segunda-feira, 6 de julho de 2015
É muito bom descobrir um som novo. Entre tantas coisas que aparecem para escutarmos, às vezes, um som nos chama atenção. E é este o caso do Anjo Gabriel... Uma guitarra distortion, um teclado afinadíssimo, com bateras e baixo mais pesados. Uma sonzeira boa demais...
"Anjo Gabriel é Psicodélico e Progressivo. Com ecos da cena udigrudi dos anos 60 e 70”. Para complementar a equação adicione o Kraut Rock alemão produzido nos anos 70 e todo ácido que é possível diluir em sons incrivelmente caóticos, que se entrecruzam e soam como aglomerados de galáxias agonizantes perdidas em corredores extremamente fluidos do tempo e espaço, proporcionando assim uma intensa viagem ao surrealismo Rock’n’Roll.
A formação atual conta com CH Malves (Bateria), André Sette (Teclados, Theremin, Flauta e Voz), Cristiano Ras (Guitarra e Voz) e Marco da Lata (Baixo e Voz).
Banda instrumental recifense formada em 2005, que faz parte de uma tendência de grupos contemporâneos que cultuam o neopsicodelismo ou neo-hippismo. As influências da banda vão de Devendra Banhart à psicodelia do udigrudi pernambucano dos anos 1970, principalmente o som do disco Paêbiru – O Caminho da Montanha do Sol (1975), de Lula Côrtes e Zé Ramalho. Com dois LPs lançados e relativo pouco tempo de carreira, a banda já se apresentou em várias partes do Brasil e em alguns dos principais festivais do País, como Abril Pro Rock (PE) e Psicodália (SC).
André Sette (sintetizadores, theremin, harmônium e voz), Cris Rás (guitarra e voz), Marco da Lata (baixo e voz) e CH Malves (bateria, percussão e voz)
Vale a pena dar uma conferida...
O Culto Secreto do Anjo Gabriel (2011)
Lucifer Rising (2013)
... O trabalho é uma trilha alternativa para o filme homônimo do cineasta norte-americano Kenneth Anger, película essa que contou com a participação ativa de Jimmy Page (como você sabe, a cabeça do Led Zeppelin) na produção executiva e também na composição de sua trilha sonora original. Porém, devido a desentendimentos entre Page e Anger, o guitarrista inglês abandonou o projeto e manteve as músicas que havia composto inéditas por décadas, lançando-as apenas em 2012 em um LP vendido somente através de seu site oficial. O que o Anjo Gabriel faz no seu segundo disco é imaginar uma nova trilha para o filme de Kenneth Anger, em um caminho sonoro que não tem nada a ver com o proposto por Page. A ideia para o projeto surgiu em 2010, na mostra Play the Movie, realizada durante o festival No Ar Coquetel Molotov, em Recife, onde as bandas eram convidadas a imaginar uma trilha sonora para determinados filmes. O resultado ficou tão bom que a banda resolveu fazer desta experiência o seu segundo disco. Lucifer Rising é um álbum curto, com duração de pouco mais de 30 minutos. São duas suítes instrumentais, cada uma em um dos lados do vinil. O lado A conta com uma composição de mais de 18 minutos e que apresenta elementos do rock progressivo e jazz fusion mesclados ao hard lisérgico característico do Anjo Gabriel. Já o lado B traz uma faixa com 12 minutos de duração e que mostra o lado mais pesado da banda, tendo a guitarra de Cristiano Ras em primeiro plano.
sábado, 4 de julho de 2015
Confesso que descobri há muito pouco tempo. Um som bem legal, meio Prog, meio Rock anos setenta, com muita batucadapercussão. Sem dúvida, um grande talento, que fez opções mais alternativas para sua carreira musical....
