Missionaria Protectiva

        Martin Orford is one of the leading figures in neo prog zone and aswell one of co founders of excellent IQ in early '80s. Also he was part of Jadis and aswell has a solo career. He releases under his name 2 albums, one in 2000 and second offer is coming later on in 2008 named The old road. Sadly, this is his last album he ever wrote or participate in, because he decided to anounced his farewell to musical bussines after 30+ years career.   IQ Tales From The Lush Attic MRC,1983 https://www.sendspace.com/file/zk63y3

        John "Drumbo" French joined Captain Beefheart's Magic Band in 1966, bringing with him a toms-heavy, polyrhythmic style that would become as integral to the group as Don Van Vliet's modernist-blues croak. French served as music director for the Magic Band's avant-garde masterpiece  Trout Mask Replica , though he came away embittered. "Never have so many worked so hard for so little [money]," said French of the sessions that produced the album, adding, "I've never received a dime for it." During  Replica 's recording, a group visit to a Salvador Dali exhibit "changed [his] concept of drums" and inspired French's knack for rhythmic superimposition. Drumbo's style only grew more advanced on 1970 follow-up  Lick My Decals Off, Baby , perhaps the best example on record of his clattering and chaotic yet fiercely controlled approach. In later life, French would lead his own Magic Band, channeling the Captain's voca

        No bass player defies categorization more so than the late, truly great, utterly unpredictable Hugh Colin Hopper, who was among the most prolific and adventurous recording artists to emerge from the England’s hallowed Canterbury progressive rock and experimental jazz scene of the late 1960s and early 70s. Hugh seemingly never ran out of fresh ideas or novel ways to express himself on the instrument. Music fans of this era are most aware of Hugh by way of his groundbreaking work with Soft Machine wherein Hopper’s exploratory use of fuzz and various effects along with his extensive rhythmic and harmonic vocabulary was the glue that held multi-instrumentalist Robert Wyatt, keyboardist Mike Ratledge, saxophonist Elton Dean and other assorted Machine band mates together for an amazing run of releases during his 1968 – 1973 membership. Hugh also made several notable appearances as a valued sideman on such seminal releases including Syd Barrett’s Madcap Laughs (1969), Kevin

        You can trace all things loud and riff-y right back to the Kinks ' Dave Davies, starting with the fantastically simple power chords of "You Really Got Me," which he recorded at age 17 – setting off a run of proto-metal singles from "All Day and All of the Night" to "Till the End of the Day." Davies, who created the distortion on "You Really Got Me" by slicing an amp speaker with a razor, has laughed off claims that it was actually played by an uncredited Jimmy Page : "Who'd want to play a solo that crazy, anyway? Only Dave Davies could do that." KINKS Something Else By The Kinks Pye,1967 https://www.sendspace.com/file/f5evm4

        Greenslade first came to attention as the keyboards player for the jazz-blues-rock fusion outfit Colosseum, for whom he composed the epic “Valentyne Suite,” a 17-minute, multi-section production that became the centerpiece of the album of the same name. Colosseum would eventually founder on the various ambitions of its members, finally drifting apart in 1971. Greenslade spent the next two years playing sessions and putting together a band that was notable for the fact that it performed progressive rock music without the benefit of a guitarist; the lineup included second keyboardist Dave Lawson, drummer Andy McCullough and Colosseum bandmate Tony Reeves on bass. This lineup released Greenslade and Bedside Manners Are Extra via Warner Bros. The third album, Spyglass Guest, broke the pattern, with guitarists Andy Roberts and Dave “Clem” Clempson (another former bandmate) delivering some six-string action. By the time the final Greenslade album arrived, Martin Briley had taken over

