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textDisplay: Le seul album de ce morceau heavy à la hammond est une œuvre d'art avec une rare plaque de cuivre Meriana de la ville de Speyer à l'époque de la Renaissance. Ce pressage privé à 200 exemplaires est produit à bas prix, ce qui est assez solide, mais il n'y a rien de scandaleux non plus. Leur direction musicale antérieure était en grande partie dans la gamme prog symphonique (The Nice ou ELP), mais certains changements de programmation ont un peu changé cela car l'organiste à venir avait une sensation plus jazz, plus dans la veine Colosseum, en particulier dans le son de Dave Greenslade. Le résultat est un prog symphonique qui comprend Uriah Heep (orgue, chant), Atomic Rooster (la guitare de Gall est inspirée de DuCann) et Colosseum (orgue).Quatre morceaux composés de l'album original (dont trois font bien plus de 10 minutes) se trouvent dans un domaine rock lourd, dominé par un énorme son d'orgue. En effet, les 13 minutes de War Games hésitent entre le Colosseum (l'orgue virevolte à la Greenslade) et Uriah Heep (voix semblable à Byron, en anglais, souvent correctement exprimé), mais l'ensemble sonne bien plus symphonique que la chanson moyenne du deux groupes. Le 10-mins + In The Heart Of The Cities est beaucoup plus guitar-ey, DuCann et Litherland (pas Clempson), mais le brillant travail batterie/basse de la chanson d'introduction n'est pas si présent, et la chanson se termine par un semi- opéra Byron exclamation. I Am America Too, est un morceau de piano et d'orgue (le plus court, 5 minutes + horloge) qui combat Bernstein pour la première fois, avant de tourner hard rock avec la voix de Heep, mais vous pouvez sentir l'effort du chanteur pour égaler La gamme de Farlowe, qui est bien sûr trop éloignée pour réussir. L'épopée de 17 minutes "Strange Days of Hiding" est un Hammond propre à gogo, inspiré par Hensley, tristement abasourdi par une longue performance en solo de batterie, qui, comme tous, est terriblement ennuyeuse. Deux chansons bonus sont toutes deux des reprises de Colosseum, dont le célèbre Lost Angeles, qu'ils font au mieux, mais certainement plus maintenant. La qualité de la production sur ces chansons n'est pas aussi bonne que le reste de l'album (donc elles collent un peu), mais là encore rien de scandaleux. sa publication n'était pas déjà si fraîche, car leurs influences avaient déjà fait leurs meilleures actions. Cela vaut toujours la peine d'être écouté.

authorDisplayName: ladislav zivanovic


textDisplay: The only album from this hammond-driven heavy track, came in a work of art with a rare copper plate Meriana from the city of Speyer in the Renaissance era. This private pressing of 200 copies is produced at a low price, which is quite sound, but there is nothing scandalous either. Their earlier musical direction was largely in the symphonic prog range (The Nice or ELP), but some lineup changes changed that a bit as the upcoming organist had a jazzier feel, more in the Colosseum-vein, especially in the sound of Dave Greenslade. The result is a symphonic prog that has some Uriah Heep (organ, vocals), Atomic Rooster (Gall's guitar is inspired by DuCann) and Colosseum (organ). Four tracks consisting of the original album (three of which are well over 10 minutes) are found in a heavy rock domain, dominated by a huge organ sound. Indeed, the 13-minute War Games hesitate between the Colosseum (organ twirls similar to Greenslade) and Uriah Heep (vocals similar to Byron, in English, often correctly expressed), but the whole thing sounds much more symphonic than the average song of the two groups. The 10-mins + In The Heart Of The Cities is much more guitar-ey, DuCann and Litherland (not Clempson), but the brilliant drums / bass work of the introductory song is not so present, and the song ends with a semi-opera Byron exclamation. I Am America Too, is a piece of piano and organ (shortest, 5-mins + clock) that fights Bernstein for the first time, before turning hard rock with Heep’s vocals, but you can feel the singer’s effort to match Farlowe’s range, which is of course too far away to succeed. The 17-minute epic “Strange Days of Hiding” is a clean Hammond galore, inspired by Hensley, sadly stunned by a long drum solo performance, which like all of them is terribly boring. Two bonus songs are both Colosseum covers, one of which is the famous Lost Angeles, which they do well at best, but certainly not anymore. The quality of the production on these songs is not as good as the rest of the album (so they stick out a bit), but again nothing scandalous. but it can still be viewed as a small excavated gem from the early 1970s, even if its publication was not already so fresh, as their influences had already done their better deeds. It’s still definitely worth listening to.


