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