        In the early Seventies, Billy Cobham set a new benchmark for fusion drumming, marrying jaw-dropping jazz-honed dexterity with pulverizing rock power. The Panama-born drummer appeared on Miles Davis' groundbreaking  Bitches Brew  and, more strikingly, on  A Tribute to Jack Johnson , where his interplay with guitarist John McLaughlin set the tone for what the pair would accomplish together in the Mahavishnu Orchestra. Cobham's influence stretched far beyond jazz: Prog contemporaries Bill Bruford of King Crimson listened closely to what he was up to, younger drummers like Danny Carey of Tool learned from him, and even Prince plays a version of Cobham's "Stratus" in concert. There's maybe no bigger fan than Phil Collins, who has named Mahavishnu's  Inner Mounting Flame  as a key influence on his early style.  Crosswinds  (Atlantic,1974) https://www.sendspace.com/file/yyy9xw

        1951, Yazoo City, Mississippi, USA. Henderson moved to Detroit as a child and showed an early aptitude for music, in particular on bass. Indeed, he was something of a boy wonder, being employed as a bass player for the Fantastic Four, Detroit Emeralds, Jackson Five, Martha Reeves, Billy Preston and numerous Motown Records artists when aged only 13. He was then invited out on the road with the touring bands of both Aretha Franklin and Stevie Wonder. In 1968 Henderson was recruited by Miles Davis and spent seven years touring and recording with his band. A chance meeting with Norman Connors resulted in Henderson finally getting his own material recorded, duetting with Jean Carne on ‘Valentine Love’ from Connors’ Saturday Night Special album in 1975, which became a US hit single. He followed this up with the title-track to You Are My Starship, a platinum album and major hit single. On the strength of this success Henderson was signed direct by Buddah Records and released his debut

        Even if he had never progressed beyond the brain-rattling riffing of "2112" and "Xanadu," RUSH 's guitarist would have left his mark on Metallica and other like-minded metalheads. But he went on to fill out Rush's power-trio sound with a seamless mix of lush arpeggios and rock crunch that sounded like at least two players at once. "The guitar just had to make a broader statement," he says. Alex Lifeson reserves his most daring playing for his solos – just try wrapping your head around the extra­terrestrial lunacy of "Freewill."   Victor Anthem/Atlantic 1996 https://www.sendspace.com/file/v5nyzs

        The co-founder, keyboard player, and one of the three principal singers of the Moody Blues , Mike Pinder  was a very visible presence in early progressive rock circles. A pioneering user of the early electronic keyboard instrument the Mellotron as a substitute for a full orchestra, Pinder s work served as the model for the playing of musicians such as Barclay James Harvest , Strawbs , and, to a lesser degree, King Crimson , though the latter group quickly evolved its own sound with the instrument. During his years with the Moody Blues , Pinder  was known for the lush, dense sounds he generated from his Mellotrons (which yielded such high volumes in concert that the sound off his speakers created wind currents on the stage), which he modified so extensively by the beginning of the 1970s, that they became known unofficially in the rock press as "Pinder-trons"; and for his compositions, which were frequently steeped in a brand of mysticism that recalled the English Roman

        From the time he burst upon the scene as part of the Jeff Beck Group in 1970, Colin Trevor "Cozy" Powell earned a reputation as a first-call journeyman drummer and session hand, a hard-hitting power player vital to the development of English hard rock and heavy metal. Though he regularly anchored his own projects, Powell is best remembered as an asset to groups like Rainbow and Whitesnake; as one third of the short-lived Emerson, Lake & Powell; and as a guiding force in a critically maligned but undeniably heavy latter-day Black Sabbath.   Tilt  (Polydor,1981) https://www.sendspace.com/file/um6bvf

         Rob Grange, is an American rock bass guitarist, best known for his work with Ted Nugent  and his unique phase bass lines in the song "Stranglehold".       In June 1971, Grange became a member of the rock band Ted Nugent  and The Amboy Dukes. In 1974  Nugent dropped The Amboy Dukes name and the band became The Ted Nugent  Band. They were definitely a "band" and all of them wanted that and discussed it. None of them considered themselves as "back-up players." One of the conditions of St. Holmes joining them, was it was called a "band".        David Krebs of Leber & Krebs Management, who also managed Aerosmith, convinced Nugent to drop the "band" and just call it "Ted Nugent". This was a total surprise to the "band" and it was the beginning of the end. The nucleus of Rob Grange, Derek St. Holmes , and Cliff Davies for songwriting, as well as arranging, was forever broken. The make up of the original members

        Some might consider it unfair that Robert Fripp’s best-known guitar work isn’t with the band he devoted decades of his life to, King Crimson. It’s on David Bowie’s “ Heroes” : The reverb-heavy leads on the title track alone are ingrained enough in the consciousness of popular music to guarantee that Fripp will never be unheard. Even if he’d just been a session legend and invented the Frippertronics tape-loop system of ambient sound creation, Fripp would have a place on this list. But, of course, he did so much more.       Plenty of post-rock and avant-garde musical artists owe a considerable sonic debt to King Crimson or Fripp’s various collaborative efforts—particularly the haunting sounds he provided to Brian Eno on songs like “Here Come The Warm Jets” and “St. Elmo’s Fire.” His style on the essential Crimson albums isn’t much different from what he’d provide in his best-known sidework: improvisation-heavy, sharply distorted, influenced by free jazz and classical as much as b

        Peter Bardens first came to the attention of record buyers when he joined  Camel  in 1972 to record their self-titled debut album. Bardens had already built a formidable reputation as a keyboard player well before this, though.       Bardens’s first band was The Cheynes, which happened to be Mick Fleetwood’s first band as well.  Shortly after their third single failed to sell the Cheynes broke up and Bardens joined Van Morrison’s band Them. After Them, he formed Peter B’s Looners, which eventually became Shotgun Express, a band that played soul music and featured  Rod Stewart , Peter Green, and Mick Fleetwood.       When Bardens joined Camel it was his keyboard wizardry that made them a force to be reckoned with. After their 1973 debut album, they followed it with  Mirage , whose “The White Rider suite” (based on J.R.R. Tolkien’s The Lord of the Rings) ushers in a new conceptual approach and brings them a certain cachet on the West Coast of America.       Following his exit fro

        Alex Van Halen's arena-sized ambitions and jazz-influenced nimbleness made Van Halen one of rock's most vibrant bands — millions of young drummers all over America drove themselves nuts in the Eighties trying to replicate the skip-stone tom-tom work and galloping swing he brought to "Hot for Teacher" or the tricky opening groove of "Finish What You Start." His devotion and toughness were pretty impressive too: A  1984  Rolling Stone  feature  described a show opening for the Rolling Stones where Alex played the entire with his hand broken in four places. "He couldn't even hold a drumstick," journalist Debby Miller wrote. "So he tied the stick to his wrist with a shoelace and went on with the show."  VAN HALEN Diver Down WB,1982 https://www.sendspace.com/file/t1umli

        For over 50 years, David Hood has provided backbone and signature bass lines to some of the greatest songs ever recorded. Never adding more than the song needs, never delivering less than the song deserves, yet always providing his signature blend of innovation and command of the musical lexicon. Aretha Franklin, Wilson Pickett, Etta James, Cher, Bob Seger, Willie Nelson, Cat Stevens, The Staple Singers, Julien Lennon, Traffic…the list is endless.      J.J. CALE       Really       Shelter,1973 https://www.sendspace.com/file/ojc7yb

        Jimmy Page is a goddamn thief who owes much of his best work to robbing multiple bluesmen wholesale, from Willie Dixon to Muddy Waters. He also may be the greatest thieving guitarist of all time. What Page built from those blues foundations would itself become essential to most rock music that followed. You can easily argue that “Whole Lotta Love,” “Black Dog,” “Immigrant Song” and “Kashmir” belong on a list of the 20 best rock riffs ever, and that the first and third of those are top-five material. The influence of Led Zeppelin and Page is audible in metal, alternative, punk, post-rock and more.       Page’s work for Zeppelin is epic in scope and nearly limitless in its variety. The band featured a rhythm section and singer who were themselves all-time greats, but if you subbed in even a pretty good guitarist, it’d lose nearly half of its power. Songs like “Dog,” “Love” and “The Lemon Song” are the purest form of cock rock and the most enjoyable—comparable machismo-laden bands

