Porcupine Tree The Nostalgia Factory Rar Extractor

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Subtitled.And Other Tips For Amateur Golfers About 300 copies made. Originals can be distinguished from bootleg copies by the original delerium stamp and signature on each copy. Issued with 8-page A5-sized booklet, with mostly imaginary credits. The whole shebang was conducted and produced by JC Camillioni at No Man's Land on 16 track and at Periscope Station on 8 track. Some of the music is taken from unproduced 4 track demos which were retouched at No Man's Land. Engineer for the sessions was Sebastian Tweetle-Blampton III. The Nostalgia Factory was recorded between summer 89 – winter 91.

Most of these tracks appeared either on the album 'On the Sunday of Life.' Or the limited edition CD 'Yellow Hedgerow Dreamscape'. 'Colours Dance Angels Kiss' and 'Hokey Cokey' were later retitled 'Track 11' and 'Execution of the Will of the Marquis de Sade' respectively. 'The Nostalgia Factory' is an earlier version to that on 'On the Sunday of Life.' And 'Queen Quotes Crowley' and 'This Long Silence' are both about a minute longer than the versions later released on CD.

An edit of the track 'Sinatra Rape Scene' appears on 'Up the Downstair' as 'Monuments Burn into Moments'.

NATIONAL HEALTH was one of the last of the great “Canterbury-style” progressive rock bands. This band performed the same shiny Canterbury Progressive with a touch of jazz-rock, following HATFIELD AND THE NORTH’s philosophy, with complex keyboards parts, the saturated guitar of Phil MILLER. Their first eponymous opus is one of the most important albums of the Canterbury scene, containing a unique mixture of rock, jazz and classical music. This is a great find for Canterbury fans and a rare treat in the spirit of the likes of GENTLE GIANT, SPOCK’S BEARD and ECHOLYN. Well the recording is weak, but this album as a debut within the important 70’s fusion progressive scene in the UK, regarding of the early school of Canterbury,was the introduction of a new shining star. After them, bands such as the excellent HATFIELD & THE NORTH or the raw but interesting ensemble of MATCHING MOLE, established the direction within the school of Canterbury!! I bet more than one expecting fans got surprised by this release, promised for two years and never getting close to studios and shop.

Indeed quite a lot of water went under the bridge from the formation of NH in late 75 as a sextet. With Bruford now gone and Campbell discouraged, both replaced, the two Gilgamesh members Gowan and Lee were also history, although the former is a guest on all tracks. Among the other guest are the frequent blows of Brother Jimmy Hastings, the percussions of John Mitchell and the vocals of ex-Northette Amanda Parsons. The latter is unfortunately the main flaw of this album (IMHO), because I find her voice particularly irksome especially in the aerial wordless scats that abound in the album.

Coming with a typical semi-humoristic late 70’s-type of artwork depicting UK healthcare problems, the album holds four tracks over 10 mins+, even if Borogroves is divided in two movements, thus making indeed a fifth one. Opening o the promising Tenemos Road, the group’s musical world clearly takes from where Hatfield (and Gilgamesh to a lesser extent) had left things off and everything is quite excellent until Parsons’ voice enters for thankfully-short interventions, but the track jumps hurdles effortlessly and gets back to typical Canterbury soundscapes. The following Brujos starts poorly at first (IMHO) and very slowly, Hastings’ delightful flute trading licks with Parsons’ almost Chinese-timbred voice, the track slowly gaining momentum until reaching an excellent funk groove where the two keyboards feud with the then-ala mode synth tones that haven’t aged that well, until Stewart returns to the fuzzed-out Hammond then Miller’s surprisingly (and short) heroic intervention. Then slowing down and returning on Parsons scats and a short rebuff to end the first side. The flipside starts on the first part of Borogroves, which is part of the original second movement, while the second part was originally the first part? You following me?? Doesn’t matter I’m not either;o))), the first (or second, depending) movement is mostly an excuse for an excellent bass movement from Neil Murray where the rest of the band can show their chops.