Nascido na cidade de São Paulo…Mario Garcia é um artista que ganhou um lugar no nordeste da Argentina, onde hoje tem um grupo de Jazz e um Trio Elétrico chamado Tamanduá Maluco. No Brasil ele trabalhou com artistas tais como Antonio Carlos & Jocafi (criadores do tema “Você Abusou”), Paulino Boca Cantor, Silvio Brito, Malcolm Roberts (compositor) e gravou um álbum produzido por Ivan Lins e Victor Martins. Viveu em Madrid (Espanha), onde, entre outros, tocou com Alex Acuña (Weather Report percussionista), foi músico da banda de Paco de Lucia e atuou em várias casas noturnas tocando jazz, bossa nova e outros ritmos afro-brasileiros.
" In the early 80s Argentine and Brazil were still developing further their progressive scene while progressively the Latin American countries were taken over one by one by tirranies that rejected all creative explorations. Elsewhere the growing street jungle freedom ruling economy only kept alive sporadically certain ideas of progression by less and less private efforts of labels. But also the big scenes had musical influences from anywhere. Mario Garcia was especially fascinated how Afro-influences had been incorporated into carnival music in the opposites of the popular Brazil scene, in Uruguay, in the candomble style to be more specific. Together with 4 Uruguayan percussionists who had been exiled by the military dictatorship in their country, they recorded a progressive rock album that had as much electric and acoustic guitars as percussive ideas leading the progressive changes. Obviously his guitar work and singing (improvising without words at times) is influenced by jazz and jazz-rock, the combinations with the rhythmic foundations lead as much to Santana-like elements, while the song parts have reminiscences towards certain Argentine rock albums (also rooted in jazz and rock). Where the first side shows this open song structured side especially, side B gets wilder and is with more jammed nature, even when entirely structured by the rhythmical ideas. And we also hear sax solos on top. One of the African elements is of course the use of the one-stringed berimbau. Mario Garcia continued the same exploration musical interests during his life. In Brazil he had worked mostly as a guitarist and producer with many artists. In Madrid where he came in touch with Weather Report man Alex Acuña and became part of Paco de Lucia's band, exploring further the meeting points between jazz, bossa nova and Afro-Brazilian music. Today Mario Garcio leads an Argentine band, the jazz-rock band Tamanduá Maluco. This band was led by Mario Garcia on guitars, with the 4 Uruguayan artists Jorge Peña on percussion, Santana on violin and percussion, José Luis "Tristón" on drums and percussion and José luis Carrasco on bongos. As a fifth (!) percussionist we have Junior on drums (ex-"Patrulha do espaço"). Further we have Arthur "El Gordo" on bass, Yrupê (?) and sax and also Serginho on bass."
Gravado num estúdio com pouca estrutura, pouco dinheiro, e muitos amigos… Assim foi a gravação de Sr Cisne produzido por Mario Garcia em 1982, na época fascinado por todas as influências negras na música da América Latina. Neste disco foram gravados muitos candombes…um ritmo negro de Montevideo no Uruguai muito tocado nos carnavais onde se usa intrumentos como os tambores “Piano”, “Chico” e “Repique” um bem grave, um médio e um agudo…como no Candomblé temos “Run”, “Pi” e “Lé”… Feito sem nenhuma intenção comercial…era um momento de crescer e fusionar ritmos e foi um momento magico…muita coisa nasceu dentro do estúdio.
Jorge Peña - Percussão...
Santana - Violão e Percussão....
José Luis "Tristón" -Bateria e Percussão
José luis Carrasco - Bongos
Arthur "El Gordo" - Baixo, Yrupê e Sax (Fundador do grupo raça negra.)
Junior - Bateria (Ex "Patrulha do espaço")
Serginho - Baixo
Mario Garcia - Guitarras e Cavaquinho
Mário Garcia teve uma fase metal no final dos 80, deixando registrado um disco relativamente raro. Junto com seu irmão Waly Garcia (teclados e pedal de baixo), e o baterista Ricardo Confessori, criaram um estilo bem único de metal com teclados muito dominantes, porém muito rápidos e poderosos. A versão em Cd parece só ter saído na Argentina pelo título "Y Ahora" com uma música extra. O baterista Ricardo Confessori se juntou mais tarde ao ANGRA e SHAMAN, tendo iniciado uma grande carreira internacional.
