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"Подводные Фантазии" Романтические мечты этого альбома навеяны удивительными подводными пейзажами Мальдивских островов. Мелодии синтезаторов то быстры и ритмичны, то текучи и пронизаны ощущением плавного парения. Эти гармонии уводят Вас в таинственные глубины Океана, пронизанные зеленоватым светом солнечных лучей и шепотом рыб. Одно из самых красивых ощущений ныряльщика, погрузившегося в воды моря, - ощущение неслышного ритма, в котором безостановочно движется все вокруг и чувство богатейшей жизни, окружающей Вас со всех сторон, переполняет эти мелодии.

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I've been trying to find a Aqualung CD worth liking for a long time now. The original release sounds so bad it actively gets in the way of the music itself. The 25th anniversary version is better, but I'm so disturbed by the processing artifacts that I've only listening to it a few times in the year I've had it. If you really want to hear Aqualung clearly on CD, the DCC version is the obvious choice. I've found myself enjoying the songs quite a bit more than I ever had before.

Opinions remain diverse amongst fans and critics alike over the 1980 release, 'Dig It''. Klaus took a different approach to make what is ultimately a typical Schulze album. Was it merely a technological exercise,( big issue being made of the fact that this was an entirely digital recording) or was it Klaus heading for a more contemporary style, pundits having spent more time speculating over the album than it actually took to record the darn thing!!! To the fan - love it or hate it there have only ever been good Schulze album's, albeit some stronger than others. The music from the original LP had become more muscular than cosmic which may have upset many. Flawless powerful drums and percussives featuring strongly throughout the album helping to lift the musical dynamic, but unfortunately never enough to make the album really shine. Popular music press write up's had obviously looked to pigeon hole Schulze as being a one dimensional musical character, feeling the need to point out influences from reggae to disco, jazz to classical to describe the music. I think only Klaus himself could answer the critics on that score, as to my ears,'Dig It' is none of these things, l hear strong Schulzian overtones throughout. As for the DVD - the 1980 Linz ARS concert, the quality is excellent as too is the music. Baring in mind that the concert was played post recording/ pre album release its hardly surprising that much of the music performed has a similar edge to it as 'Dig It', only in the show all developments are organic so providing us with another whole load of music that is a fitting accompaniment to the album proper. Klaus's synths are mixed with live industrial noise from a local steel plant, this noise being piped into the hall as Klaus plays. On paper it sounds like a bad idea, but in actual fact as you listen l think it really works!!! All a bit strange, but very entertaining throughout as the visuals are intercut with video effects typical of the age, also generated by Schulze.

In 1977, as the Moody Blues were coming to the end of their six-year sabbatical from recording, they released "Caught Live + 5," a double-album that featured three sides of a live concert recorded at the Royal Albert Hall on December 12, 1969, and one side of 5 rare studio tracks. Very similar in format to the 1982 double-album by Genesis, "Three Sides Live," but "Caught Live + 5" proves that the Moody Blues got to this concept first. The live concert recording---the only live Moodies release featuring original keyboardist Mike Pinder---is excellent, with the Moodies giving some of the tunes a refreshing, rough-and-tough live treatment. I will admit that the sound quality isn't the best...but anybody who was around in 1969 can agree that most all live recordings from this era sound about the same. If you're a long time Moodies fan and never got to see them live....and if you never grabbed the vinyl version when first released in 1977...this would be a bargain for you....and a nice addition to your collection.

'Keys To Ascension' was the much vaunted return to prog for Yes. Unlike similar publicity surrounding Genesis' travesty 'Calling All Stations', this was generally the truth. The band were arguably wise in some respects to release the new material on two separate live albums of this title, as a live album with the old Yes material was a guaranteed seller at the time- a new album certainly wasn't, as the relative failure of 'Talk' proved. It is a joy to hear the old Yes songs played by Yes once more. Whilst ABWH had arguably set the wheels in motion with their self titled album, there was a big Chris Squire sized gap in proceedings. This was particularly evident with the concerts, where a succession of bassists tried but failed to reproduce his distinct bass sound. After the 'Union' debacle, the band got back to prog basics (if that's not a contradiction in terms!), and reconvened the Anderson/Wakeman/Howe/Squire/White line-up for the first time in nearly 20 years.

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FBO Entertainment wrote: Winner of the best animated property, Bernard follows the comical adventures of a hairless CGI polar bear who leaves his frigid homeland behind and travels the world trying to better understand how the other half lives. Bernard’s travels take him to the four corners of the globe and with every adventure, or should I say, mis-adventure, he leaves the audience howling with laughter. Bernard is a great physical comedy with no dialogue, just one laugh after another. Combined with the colourful characters and superb CG animation, Bernard is a hit with family audiences!Shorts cover a wide range of subjects including extreme sports, travel, science, and more.

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On this album, not only does Stewart's voice — distinctive, wispy sort of willow that it is — sound like it hasn't aged a minute despite the decades which have since passed. He's also picked up that whole literary thing right where he left it on those great seventies albums like Past Present And Future and Modern Times. In an odd sort of way, it's almost like reconnecting with an old friend. On this album, Stewart practically recounts the history of the world in a way that would make Mel Brooks proud — from the pre Christian calendar journey to the world's edge of "Hanno The Navigator" to the King's own religious experience in "Elvis at The Wheel." Talk about your Time Passages. On Sparks Of Ancient Light, Al Stewart is back in peak historical, literate, and most importantly, lyrical form.

