostly organ-shaped. If the first song of Alone is more "straight rock" than prog, it represents a powerful riff, while the next Giantania seems to be going in the same "riff-y" direction, but halfway through though, it has solid organ work and a superbly quiet passage with some beautiful flute and bass, before the riff returns. The rather weaker What Is Love also has an interesting middle part, but I find the saxophone-driven riff quite a cliché, and the lyrics not inspired. The unprecedentedly named 5:13 (it's only 4:29 (o)) is an unprecedentedly named 5:13 (it's only 4:29 ;o)) another fast track with a double follower (flute and saxophone along in a riff), but soon burrows into another interesting slower middle section dominated by a flute and slowly returns via an excellent organ to the Graaf-esque riff before fading. The reverse represents two longer songs, including the centerpiece of Mammon, which is well displayed over 12 minutes. If the other side featured songs that were awkwardly proggy, mostly fitting in with the good middle parts, this song really shows that the group could really be more ambitious and even incorporate the accordion into a prog song. This song is probably best described as mini-epic, filled with many different instrumental passages and rhythms that are constantly evolving. A cross between the Colosseum and VdGG, if you ask me. The final Durance Is Waiting has an introduction on the west coast, mainly due to vocal harmonies, but soon plunges into demented up-tempo prog with a lot of instrumental interplay, before almost dying of fading and barely clinging to life with gentle background vocals and bass and slowly reconstructing the music, but with the finale it ends with the help of a violin, courtesy of guest Manuala Gunther.Cd reissue (on the great Ohrwaschl label) comes with two long live songs as a bonus,  including the much-expanded Giantania (now 19 minutes long) and the untitled song (most likely not its true title). Although the sound of these live songs is not perfect, it is nothing scandalous either. The songs add album pleasure (IMHO, because it may not be a general opinion), as they reveal a different (live) aspect of the group: raw, less focused, more psychoma and improvisational/distraction. Although subject Esq's only album is generally a little overrated by most (IMHO), I find it interesting and enjoyable in homeopathic doses, but hardly relevant, especially compared to future albums by a group called Sahara.....,,,,,,,,Ladislav"


textDisplay: Ce groupe basé à Munich acclamé dans les années 1960 en tant que sujets jouant de la musique beat, mais son sujet d’évolution Esq. est certainement un quintette qui sonne comme les années 70, empruntant un proto-prog alimenté par orgue similaire à ce qui a été fait au Royaume-Uni au début des années 70. Sujet Esq. serait à l’aise sur les étiquettes Neon, Dawn ou Vertigo. Il est sorti au début des années 72 sur le label Epic et est venu avec une manche avec une porte où le rabat intérieur est beaucoup plus intéressant que le rabat extérieur, présentant un léger rouge à jaune humiliant logo naïf et un portrait du groupe. Le chanteur Hoffman s’occupe également des instruments à vent, en plus de l’accordéon joué par le guitariste Pittwohn. Les claviers de Stadler sont partout dans l’album, principalement en forme d’orgue. Si la première chanson d’Alone est plus « straight rock » que prog, elle représente un riff puissant, tandis que la prochaine Giantania semble aller dans la même direction « riff-y », mais à mi-chemin, elle a un travail d’orgue solide et un passage superbement calme avec une belle flûte et basse, avant le retour du riff. Le plus faible What Is Love a également une partie centrale intéressante, mais je trouve le riff axé sur le saxophone assez cliché, et les paroles non inspirées. Le sans précédent nommé 5:13 (il est seulement 4:29 (o)) est un nom sans précédent 5:13 (c’est seulement 4:29 ;o)) une autre piste rapide avec un double suiveur (flûte et saxophone le long d’un riff), mais bientôt s’enfonce dans une autre section centrale plus lente intéressante dominée par une flûte et revient lentement via un excellent orgue au riff Graaf-esque avant de s’estomper. Le revers représente deux chansons plus longues, y compris la pièce maîtresse de Mammon, qui est bien affichée sur 12 minutes. Si l’autre côté comportait des chansons qui étaient maladroitement proggy, la plupart du temps s’inscrivant avec les bonnes parties médianes, cette chanson montre vraiment que le groupe pourrait vraiment être plus ambitieux et même incorporer l’accordéon dans une chanson prog. Cette chanson est probablement mieux décrite comme mini-épique, remplie de nombreux passages instrumentaux et rythmes différents qui sont en constante évolution. Un croisement entre le Colisée et le VdGG, si vous me demandez. La finale Durance Is Waiting a une introduction sur la côte ouest, principalement en raison d’harmonies vocales, mais plonge bientôt dans un prog up-tempo dément avec beaucoup d’interaction instrumentale, avant de presque mourir de s’estomper et de s’accrocher à peine à la vie avec des voix de fond douces et de la basse et de reconstruire lentement la musique, mais avec la finale, il se termine à l’aide d’un violon, gracieuseté de l’invité Manuala Gunther.Cd réédition (sur le grand label Ohrwaschl) est livré avec deux longues chansons live en bonus,  y compris le très étendu Giantania (maintenant 19 minutes de long) et la chanson sans titre (très probablement pas son vrai titre). Bien que le son de ces chansons live ne soit pas parfait, il n’a rien de scandaleux non plus. Les chansons ajoutent du plaisir à l’album (à mon humble avis, car ce n’est peut-être pas une opinion générale), car elles révèlent un aspect différent (live) du groupe: brut, moins concentré, plus psychome et improvisation / distraction. Bien que le seul album du sujet Esq soit généralement un peu surestimé par la plupart (à mon humble avis), je le trouve intéressant et agréable à des doses homéopathiques, mais à peine pertinent, surtout par rapport aux futurs albums d’un groupe appelé Sahara.....,,,,,,,,Ladislav&Zivanovic.......


textDisplay: Психоделика Мюнхена 1966 1972 интересно познакомиться хотя группу слышал раньше благодаря названию запомнил

authorDisplayName: Герман Кукушкин


authorDisplayName: Nikolaos Mosxakis

textDisplay: Thank you, my friend always came!!!

textOriginal: Thank you, my friend always came!!!


textDisplay: Little Request.., Respected Ladies and Gentlemen please first Layc and then listen to you and watch it nicely please all of you who are on my canal and even those who insu.. A big thank you and my respect and respect,..,Vas Ladislav....🎩🕊🌹🌺🎼🎧🎤🎹


textOriginal: Little Request.., Respected Ladies and Gentlemen please first Layc and then listen to you and watch it nicely please all of you who are on my canal and even those who insu.. A big thank you and my respect and respect,..,Vas Ladislav....🎩🕊🌹🌺🎼🎧🎤🎹