Hoje, Mário Garcia lidera uma banda de Jazz Bossa Rock na Argentina (Corrientes), chamada Tamanduá Maluco...
quinta-feira, 2 de julho de 2015
Um dos principais discos do ELP foi relançado neste ano, em uma edição de luxo, remixado pela novíssima técnica "5.1 MIX", e com uma versão inédita de "From The Beginning". O discaço Trilogy, terceiro álbum do ELP,foi expandido em dois CD's e um audio DVD.
Este é mais um presentaço do Brother Peter, que incansavelmente envia pérolas maravilhosas para o Valvulado. Obrigado mais uma vez;
"Bom dia, meu amigo....
Neste finalzinho de feriado prolongado, encontrei esta re-edição de 2015,
ELP - Trilogy ....álbum duplo recém lançado...
o disco 2 apresenta takes inéditos das músicas que compõem este álbum...
Simplesmente momentos MÁGICOS.....eternizados agora no cyber-space....
From the Beginning do disco 2 apresenta um baixo mais pulsante em maior evidência e o solo do moog é totalmente diferente....
Este álbum, vc sabe tem um valor sentimental MUITO ESPECIAL para mim....com orgulho, posso dizer que FROM THE BEGINNING foi lá em 1972 o meu "tema de amor" ...... um inesquecível amor que vivi...
Obra de arte!!!
Peter Hammill - SP"
Com uma apresentação destas, tenho que postar e ouvir novamente!
Disc 1 - CD: Original Trilogy
1. The Endless Enigma (Part One)
2. Fugue 3. The Endless Enigma (Part Two)
4. From The Beginning
5. The Sheriff 6. Hoedown
8. Living Sin
9. Abaddon’s Bolero
Disc 2 – CD: New Stereo Trilogy
1. From The Beginning [Alternate Version]
2. The Endless Enigma (Part One) [New Stereo Mix]
3. Fugue [New Stereo Mix]
4. The Endless Enigma (Part Two) [New Stereo Mix]
5. From The Beginning [New Stereo Mix]
6. The Sheriff [New Stereo Mix]
7. Hoedown [New Stereo Mix]
8. Trilogy [New Stereo Mix]
9. Living Sin [New Stereo Mix]
10. Abaddon’s Bolero [New Stereo Mix]
PETER, MUITO OBRIGADO!
terça-feira, 30 de junho de 2015
Uma grande coletânea, principalmente da década de 70, que mostra a música Soul no Brasil.
"With North America busy sweating under disco lights, the Brazilian underground scene was berthing a funk and samba baby that wasn't quite as cheesy. Evolving from the late sixties classic Soul Brasileiro, Black Rio borrowed from American soul, while incorporating jamming jazz grooves that allowed any musician to sit in. Besides being a breezy, feel good dance music, it was also a strong black power statement in a time of repressive dictatorial rule, which exploded into a DJ party scene. Compiled by DJ Cliffy, this set features stellar highlights from Jorge Ben, Gerson King Combo and Eklipse Soul. There's also a bizarre jazz guitar and sax take on "Rapper's Delight" with an intro swiped from "Shaft." You can't have everything. ... "
Black Rio - Brazil Soul Power 1971-1980 (2002)
Black Rio 2 - Original Samba Soul 1971-1980 (2009)
domingo, 28 de junho de 2015
Phat Phunktion, a group of University of Wisconsin-Madison music students formed in 1996, have built a loyal following of listeners throughout the United States and around the world. A nine-piece tour de force that combines the polish of top 40 with the smooth feeling of 60’s soul and the raw groove of 70’s funk, Phat Phunktion is today one of the most talked about bands in the Midwest. Their self-produced CDs have sold in the thousands, and their live shows sell-out virtually everywhere they perform. In their hometown of Madison, WI, they have been known to attract crowds of upwards of 5,000 people. In 2003, Rolling Stone Magazine singled out Phat Phunktion as a “band on the rise.” During the same year, they won a Wisconsin Area Music Industry Award, or WAMI, for “Best R&B Band.” In May 2003, a panel of Billboard Magazine judges selected the band as one of six acts to perform at the Disc Makers’ Independent Music World Series, Midwest regional final, where they funked up the Elbo Room in Chicago. Of the six finalists, Phat Phunktion and Chicago’s Orbert Davis took top honors. The band has appeared numerous times at the Madison Blues Festival, Milwaukee’s Summerfest, and the House of Blues in Chicago, with television and radio appearances, including “The Jenny Jones Show” and Michael Feldman’s “Whad’ya Know?”