1977's Enigmatic Ocean was indeed a tough act to follow, given the improvisational and sonic brilliance of one Allan Holdsworth on guitar. So, instead of trying to replicate that disc, Ponty wisely leaned more in a rockier/funky direction for Cosmic Messenger, knowing that NOBODY could match Holdsworth's unique contributions or even get close. What results is a collection of songs that retain a lot of the characteristics of Ponty's earlier efforts but a bit leaner and meaner sounding.

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In October 1969 violinist Jean-Luc Ponty recorded a notable live set with keyboardist George Duke, bassist John Heard and drummer Dick Berk that gained him a lot of exposure in the U.S. He had actually played at Donte's in Los Angeles with Duke (on acoustic piano), Heard and drummer Al Cecchi the previous March. Four of the songs came out on a 1981 LP. This CD reissues that program and then doubles it with four more songs from the same engagement. This is a release that is particularly recommended to listeners who are not interested in Ponty's many fusion projects for his playing here is relatively straightahead and sounds influenced by the work of the mid-1960's Miles Davis Quintet, and not just because he performs Ron Carter's "Eighty-One." Also of great interest are the solos of Duke, who would eventually become a funk keyboardist and then a pop producer. In this context he sounds like a mixture of McCoy Tyner and Herbie Hancock. --Scott Yanow, All Music Guide

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The innovative violinist Jean-Luc Ponty was making a strong impression in the United States in 1969, a year in which he made four notable American recordings that solidified his reputation a few years before he formed his own fusion band. For this little-known effort, Ponty is joined by a big band arranged by Gerald Wilson and including pianist George Duke (an important early collaborator), altoist Bud Shank, flutist Tony Ortega and guitarist Wilbert Longmire. Highlights include "Summit Soul," Ponty's "Hypomode Del Sol" (which sticks effectively to one chord) and Ron Carter's "Eighty-One." --Scott Yanow, All Music Guide

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The tragedy of many of today's rock bands is a tendency to believe their songs are oh-so-profound and deep as hell, overemoting the lyrics about how misunderstood they are with enough angst to trample an elephant...all with apparent obliviousness to how appallingly shallow their material really is. One of the things that appeals to me about Roxy Music is that they almost seemed to work in reverse. With many of their songs, the ones you pair up with pictures of Elvis-Ferry, bug-goggled Manzanera, and drag queen-Eno, it seems like they wanted above all to push this image of a fun, outrageous glam band building their ivory pedestals to fashion, romance, and the jet-set ideal, all with whatever quantity of catchy, simple rock hooks they could cram along the way. But beneath that extroverted, if not wholeheartedly shallow surface, within Ferry's words and vocal performance, there lay a profound ocean of human feeling, with emotions like emptiness, insecurity, and self-doubt paving the water bed. Stranded was one of the hardest of their early albums for me to get into, but out of all of them, it's provided the biggest pay-off in the long run. I still play it regularly and enjoy it each and every time, after all these many years. One of the peaks in a classic run of albums.

In 1975, Roxy Music released their fifth album, Siren, and it was both a triumph and a departure for the English glam/art rockers. On the prior Stranded and Country Life, Roxy had attained the perfect blend of their artier explorations and glam rock leanings. Siren, however finds a band now content to be less daring, yet more unified and polished in its sound. With suave front man Bryan Ferry now firmly ensconced in his white dinner jacket, bowtie and “seen it all” playboy image, the group was arguably more quintessentially “Roxy” than ever before.

The ethereal, otherworldly atmosphere that permeates Avalon makes for a lovely and striking pop album. Here, Bryan Ferry has hit upon the inextricable link between love and tragedy, delivering his words of love as a spirit fading in and out of our world, flotsam on the ectoplasmic ebb and flow of music. It’s a different album than anything Roxy Music or Ferry had yet made, inviting comparison as much to Brian Eno’s languid Another Green World as the wilting romance of Flesh + Blood. The difference may be that Mackay and Manzanera are fully engaged here; the perfectly placed guitar parts and spectral keyboards are equal partners in the ultimate outcome, defining Avalon as much as Ferry’s voice.

Continuing his journey back to Guitarville, Bill Nelson just about hits the mark with this one. There's the usual self-penned liner notes about these being 'whimsically fragile flowers' or whatever, but it wouldn't be the full Nelsonian experience without that. The material is robustly Nelson, lots of chiming guitar, insistent beats, and lyrics reflecting on Bill's current interest.... I think it was Gnosticism at the time. Not as melodically inspired as 'Luminous' or the breathtaking 'Chimera', it nonetheless is vastly superior to the stuff produced by his contemporaries (if indeed they are still producing stuff), and vital and fresh compared to the work of much younger artists.

Chimera is further proof of the genius of Bill Nelson. I remember hearing this back in 1983 and just being blown away yet again at the man's talent. Originally planned as a mere stopgap release between albums, Chimera turned out to be a welcome showcase for Bill Nelson at his peak, commercially and creatively. Following the triumph of his 1982 album The Love That Whirls, the British guitarist built Chimera in the same vein, setting his romantic and erotic poetry to the sort of synthesized settings favored by his younger pop peers. However, where much of Nelson's previous output had been a virtual one-man show, the six songs here benefit from his new desire to collaborate, most notably with Yellow Magic Orchestra drummer Yukihiro Takahashi (whose band Nelson had produced).