         Known predominantly as the leader of UK prog rock heavyweights Atomic Rooster, Vincent Crane’s musical journey, following his graduation from Trinity College of Music, began with his first professional show as the Vincent Crane Band at the Marquee Club in 1963. Joining The Crazy World Of Arthur Brown in 1966 and touring extensively as a result of the worldwide smash hit single and album, Fire, he would eventually leave after four years and form Atomic Rooster with TCWOAB drummer Carl Palmer in 1970. For five years and four albums, the band enjoyed a number of hit single and album releases plus successful European and U.S. tours. Crane eventually called time on the band in 1975, undertaking an alternative career in musical theatre until re-forming Atomic Rooster in 1980 for another four year run and the release of a further two albums. A desire to explore a more blues-based outlook saw the formation of Katmandu in 1984 and in 1985 he joined Dexy’s Midnight Runners for their Don

        Jazz-trained and ambidextrous, James Williams was sitting in with Dayton bar bands in his early teens. By the time he joined the Ohio Players in 1974, the group already been kicking around for a decade and a half, but their streak of dance hits for Mercury Records was just beginning. Williams' unfussy but intermittently explosive drumming would motor these tracks along – his steady funk bottom could burst unexpectedly into rambunctious fills, even on ballads like "I Want to Be Free." Though he cooked up his share of tricky rhythms, by the time a given song's chorus came around, Williams would land on the snare with a dance-commanding rhythm that was rarely subtle or negotiable. OHIO PLAYERS Honey Mercury,1975 https://www.sendspace.com/file/std2o5

        Jim Fielder is one of the pioneers of the Fender Bass. His lines were as important and recognizable to listeners as the melodies and words. Blood Sweat & Tears founding member Jim Fielder’s bass passages captivated millions on hits and album tracks which were a groundbreaking meld of rock, jazz, r&b, and pop. The towering Texan also waxed landmark slabs with Frank Zappa, Buffalo Springfield, George Benson, Tim Buckley, and Gene Clark, among others. Profoundly inspired by Jamerson, Jim served as Neil Sedaka’s musical director/bassist in later years. BLOOD,SWEAT & TEARS Child Is Father To The Man  (Columbia,1968) https://www.sendspace.com/file/ppwi0d

        By virtue of playing in a band whose music is here, there and everywhere, George Harrison would by default be a world-best guitar everyman. But let’s not forget that his contributions to The Beatles’ blues and ballads are among their most beloved—”Something,” “Taxman,” “While My Guitar Gently Weeps”—and that it was his embrace of Eastern philosophies and instrumentation that helped transform the Fab Four from mod scoundrels to unrepentant hippies. The influences of Hare Krishna, Hinduism and transcendental meditation would be felt and heard long into his solo career. Sitar, slide guitar and the keys and progressions of Indian classical music quietly opened the eyes (and ears) of Harrison’s fans within Beatlemania and beyond it.       Harrison would also sign on to pluck strings in sessions for his Beatles bandmates (including “Instant Karma” by John Lennon’s Plastic Ono Band), their friends (Billy Preston), contemporaries (The Rolling Stones’ Ron Wood), and inspirations (Ravi S

        Rod Argent  had an idea for a new sound, a new band in a new era of music. After creating a group and writing songs to perform and record, Rod’s dream of a new style of rock was born (with the help of his fellow countrymen, the Beatles). His group, the Zombies, helped change the face of music and scored several hits in the 1960s including “She’s Not There,” “Tell Her No” and “Time of the Seasons.” After the group dissolved, he formed the band Argent, which toured and recorded for nearly a decade before he reestablished the Zombies for world tours in the 1990s and early 2000s. During the 1970s and 80s he ran his own keyboard music store in London, which for many musicians of the era was the location they first heard and bought innovative synthesizers such as ARP and Moog.    ROD ARGENT     Moving Home     MCA,1978 https://www.sendspace.com/file/6r7fiv