Alan Parsons delivered a detailed blueprint for his Project on their 1975 debut, Tales of Mystery and Imagination, but it was on its 1977 follow-up, I Robot, that the outfit reached its true potential. Borrowing not just its title but concept from Isaac Asimov's classic sci-fi Robot trilogy, this album explores many of the philosophies regarding artificial intelligence – will it overtake man, what does it mean to be man, what responsibilities do mechanical beings have to their creators, and so on and so forth – with enough knotty intelligence to make it a seminal text of late-'70s geeks…
Essential: a masterpiece of Folk music
The fifth album by the Chieftains was also their best, and their first one to cross over, at least in America — where it was originally issued by the Island label — to progressive rock audiences.
Tales of Mystery and Imagination is an extremely mesmerizing aural journey through some of Edgar Allan Poe's most renowned works. With the use of synthesizers, drums, guitar, and even a glockenspiel, Parsons' shivering effects make way for an eerie excursion into Poe's well-known classics. On the album's 1987 remix, the instrumental "Dream Within a Dream" has Orson Welles narrating in front of this wispy collaboration of guitars and keyboards (Welles also narrates "Fall of the House of Usher: Prelude")…
""Rather than make a traditional covers record, I thought it would be much more fun to create a new type of project in which artists communicated with each other and swapped a song for a song, i.e. you do one of mine and I'll do one of yours, hence the title - Scratch My Back - And I'll Scratch Yours." Peter Gabriel
Donovan’s folky 1965 recordings for Pye Records (they were released in the U.S. by Hickory Records) bear only a superficial resemblance to the more hip pop material he began issuing a year later when he switched to Epic Records.
Donovan's album debut, What's Bin Did and What's Bin Hid, presented his breakout British single "Catch the Wind" and added an assortment of pleasant folkie jams.
This is Donovan's first LP, came out on the market and was the first album I heard from him. You understand that I've a deep affection.
Essential: a masterpiece of progressive-rock music.
As Nice As Mother Makes It
After two very robust but patchy albums the Nice adopted a slightly different approach to their third by exploiting a half live/half studio hybrid. They felt that this (on the advice of their new manager Tony Stratton-Smith) would showcase the 'best of both worlds' as the studio precedents were not felt to do justice to their live performances.
Excellent addition to any prog rock music collection.
Although admittedly a posthumous release, I was very surprised at the rather dismissive tenor of many of the reviews of this album to date. Hopefully this record will be reappraised soon as being a release worthy of anyone's consideration as I feel it does enhance an already rich legacy left behind by this very fine and innovative band. (So what if Charisma wanted to ride the slipstream of the lucrative ELP juggernaut?)
Excellent addition to any prog-rock music collection.
It is not possible to overestimate the Nice's importance to Progressive Rock. In their moment, they were prog and if the eye-opening debut Thoughts of Emerlist Davjack didn't show that, this dazzling follow-up did. Sure they're so old and dated you'd never put them on unless alone in the house.