Христианская группа из UK,Cambridge,Cambridgeshire. Вероятно есть и другие группы с таким названием.
If there’s one genre that’s mostly AWOL from the “Jesus Music” era, it’s prog.
To a great extent that’s still the case; a major exception is this dance troupe,
which sets their Christian dance to some very good prog music.
We’ve featured prog on this site (especially this.) But at the top of the heap,
without a doubt, is this masterpiece, from the UK.
It not only sets the standard for what progressive Christian music should sound like;
it’s one of the most memorable productions ever undertaken in the era.
Commissioned by the Methodist Church,
if their objective was to product a Christian album to appeal to a secular audience,
they succeeded beyond their wildest dreams.
It goes from its noisy start to the hard-driving “Overseers”
(which is probably what my students think of me) to a visit to Hell in “Many Regrets”
to what is one of the nicest musical representations of the new birth in “What’s That I Hear.”
And that’s just the first side.
It’s an album that has to be experienced.
There’s an entire blog (something of a stub) about it.
This posting is based on the conclusion that the “distribution” that has been out there
for a long time is a “needle drop” operation;
there are also rumours afoot that same operator has passed on.
If this is not the case, let me know;
I’d love to point to a full re-release of this monumental work.
Reissue of rare early 70's religious psych folk with many sound effects and montage pieces.
"Probably the bizarrest Christian progressive folk album ever recorded.
"Paranoid" and "apocalyptic" are words I've seen used to describe this mega-rare British project.
Begins with a lengthy sound collage in the tradition of Blackhouse or 'Revolution #9':
a strange union of choirs, jackhammers, birds, synthesizer noises, bombs,
and advertisements for Dorothy's Soup Kitchen. A hippie sing-along of 'Jesus Is The Rock'
ends abruptly with a piercing shriek which is where 'Overseers' begins:
a driving throbbing Moody Blues-derived acid rocker, segueing into an impassioned reading
of 'Psalm 94' over menacing psychedelic guitar, screaming synths, and wailing voices.
Balancing out the intensity are some beautiful folk tunes, some done straightforward,
others backed with crowd conversations, kitchen noises, nature sounds,
or in one case a couple of screaming girls. And only here will you find both hymns and
a Country Joe & The Fish tune ('Who Am I') side by side. Some avant garde poetry readings,
including candid prayers recited over 'Kum Ba Ya'. What planet were these guys from?
(The Archivist by Ken Scott, 4th Edition)"
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