The closing monster track Elephants has some incredibly intense moments, but in general it follows the colour of the rest of the album, first with an ascending riff, then a funky groove and then a haunting piano riff that allows the group to strut their stuff without showing off, before Parsons returning with sung but unintelligible (and irritable) vocals. Elephants is a Gowan piece that he would eventually take with him in Soft Heap While it was rather clear that this kind of ultra-technical jazz-rock’s heydays were long past, NH’s debut is still very much an excellent example of the genre, despite the irritating Par(kin)sons vocal effects. Definitely not a flawless albums and certainly no better than the two Hatfield albums despite increased individual virtuoso qualities, NH’s debut is the first album of Canterbury’s last legendary group (at least of the 70’s). By Sean Trane.

Not a Masterpiece, but definitively essential work!! I guess if your pleasure is strictly Jazz look elsewhere. These guys played Progressive-Rock with Jazz “oriented” melodies, and have all the complex signatures of the finest Canterbury Bands of all times! I find very difficult to classify their style, since they do not strictly speaking stay on one signature for much time, in each cut. Now, I agree Parsons singing melodies and harmonies sound irritating in the beginning, but IMHO and to my ears this tend to grow on you and actually after few spins you start sensing that they interplay pretty good with the music (anyways they are not to much) Intricate, complex, fun and mostly Instrumentalall these describes NH music!Soul? Well, that is open to a more broad discussion and interpretationNot much improv here, but not to tight either, abundant time changes with a very sophisticated use of interplay between band members. Fantastic work and effort!!

One of my fav bands and ESSENTIAL; then again is just my opinion.by Prognut. More is less: Hatfield and the North was an ideal mixture of musicianship, composition, songwriting and a dose of humour. When the project stoped National Health could have been the follow upbut it wasn’t.

Hatfield was a group, National Health is (mainly) a vehicle for Dave Stewart’s compositions.Now, Dave Stewaert is a great composer, but not a great songwriter. On this record there are some very beautiful and delicate pieces of music,(‘Tenemos Roads’ and 'Borogoves’ include my favourite) enough to make tons of good songs, but Dave Stewart puts a hundred ideas in one 'Song’ and spoils it.There is not enough room to breeze, a claustrophobic record.

It is a frustrating record too: Every time I listen to it I get struck by the beauty and in the next moment I get drowned by too much complexity. One of these days I am going to sample my favourite passages and create my own favourite National Health record by Alucard. National Health were something of a Canterbury supergroup that came together at a very dark time for progressive music. Curiously, their music is some of the finest, most hard-hitting and entrancing that the Canterbury scene produced. Perhaps its that air of desperation and, well, abject poverty that inspired them. The original conception of the band had two guitarists, two keyboardists and three female vocalists.

By the time they had made their first album, second guitarist Phil Lee and second keyboardist Alan Gowen had jumped ship, and only Amanda Parsons remained from the vocal trio. Gowen, at least, has an extended guest-role on the album, providing some of their sound with the original musical meat. He largely plays Fender-Rhodes and Moog, acting as a foil to the incomparable Dave Stewart and his Hammond and acoustic piano. The sound, while obviously building on previous developments in Hatfield and the North, also offers something new.

The band were attempting a curious blend of 20th Century classical compositional techiques (inspired by Stravinsky and the like), applying them to jazz-rock structures and arriving at a most vital mix that approaches “third stream jazz”, albeit minus the orchestrations. There is the tendency to get a bit longwinded at times, but for the most part this is quite fantastic stuff. High point is “Tenemos Roads”, which features an enormously propulsive momentum. Stewart’s great “fuzz organ” moment occurs in “Borogoves (Part 1)”. Some of the band’s trickiest time changes crop up in the lengthy “Elephants”, which also features a rather disturbing distorto-electric-piano intro from Gowen.

This album is a slow grower, not one that the listener will immediately fall in love with, but is definitely worthwhile to the serious Canterbury fan. Definitely a worthwhile addition to the comprehensive prog-rock collectionby Progbear. NATIONAL HEALTH was initially the offspring of two bands, namely HATFIELD AND THE NORTH and GILGAMESH.The exception was Bill Bruford on drums. It’s hard to believe but they had a difficult time getting a label to record them, and as time went by Bill Bruford, Phil Lee and Mont Campbell went on to other things. Chris brown holding back your love mp3 download. Campbell was replaced on bass by Neil Murray who was GILGAMESH’s original bass player,and Pip Pyle from HATFIELD AND THE NORTH replaced Bruford.

