Lee Abraham's latest album - modern British Progressive rock with many luminaries from the progressive scene. Lee Abraham is a British bass player and multi instrumentalist. Was the bass player for Galahad from 2005 to 2009…

Sie heißen weder Eddie Van Halen, noch Prince oder Phil Collins. Nichts, was sie in Vinyl pressen, wird von irgendeinem Media-Giganten gepusht und anschließend gierig Von den Massen aufgesogen. Aber sie haben Qualität und Biß. RESCUE ist eine Band, die hart arbeitet, die schwitzt, die lebt. RESCUE ist ein von fünf exzellenten Musikern geschnürtes Kraftpaket Rockmusik. Abend für Abend ist sich ieder einzelne "Befreier" klar, dort draußen auf der Bühne muß ich alles geben, um unsere Musik in die Herzen und Köpfe des Publikums zu spielen. Und das zahlt sich aus! Das 1991 beim Verlag Rockwerk Edition erschienene Debut-Album RESCUE zeugt von einem hohen Standard.

Progressive rock band Ad Astra returns with Surface of Last Scattering. Led by Doug Bowers (music), and Christopher Flynn (lyrics) the material is classic Ad Astra, with all the dreamy, melodic and cinematic elements that fans around the globe have learned to love over the years. However, this incarnation of the band mixes it up with adding elements of physics, stellar cartography and church liturgy that place this album somewhere in between the late 60's proto prog and the new generation of art rock…

For almost anyone who's interested enough in the First Class to own a record by them, this 21-track compilation should be enough. Summer Sound Sensations has songs from both of their albums, as well as some non-LP singles, no less than five cuts from their unreleased third album, and a previously unissued 1985 outtake, "Silver Surfer." The big 1974 hit "Beach Baby" is here, of course, and much of the rest of the material also sounds rather like a middle-of-the-road spin on the Beach Boys, with a bit of bubblegum pop and singer/songwriter fare thrown into the mix. There's also a peculiarly nostalgic cast to many of the songs, sometimes quite self-consciously looking back to better and more innocent times.

Although volume four of RPM's Dream Babes series of 1960s British girl group sides gets further into obscure flops than its predecessors, there's barely any drop in the quality, which remains good, though hardly great. And as with most of the rest of the songs on this series, the production's better than the singers or the material. That's not to say there aren't some pretty good cuts on this 22-song anthology, some of them explicitly derivative of the American girl group sound (like the Chantelles' cracking "I Want That Boy," a cover of an obscure U.S. single by Sadina), others taking a pop-soul approach, others mixing in some British beat music.

The third installment of this series devoted to British '60s girl group-like sounds is, like the genre itself, not a match for the best American girl group music. But like its predecessors, it's a fairly good compilation, if more notable for inventive orchestral pop production than for the talents of the singers. Julie Driscoll, represented by the early single "I Know You Love Me Not" (which sounds a little like an experimental Dusty Springfield), is the only fairly well-known name on this 22-track disc, though Twinkle had some success in Britain, and Glenda Collins and Samantha Jones have their enthusiasts.

Charlie Parker - Intégrale Charlie Parker, Vol. 2, "Now's The Time", 1945-1946 (2011) {3CD Set Frémeaux & Associés FA1332}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 829 Mb | MP3 @320 -> 491 Mb
Full Artwork @ 600 dpi (jpg) -> 295 Mb | 5% repair rar
© 1945-46, 2011 Frémeaux & Associés | FA 1332
Jazz / BeBop / Bop / Saxophone

The Frémeaux label have done an admirable job of compiling the complete chronological recordings of major artists such as Django Reinhardt, Louis Armstrong and Mahalia Jackson. Now they turn their attention to Charlie Parker. This three CD set covers an exciting period when Parker and fellow bebop pioneer Dizzy Gillespie were shaking up the jazz world, not just at gigs but with widely distributed 78s. Most of the tracks, recorded in New York and Los Angeles, feature both men, in the studio and on radio broadcasts. A young Miles Davis also makes an appearance.