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authorDisplayName: 70-е года

textDisplay: Welcome GREETINGS PEOPLE BLESSINGS OF GOD !!!


textDisplay: Jedini album iz ovog hammondom pogonjenog teškog proga, došao je u umjetničkom djelu s rijetkom bakrenom pločom Meriana iz grada Speyera u renesansnom dobu. Ovaj privatni presing od 200 primjeraka proizveden je po niskoj cijeni, što je prilično zvučno, ali nema ni ništa skandalozno. Njihov raniji glazbeni smjer bio je u velikoj mjeri u simfonijskom prog rasponu (The Nice ili ELP), ali neke promjene u postavi izmijenile su to pomalo kao što je nadolazeći orguljaš imao jazzier osjećaj, više u Koloseum-veni, posebno u zvuku Davea Greensladea. Rezultat je simfonijski prog koji ima neke Uriah Heep (orgulje, vokal), Atomski pijetao (Gallova gitara inspirirana je DuCannom) i Koloseum (orgulje).Četiri skladbe koje se sastoje od originalnog albuma (od kojih su tri znatno iznad 10 minuta) nalaze se u teškoj rock domeni, u kojoj dominira ogroman zvuk orgulja. Doista, Ratne igre u 13 minuta oklijevaju između Koloseuma (orguljaški twirls nalik Greensladeu) i Uriah Heep (vokali slični Byronu, na engleskom jeziku, često ispravno izraženi), ali cijela stvar zvuči mnogo simfonijskije od prosječne pjesme tih dviju skupina. The 10-mins+ In The Heart Of The Cities je puno više gitara-ey, DuCann i Litherland (ne Clempson), ali briljantni bubnjevi / bas rad uvodne pjesme nije tako prisutan, a pjesma završava polu-opernim Byronskim povikom.S druge strane, I Am America Too, je komad klavira i orgulja (najkraći, sat na 5-mins+) koji se prvi put bori protiv Bernsteina, prije nego što skrene hard rock s Heepovim vokalima, ali možete osjetiti pjevačev trud da se podudara s Farloweovim rasponom, koji je naravno predaleko da bi uspio. Ep "Čudni dani skrivanja" od 17 minuta čisti je Hammond galore, inspiriran Hensleyjem, nažalost ošamućen dugim bubnjarskim solo nastupom, koji je kao i svi oni užasno dosadan. Dvije bonus pjesme su obje naslovnice Koloseuma, od kojih je jedna slavna Lost Angeles, kojom se u najboljem slučaju dobro snalaze, ali sigurno više ne. Kvaliteta produkcije na tim pjesmama nije tako dobra kao ostatak albuma (stoga malo strše), ali opet ništa skandalozno.Iako TT-ov jedini album još uvijek ima koristi od svoje vrlo tražene legende, sa svojom širom dostupnošću izgubio je must hear ili have auru, ali se još uvijek može promatrati kao mali iskopani dragulj s početka 70-ih, čak i ako njegovim objavljivanjem već nije bio toliko svjež, budući da su njihovi utjecaji već učinili svoja bolja djela. Još uvijek definitivno vrijedi slušati.


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authorDisplayName: PeterPrism

textOriginal: Welcome GREETINGS PEOPLE BLESSINGS OF GOD !!!