Patrick Moraz Patrick Moraz Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Patrick Moraz Patrick Moraz mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Patrick Moraz Country: Japan Released: 2009 Style: Prog Rock MP3 version RAR size: 1948 mb FLAC version RAR size: 1525 mb WMA version RAR size: 1914 mb Rating: 4.6 Votes: 150 Other Formats: VOC AHX VOX MPC ASF ADX FLAC Tracklist Hide Credits Jungles Of The World 1a Green Sun 1b Tribal Call 1c Communion Temples Of Joy 2a Opening Of The Gates 2b Overture 2c The Feast (A Festa) The Conflict 3a Chamada (Argument) 3b Opposing Forces 3c The Battlefield 3d Dissolution 3e Victory - 4 Primitivisation Keep The Children Alive 5 Lead Vocals – Joy Yates 6 Intentions 7 Realization 8 Museeka Magika Credits Cover – Cooke Key Engineer – Alan Leeming, "Professor" Jean Ristori* Engineer [Assistant In Geneva] – Dr. Erroll "Blackbox" Maibach* Engineer [Assistant In Rio] – Joaõ Engineer [Assistant] – Norman Goodman Liner Notes – 藤崎登* Percussion – The Percussionists Of Rio De Janeiro Performer [All Instruments] – Djalma Correia* Producer, Performer [All Instruments], Composed By [All Music And Lyrics], Arranged By, Vocals – Patrick Moraz Remix [Overdubs, Supervisor] – Neil Slaven Notes This album was recorded in the winter in South America in Phonogram Studios in Rio de Janeiro (June 22-24 1978) and in the summer in Europe at Aquarius Studios, Geneva (August 1978). Mixed using an Aphex Aural Exciter, an E.M. Stereo enlarger, and LSP (large stereo processor) system. Album is also called "III" (as printed on Obi-strip and insert on this release). Comes in a CD sized papersleeve album replica, with Obi-strip, poster with credits on the back and two inserts of notes (one mostly in Japanese and one in English). Track 8 is a bonus track. Barcode and Other Identifiers Barcode: 4571136375776 Other versions Category Artist Title (Format) Label Category Country Year CDS 4015 Patrick Moraz Patrick Moraz (LP, Album) Charisma CDS 4015 UK 1978 9124 033 Patrick Moraz Patrick Moraz (LP, Album) Charisma 9124 033 Scandinavia 1978 9124 033 Patrick Moraz Patrick Moraz (LP, Album) Charisma 9124 033 Netherlands 1978 9103 126 Patrick Moraz Patrick Moraz (LP, Album) Charisma 9103 126 France 1978 CA-1-2201 Patrick Moraz Patrick Moraz (LP, Album) Charisma CA-1-2201 US 1978 Related Music albums to Patrick Moraz by Patrick Moraz Patrick Moraz - Time Code Patrick Moraz - Future Memories Live On TV (Keyboards' Metamorphoses) Patrick Moraz - The Story Of I Patrick Moraz - Yes - Union Spice Girls - Spice Mariah Carey - Glitter Patrick Moraz • Bill Bruford - Flags Re-play - Re-play Jesse McCartney - Departure.

Copy Link

Recommended publications

Sandspur, Vol 90, No 05, November 22, 1983
University of Central Florida STARS The Rollins Sandspur Newspapers and Weeklies of Central Florida 11-22-1983 Sandspur, Vol 90, No 05, November 22, 1983 Rollins College Find similar works at: https://stars.library.ucf.edu/cfm-sandspur University of Central Florida Libraries http://library.ucf.edu This Newspaper is brought to you for free and open access by the Newspapers and Weeklies of Central Florida at STARS. It has been accepted for inclusion in The Rollins Sandspur by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Rollins College, "Sandspur, Vol 90, No 05, November 22, 1983" (1983). The Rollins Sandspur. 1616. https://stars.library.ucf.edu/cfm-sandspur/1616 Volume 90 Number 5 photo: jerry Uelsmann (story, page 5) Rollins College Sandspur, November 22,1983 pg. 2 The Haagen-Dazs Collection Haagen-Dazs presents the two straw mi Ik Nlv Arte shake A frosty smooth shake so thick and rich, Fine Lingerie • Foundations vou'll probably want two straws to drink it! Swimwear • Loungewear 218 Park Avenue N. Winter Park, FL 32789 Haagen-Dazs Telephone: 647-5519 ^^ Park Avenue 116 E. New England Ave. • Winter Park • 644-1611 Solar Heated Water fit FAIRBANKS EASTERN POLYCLEfiN GfiS fiND BEVERAGE Just One Block North Your Complete Laundromat of Rollins Campus Just One Block North * Discount Prices On Our of Rollins Campus Large Assortment of Domestic and Imported Beer Soda and Snacks Daily Newspapers and Magazines SELF SERVICE (New York Times, Wall Street Journal Orlando Sentinel) Wash And Dry FULL SERVICE Dry Cleaning Don't Forget To Check Oat Oar Wash, Dry.