In 2004, Ben and Leo Sidran’s Nardis/Liquid 8 label picked up the band, and their 3rd, self-produced CD, You and Me, was released for international distribution. Since then, You and Me has received substantial interest at home and abroad. In America, nearly 10,000 CDs have been sold to a devoted fan base via word-of-mouth and Internet sales. In Japan, large sales spurred a re-release of the disc on the Japanese label, Groovetime Records. In Europe, the record was played on radio stations throughout Italy and Spain. In July/August 2004, JazzTimes reviewed You and Me, saying:
“Phat Phunktion has a horn-driven sound that draws inspiration from ‘70s funk, and on ‘You and Me’, the band’s first release on a national label, producers Tim Whalen and Al Falaschi demonstrate a talent for crafting strong, danceable tracks…. Musically, the album is first rate.”
In 2005, You and Me received the Madison Area Music Award, or MAMA, for “R&B Album of the Year.”
Tim Whalen : keyboards & vocals
Al Falaschi : saxophone & vocals
Courtney Larsen : trombone & vocals
Jon Schipper : trumpet
Jim Doherty : trumpet
Vincent Jesse : guitar
Nick Moran : bass
Darvonte "Turbo" Murray : drums
Pauli Ryan : percussion
sexta-feira, 26 de junho de 2015
Barock Project biography
The BAROCK PROJECT idea generates from a desire to deliver the finest and perfect structure of classical music (mainly baroque music) with a rock-style and a little bit of jazz harmony, supported by a pop framework with the intention to revamp the appeal of '70s progressive-rock. The project founder, pianist and composer Luca Zabbini, states that his passion for the music of famous keyboardist Keith Emerson (ELP), has fuelled his desire to compose and play a full range of styles, from classical to rock and jazz. In the summer of 2004, Giambattista "GB" Giorgi, a young bassist influenced by rock sounds with big passion for jazz, and drummer Giacomo Calabria joined the band. After a long European tour with "Children of the Damned" and Iron Maiden's singer Paul Di'Anno, Luca Pancaldi joins the band as lead vocals in 2002. In January 2007 the band performs live in Bologna (Italy) with a string quartet. All arrangements are written by Luca Zabbini and they release the performance as a DVD called "Rock in Theater".
In December 2007, published by Musea Records, the first album "Misteriose Voci" makes a great impact with very good reviews and media coverage from all over the world ("Passion Progressive" France ; "Progressive World.net" USA ; "ProgNosis" USA ; "MovimentiProg" Italy ; "Raw and Wild Magazine" Italy ; "Manticornio" Mexico ; "Prog Nose" Belgium ; "PRPM" Brazil ; "ProgWereld" Netherlands .) In the summer 2009 the band releases the second album "Rebus" with the Italian label Mellow Records, again with very good reviews from all over the world. In March 2012, published by French label Musea Records, the band releases the third album "Coffee In Neukölln", with all lyrics in English. In the summer 2014 the band welcomes on board two new members, Eric Ombelli (drums) and Marco Mazzuoccolo (guitar) and begins recording sessions for their 4th and most complex album. Towards the end of 2014 bass player Giambattista Giorgi leaves the project leaving Luca Zabbini to play and re-record the bass lines on the forthcoming album. January 2015, Barock Project sign a management contract with Stars of Italy and immediately after announce their 4th album, Skyline.
01.Gold - 08:39
02.Overture - 03:39
03.Skyline - 10:20
04.Roadkill - 05:58
05.The silence of our wake - 10:47
06.The sound of dreams - 02:22
07.Spinning away - 06:05
08.Tired - 09:57
09.A winter's night - 04:37
10.The longest sigh - 07:52
Luca Zabbini – Keyboards, bass and backing vocals
Luca Pancaldi – Vocals
Eric Ombelli – Drums
Marco Mazzuoccolo – Guitars
Vittorio De Scalzi (New Trolls) - Vocals & flute (3)
quarta-feira, 24 de junho de 2015
Blood of The Sun is an American band playing mix of 70' classic hard rock/heavy prog a la Deep Purple mark II, Uriah Heep, Lucifer's Friend, Bloodrock and Atomic Rooster (tasty guitar riffs, fantastic real Hammond B3 organ soloing, good melodies) and Stoner rock (especially vocals). They usually play quite long 5-8 minutes songs with long organ/guitar soloing. The most important bandmate in Blood of the Sun is their organist/pianist Dave Gryder who previously played in symphonic prog group Covenent (already on PA) and heavy prog Storm At Sunrise.
There are some bands that try to recapture the sound of seventies hard rock and they do a fine job, but Blood of the Sun have nailed it right on the head. 8 songs and no overkill by putting 14 or 15 songs on it. Like the seventies there are 8 songs, usually vinyl would be 4 songs on side 1 and side 2. Good strong vocals, awesome lead guitar, a smoking rhythm section and those glorious Deep Purplish sounding organs. If you picked this up out of curiosity without any info on this band you would swear it was an obscure classic from the 70's, it's that good.
1. Let It Roll....Perfect driving opener, great riffs, solo and vocals. Crank this one all the way up.
2. Burning on the Wings of Desire...Epic title track, sweet organ runs and that guitar solo, wow.
3. Can't Stop My Heart...Another driving rocker, upbeat and a tight performance.
4. Bring Me Down....The pace slows down to a mid paced Skynyrd type rocker with Billy Powell influenced piano. Southern vibe, killer song.
5. Rock Your Station...Fast and heavy, you'll love the Blackmore/Lord style interplay from the offset yet it sounds nothing like Purple. Five songs in and this is becoming my favorite new band on one listen.
6. Good Feeling...Killer riff on this one, another guitar/organ solo in the middle. Faster paced with a mid paced hard rock section before speeding up again.
7. the Snitch...Great beginning with heavy guitar riff, you should be banging your head on this one. These guys must kill live. So far the whole album has been nothing but a fantastic return to the seventies, very pleased!
8. Good and Evil...A guest appearance from the almighty "Wino" Scott Weinrich on this. Powerful riffing again and a stormer to close the record. Pretty cool mid section too.
Bottom line: if your favorite era of music is pure seventies hard rock/metal this will be a very pleasant surprise. Not stoner, no doom, just old school powerful hard rock.
segunda-feira, 22 de junho de 2015
Já faz um tempo que escuto este som. Um Jazz Funk bem suave, com momentos de trilha sonora anos setenta, e uma batucada meio hipnótica. Tenho alguns álbuns há muito tempo, e acho que vale a pena partilhar... Antes, ouçam um pouquinho:
Manu Dibango (nascido como Emmanuel N'Djoké Dibango em Duala, Camarões a 12 de dezembro de 1933), é um saxofonista e vibrafonista de jazz e afrobeat. Uma de suas canções, "New Bell", figurou na trilha sonora do jogo Grand Theft Auto IV, mais precisamente na rádio IF99. Sua música mais conhecida é o afrobeat "Soul Makossa" de 1972, música incorporada por Michael Jackson em "Wanna be start something" e Rihanna em "Don't stop the music".
He was a member of the seminal Congolese rumba group African Jazz, and has collaborated with many other musicians, including Fania All Stars, Fela Kuti, Herbie Hancock, Bill Laswell, Bernie Worrell, Ladysmith Black Mambazo, King Sunny Adé, Don Cherry, and Sly and Robbie. In 1998 he recorded the album CubAfrica with Cuban artist Eliades Ochoa. The song "Soul Makossa" on the record of the same name contains the lyrics "makossa", which means "dance" in his native tongue, the Cameroonian language, Duala). It has influenced several popular music hits, including Michael Jackson's "Wanna Be Startin' Somethin'", as well as his re-recording of that song with Akon, the Fugees' "Cowboys", and Rihanna's "Don't Stop the Music". The 1982 parody song "Boogie in your butt" by comedian Eddie Murphy interpolates Soul Makossa's bassline and horn charts while "Butt Naked Booty Bless" by 1990s hip-hop group Poor Righteous Teachers heavily samples its musical bridge and drum patterns. He served as the first chairman of the Cameroon Music Corporation, with a high profile in disputes about artists' royalties. Dibango was appointed a UNESCO Artist for Peace in 2004. His song "Reggae Makossa" is featured on the soundtrack to the 2006 video game Scarface: The World Is Yours. In August 2009 he played the closing concert at the revived Brecon Jazz Festival. In July 2014 he made an 80th anniversary concert at Olympia, France which was broadcast by TV5Monde.
Versão de 1985 com alguns Bonus Tracks....
sexta-feira, 19 de junho de 2015
Van der Graaf Generator are an English progressive rock band, formed in 1967 in Manchester by singer-songwriters Peter Hammill and Chris Judge Smith and the first act signed by Charisma Records. They did not experience much commercial success in the UK, but became popular in Italy during the 1970s. In 2005 the band reformed, and continue to perform as of 2015. The band formed at Manchester University, but settled in London where they signed with Charisma. They went through a number of incarnations in their early years, including a brief split in 1969. When they reformed, they found minor commercial success with The Least We Can Do Is Wave to Each Other, and after the follow-up album, H to He, Who Am the Only One, stabilised around a line-up of Hammill, organist Hugh Banton, saxophonist David Jackson, and drummer Guy Evans. The quartet subsequently achieved significant success in Italy with the release of Pawn Hearts in 1971.
After several exhausting tours of Italy, the band split in 1972. They reformed in 1975, releasing Godbluff and frequently touring Italy again, before a major line-up change and a slight rename to Van der Graaf. The band split in 1978. After many years apart, the band finally united at a gig at the Royal Festival Hall and a short tour in 2005. Since then, the band has continued as a trio of Hammill, Banton, and Evans, who record and tour regularly in between Hammill's concurrent solo career. Their most recent album, ALT, was released in June 2012. The group's albums have tended to be both lyrically and musically darker in atmosphere than many of their prog-rock peers (a trait they shared with King Crimson, whose guitarist Robert Fripp guested on two of their albums), and guitar solos were the exception rather than the rule, preferring to use Banton's classically influenced organ, and, until his departure, Jackson's multiple saxophones. While Hammill is the primary songwriter for the band, and its members have contributed to his solo albums, he is keen to stress that the band collectively arranges all its material. Hammill's lyrics frequently covered themes of mortality, due to his love of science fiction writers such as Robert Heinlein and Philip K. Dick, along with his self-confessed warped and obsessive nature. His voice has been a distinctive component of the band throughout its career. It has been described as "a male Nico" and would later on be cited as an influence by Goth bands in the 1980s. Though the group have generally been commercially unsuccessful outside of early 1970s Italy, they have inspired several musicians, including John Lydon and Julian Cope.
Due to the time-frame of the original band's career, Van der Graaf Generator have been frequently referred to as a progressive rock band. Writing in Record Collector, Toby Manning said the music was "philosophical, even intellectual, complex .. at times, terrifying". While the music on The Aerosol Grey Machine has a more pastoral, hippie feel, with prominent use of Hammill's acoustic guitar, later work featured more complex instrumentation and arrangements. Hammill thinks the style of the band evolved due to the culture of music in the late 1960s, stating "the whole of music was laid out in front of you ... it was the blues in wonky time signatures." Both Hammill and Banton have stated that Jimi Hendrix was an influence on the band's sound, with Hammill remarking that "there'd been distortion before, but there hadn't been that real out-there attitude to sound in itself". The group's experimental style has also been compared to Krautrock bands such as Can. Because of their musical influences and line-up, the band tended to play darker musical themes than other progressive bands, with the possible exception of King Crimson. However, Hammill has stated that the group is still fun to work with, stating "as far as we're concerned, it's serious fun, but fun nonetheless."
Hammill's lyrics frequently covered themes of mortality, due to his love of science fiction writers such as Robert Heinlein and Philip K. Dick, along with his self-confessed warped and obsessive nature. His voice has been a distinctive component of the band throughout its career. It has been described as "a male Nico" and would later on be cited as an influence by Goth bands in the 1980s. Unlike several other notable prog rock keyboardists, such as Rick Wakeman or Keith Emerson, Banton considers himself primarily an organist, due to his background in classical and church music, and only ever used that instrument on stage, albeit heavily modified with customised electronics and devices. Hammill said that "Hugh is one of the most instinctive, baffling, and brilliant people I've known and his intuitive hold on the worlds of music and electronics has always astonished me." Banton used clonewheel organs during the 2005 reformation, but since 2009 he has used the Hammond XK-3c, and thinks Hammond have "cracked that sound at long last". Although Hammill has written the vast majority of the songs in the band's catalogue, and all of the lyrics, he is keen to stress that the arrangements of the music comes from all the group's members. In 1976, being interviewed for the Melody Maker, he said that "VDGG is a band, a real band ... of course [it] is something special, it releases in individual terms parts of us that wouldn't be aired otherwise. In 2013, he reiterated, "Some people don't think Van der Graaf is a democracy, but believe me, it's entirely democratic, with everyone having very vocal and forceful opinions."
The band have been compared with Genesis due to being label-mates at Charisma Records, sharing management with Tony Stratton-Smith and performing on the same bill on the "Six Bob Tour". Hammill and Banton both reject this comparison, with Hammill noting that Genesis were far more driven to be commercially successful, whereas he prefers to release music without interference from record companies. In particular, he has mentioned that while he himself continues to release albums on a regular basis in the 21st century, Peter Gabriel's "average output has been about 0.2 albums a year". Though the group have generally been commercially unsuccessful outside of early 1970s Italy, they have inspired several notable musicians, including Rush, John Lydon, Marc Almond, Graham Coxon, Mark E. Smith, John Frusciante, Bruce Dickinson and Julian Cope. Dickinson, who has been a fan of the band since he saw them at Oundle School aged 13, said that Hammill was one of his childhood heroes. Coxon is particularly fond of "House With No Door" from H to He, saying the track is "extremely beautiful, with Jackson's truly lovely sax-and-flute instrumental section."Almond recalled hearing "Killer" for the first time saying, "I'd never heard anything like it before. It wasn't just Peter's snarling operatic vocal, it was the mix of instruments ... I became an instant fan." Although generally categorised as a progressive rock group, Cope is keen to distance the band from that movement, stating "Their music was like some Brechtian bar band – the opposite of prog rock, really". Mentioning their reputation as something of an acquired taste, Lydon said, "There's a few Van Der Graaf things I like, but I'm not going to recommend anything to anyone. It might not be for them. Music doesn't come with a set of guidelines." Marillion singer Fish thought highly of Hammill, and invited him to be the support on the band's early tours.
The album was originally intended as a solo album by the band's lead singer and main songwriter, Peter Hammill. When the band signed with Charisma Records, a deal was worked out whereby The Aerosol Grey Machine would be released under the Van der Graaf Generator name, in return for Mercury Records releasing Hammill from his earlier contract with it.
The Quiet Zone/The Pleasure Dome, released in 1977, is the eighth album by British progressive rock band Van der Graaf Generator. It was their last studio album before their 2005 reunion. The album features a more energetic, new wave sound than its three immediate predecessors, anticipating singer and songwriter Peter Hammill's late '70s solo work. For this album, bassist Nic Potter returned to the band, having left in 1970, and violinist Graham Smith (String Driven Thing), also joined the line-up, in place of the two members who had departed in the aftermath of their previous album, World Record: organist Hugh Banton and saxophonist/flautist David Jackson. This considerably modified the band's sound. Officially, the band's name was shortened to just "Van der Graaf" for this album and the live album Vital, that followed, but contemporaneous Charisma Records promotional materials used both the full and shortened name.