Lee was not replaced as the original lineup featured two lead guitarists, Phil Miller being the other. Confused yet? Fortunately they have released a record called “Missing Pieces” that features recordings from the original lineup.This debut record is such a treat though with two legendary keyboard men playing on it in Gowen and Stewart. The first track “Tenemos Roads” is by far my favourite and worth the purchase of this album alone. I could play this one over and over again and never tire of it.

This is a Stewart composition at almost 15 minutes in length. Hastings and Stewart lead things off with a brief intro before crisp drums, organ, bass and clarinet create a beautiful soundscape. Check out the organ before 3 minutes! Amanda starts to sing before 6 minutes with percussion and a calm to follow. It gets heavier after 8 minutes as some angular guitar comes in as the vocal melodies continue. It then becomes quite pastoral with flute. A full sound returns after 12 ½ minutes.

Nice heavy ending. “Brujo” is a Gowen composition. It opens with lighter sounds and Amanda’s vocal melodies. Flute and percussion follow. The song picks up as bass and drums join in. It gets quite jazzy sounding as the piano becomes prominant.

The flute returns followed by an acoustic piano solo. The vocal melodies return 8 ½ minutes in as the bass becomes prominant.

“Borogoves(Exerts From Part Two)” opens with flute and liquid sounding keys. Bass is good. Excellent guitar / drum melody 2 ½ minutes in where Miller just plays on and on to the end of the song.

“Borogoves(Part One)” opens with some fuzz organ from Stewart as Gowen counters with piano. Guitar sounds great as it comes in followed by vocal melodies. Clarinet followed by some impressive piano melodies. The song becomes very catchy 5 minutes in. “Elephants” is the almost 15 minute closer that Stewart and Gowen composed together.

It really does sound like they are trying to make the sound of an elephant in the intro. The guitar and drums after 2 minutes are great, especially the guitar that goes on and on for almost 2 minutes. A jazzy ZAO flavour follows.

Vocal melodies arrive 8 minutes in. Some excellent organ before a pastoral passage after 10 minutes takes us to the end of the song. Perhaps too long of an ending.

I prefer their next one a more, but they are both incredible and are must-haves.by Mellotron Storm This review is not intended to be a lengthy ramble, rather a straight-to-the-point, matter-of-fact statement; National Health put out 3 fantastic albums during their life-time, all worth checking out. The music is constructed in a very complex fashion, but also includes many humourous quirks, which, whilst the pieces here may generally be 'difficult’ for the average listener to penetrate, adds a degree of light-heartedness which shows that the musicians were having a great time playing/recording this stuff. Dave Stewart is 'No.1’ when it comes to Prog Keyboardists (his contorted Fuzz-Organ solos stupendously marvellous, and literally a 'buzz’!), Alan Gowen’s (always) tasteful Mini-Moog solos, Pip Pyle’s effervescent Drumming, Phil Miller’s totally unique and distinctive style of guitaring, Neil Murray’s incredible Fretless Bass playing (yes, an amazingly versatile Bass-player of incredible talent, later playing for various 'Metal’ bands - Whitesnake and Black Sabbath etc.) and the wistful vocals of the lovely Amanda Parsons (whom Neil Murray shared a flat with for several years at the time).

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Various guests appear; Jimmy Hastings - famous Canterburian Flute/Sax player providing a priceless contribution to the compositions, and percussionist John Mitchell to add some interesting dynamics to the entire affair. This is one amazing album that sounds stunningly 'fresh’, even when compared to modern day’s standards. Line-up / Musicians - Phil Miller / guitars - Dave Stewart / acoustic & electric pianos, organ, clavinet (3,4) - Neil Murray / bass - Pip Pyle / drums, gong, tambourine, glockenspiel (2,5), finger cymbals, shaker, bells, pixiphone (5) With: - Amanda Parsons / vocals - Alan Gowen / Moog, acoustic & electric pianos - Jimmy Hastings / flute, bass clarinet (1), clarinet (3,4) - John Mitchell / percussion (1), temple blocks, guava (2), congas (3,4) - Nick Levitt / Effects with EMS Synthi Hi-fli (5) Songs / Tracks Listing 1. Tenemos Roads (14:32) 2. Brujo (10:13) 3.

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Porcupine Tree The Nostalgia Factory Rar Extractor Download

Borogoves (Excerpt From Part Two) (4:12) 4. Borogoves (Part One) (6:29) 5. Elephants (14:32).