[Show full text]
THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography……………………………………………………………………………….
[Show full text]
The Yes Catalogue ------1
THE YES CATALOGUE ----------------------------------------------------------------------------------------------------------------------------------------------------- 1. Marquee Club Programme FLYER UK M P LTD. AUG 1968 2. MAGPIE TV UK ITV 31 DEC 1968 ???? (Rec. 31 Dec 1968) ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- 3. Marquee Club Programme FLYER UK M P LTD. JAN 1969 Yes! 56w 4. TOP GEAR RADIO UK BBC 12 JAN 1969 Dear Father (Rec. 7 Jan 1969) Anderson/Squire Everydays (Rec. 7 Jan 1969) Stills Sweetness (Rec. 7 Jan 1969) Anderson/Squire/Bailey Something's Coming (Rec. 7 Jan 1969) Sondheim/Bernstein 5. TOP GEAR RADIO UK BBC 23 FEB 1969 something's coming (rec. ????) sondheim/bernstein (Peter Banks has this show listed in his notebook.) 6. Marquee Club Programme FLYER UK m p ltd. MAR 1969 (Yes was featured in this edition.) 7. GOLDEN ROSE TV FESTIVAL tv SWITZ montreux 24 apr 1969 - 25 apr 1969 8. radio one club radio uk bbc 22 may 1969 9. THE JOHNNIE WALKER SHOW RADIO UK BBC 14 JUN 1969 Looking Around (Rec. 4 Jun 1969) Anderson/Squire Sweetness (Rec. 4 Jun 1969) Anderson/Squire/Bailey Every Little Thing (Rec. 4 Jun 1969) Lennon/McCartney 10. JAM TV HOLL 27 jun 1969 11. SWEETNESS 7 PS/m/BL & YEL FRAN ATLANTIC 650 171 27 jun 1969 F1 Sweetness (Edit) 3:43 J. Anderson/C. Squire (Bailey not listed) F2 Something's Coming' (From "West Side Story") 7:07 Sondheim/Bernstein 12. SWEETNESS 7 M/RED UK ATL/POLYDOR 584280 04 JUL 1969 A Sweetness (Edit) 3:43 Anderson/Squire (Bailey not listed) B Something's Coming (From "West Side Story") 7:07 Sondheim/Bernstein 13.
[Show full text]
Idvp010cd Couriernew
Print Version Page 1 of 2 Print Page Permutations of Yes By Tom Von Malder (Created: Wednesday, August 22, 2007 11:09 PM EDT) Anderson, Bruford, Wakeman, Howe: An Evening of Yes Music Plus (Voiceprint DVD, 143 min.). Consisting of four-fifths of the classic lineup of Yes in the Seventies (only Chris Squire is missing), this quartet, put together by Jon Anderson, recorded an eponymous album in 1989 and then embarked on a worldwide tour. This generous-length show was captured on the American leg of the tour. It opens with brief solo sets by vocalist Anderson (“Time and a Word,” “Owner of a Lonely Heart”), who enters the auditorium from the rear and sings while walking down the aisle to the stage; guitarist Steve Howe (a couple of acoustic instrumentals) and keyboardist Rick Wakeman (“Catherine Parr,” “Merlin the Magician”), before the whole group launches into Yes’ classic “Long Distance Runaround” at the 24-minute mark. The song contains a solo by drummer Bill Bruford. Then comes “Birthright” from their one album (“Teakbois,” the bouncy rocker “Brother of Mine” and “Themes” also are covered from the disc). The wonderful central core is a trio of Yes songs: “And You and I,” “I’ve Seen All Good People” and a 19- minute “Close to the Edge.” The show ends with “Roundabout,” then an encore of “Starship Troop” after the credits roll. Grade A- Rick Wakeman: The Other Side of Rick Wakeman (MVD Visual DVD, 112 min.). This unusual release finds progressive rock keyboardist Wakeman on stage in a small club, with just a microphone and a grand piano.
[Show full text]
A 50Th Anniversary Tribute to YES Sonic Elements Presents Yesterday and Today – a Tribute to YES 1
A 50th Anniversary Tribute to YES Sonic Elements Presents Yesterday and Today – A Tribute to YES 1. Machine Messiah (Featuring Nick D’Virgilio & Geoff Downes) 2. Yours Is No Disgrace (Featuring Marisol Koss & Tony Kaye) 3. Turn of the Century (Featuring Sally Minnear & Dave Bainbridge) 4. Sweetness (Featuring Pat Sansone) 5. Soon (Featuring Curved Air) 6. Cinema (Featuring Steve Hackett) 7. Changes (Featuring Robert Berry, Billy Sherwood & Tom Brislin) 8. I’m Running (Featuring Robin Schell, Billy Sherwood & Marco Minnemann) 9. Acoustic Medley (Featuring Jon Davison) i. Your Move ii. And You and I iii. Wonderous Stories 10. Yesterday and Today (Featuring Dr. Danny) 11. Long Distance Runaround (Featuring Leslie Hunt) 12. The Fish (Featuring Billy Sherwood) 13. Starship Trooper (Featuring Francis Dunnery) Produced by Dave Kerzner and Fernando Perdomo Executive Producer: Dave Kerzner FEATURING Jon Davison, Tony Kaye, Jay Schellen, Billy Sherwood Robert Berry, Francis Dunnery, Nick D’Virgilio, Geoff Downes, Steve Hackett, Marco Minnemann, Pat Sansone Dennis Atlas, Dave Bainbridge, Tom Brislin, Johnny Bruhns, Joe Cass, Derek Cintron, Dr. Danny, John Demarkis, Jay Gore, Marisol Koss, Roger Houdaille, Leslie Hunt, Walter Ino, Randy McStine, Sally Minnear, Mark Murdock, Hal Rosenfeld, Robin Schell, Jonathan Schang, Ken Sharp Curved Air: Sonja Kristina, Robert Norton, Paul Sax, Kit Morgan, Chris Harris, Andy Tween ℗ & © 2018 RecPlay, Inc. All rights reserved. All trademarks are the property of their respective owners. Unauthorized copying, hiring, lending, public performance and broadcasting of this record prohibited. A Tribute to YES People sometimes ask us what appeals to us about making The Beatles were my first love, then Yes became the logical a tribute album.
[Show full text]
Download (1MB)
University of Huddersfield Repository Quinn, Martin The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980 Original Citation Quinn, Martin (2019) The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34986/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ 0. A Musicological Exploration of the Musicians and Their Use of Technology. 1 The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980. A Musicological Exploration of the Musicians and Their Use of Technology. MARTIN JAMES QUINN A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts.
[Show full text]
Bill Bruford Interview
With Io Pages, Holland, November 2007 1. With Absolute Elsewhere, Pavlov’s Dog, Yes, Genesis, King Crimson, UK and Bruford you worked together with the best of the progressive rock scene. With Earthworks you deliver pure jazz. Was it because you tried to inject jazz within the rock format that you joined the aforementioned bands ? Or were you looking for musicians who would constantly deliver battles what complexity is concerned ? Last sentence doesn’t make sense, but generally I get the drift. When I was 18, I didn’t have any set plan, other than to join a group – any group – and get playing. We didn’t care about fine distinctions between jazz and rock – everthing was in a state of flux anyway. I knew jazz, which meant I was likely to be good at rock. I wasn’t trying to inject jazz, but naturally, in a collective where everyone is contributing, you bring what you know; you draw on your background, which, in my case, was jazz. I was, I believe, about the only prog-rocker who knew anything about that subject at all. Rick Wakeman, for example, has to my certain knowledge, never played a note of jazz in his life. 2. Your early influences are Max Roach for his economy, grace and melody, Joe Morello for the odd metres and Art Blakey for sound and grooves. Was/is it your ambition to contain all of those elements within your own playing ? Are there any current drummers which get close to the complete picture ? Only in retrospect, and for the sake of simplicity in interviews such as this, have I been forced to reduce all my influences to Blakey, Roach, and Morello.
[Show full text]
Patrick Murrah MD in Tallahassee
Patrick Murrah MD in Tallahassee 1405 Centerville Rd, Ste 5000, Tallahassee, FL 32308 Cross Streets: Between E 7th Ave and Hodges Dr (850) 877-7886 Above Photo (Left to Right) Back Row: John Katopodis MD, Gian Carlo Giove MD, Venkata Bavikati MD, Gad Silberman MD, David Saint MD, Julian Hurt MD, J. Galt Allee MD, Gregory Hartlage MD, C. Patrick Murrah MD, Wayne Batchelor MD, Farhat Khairallah MD Front Row: Ernesto Umana MD, Marilyn Cox MD, David Smith MD, David Tedrick MD, Frank Gredler MD, William Dixon MD, Thomas Noel MD. Our Invasive and Interventional Cardiologists provide specialized expertise in cardiovascular diseases, which cares for diseases of the heart, blood vessels, diagnosis, treatment and prevention of diseases of the heart Complete your Patrick Moraz record collection. Discover Patrick Moraz's full discography. Shop new and used Vinyl and CDs. Hello! We have selected English as your language preference. If you would like to browse in a different language, please choose a language using the dropdown. Deutsch English EspaÃ±ol FranÃ§ais Italiano æ—¥æœ¬èªž. You may have noticed that we have NEW Notification Type options! You can opt-in to receive Newsletters, Partner Offers & Community Tools. Don't miss a beat. Update Your Notification Settings Â». