Missionaria Protectiva

        Matthew Fisher is a keyboard player, singer, and producer who is best known for his work as a founding member of  PROCOL HARUM  -- he was the group's organist, and later served as producer/arranger during that band's first three years. Along with Robin Trower  and Gary Brooker , he was one of the stars to emerge from the ranks of the group, following the latter's sudden rise to fame in 1967.       Fisher played an increasingly prominent role within the band over their second and, especially, their third albums. The latter, A Salty Dog , carried his credit as producer and arranger, and stood in the view of many fans and critics as the group's most ambitious and successful studio project.       Fisher rbegan work on a solo album for A&M Records soon after, which he abandoned before the end of 1969. He took a break from making music for a couple of years, running a recording studio in England and going to work in the record industry in New York, before finally

        A founding member of the Dave Matthews Band, Carter Beauford is a chops-heavy jazz drummer and Tony Williams fan with pop sensibilities. Though his band depends on groove, he fills out even their most popular tracks with wildly complicated, incredibly busy licks – for example, giving "Ants Marching" an unlikely hi-hat pattern before orchestrally accenting Matthews' vocal stabs, adding tricky bass drum work to "So Much to Say," treating "Dancing Nancies" like a second line that stops at Stewart Copeland's house or using two snares on "Two Step." And, of course, there's the live shows where his monster drum solos explode in double-kick frenzies and songs evolve from night to night. DAVE MATTHEWS BAND Under The Table And Dreaming RCA,1994 https://www.sendspace.com/file/lgvt8h

         Jannick Top (aka Jannik, Janik, etc.) was born in Marseille, but moved to Paris after a classical Russian education in piano, cello and the more theoretical side of music, becoming acquainted with many jazz-oriented musicians and recording an album with Troc before joining Magma in 1973. As the Wahrgenuhr, he helped solidify the zeuhl sound both by contributing his unique bass techniques - the trademark heavy distortion, played on a bass guitar tuned as you would a cello - and through compositions of his own, including the cult song "De Futura". Although his tenure with Magma was relatively brief (staying from May '73 until Oct '74, and then returning to record and embark on one last tour) his legacy is stamped all over Zeuhl and continues to influence bands from around the world. MAGMA Kohntarkosz Vertigo,1974 https://www.sendspace.com/file/f60hmq

        When  Bob Dylan  described  the Band 's "wild mercury sound," he was really talking about Robbie Robertson's guitar, as exemplified by his torrid, squawking solo on "Just Like Tom Thumb's Blues" from their 1966 tour. But by the time the Band were making their own LPs, Robertson had pared down his approach, evolving into a consummate ensemble player. "I wanted to go in the opposite direction," said Robertson, "to do things that were so tasteful and discreet and subtle, like Curtis Mayfield and Steve Cropper… where it was all about the song." BAND  Cahoots Capitol,1971 https://www.sendspace.com/file/nnxov8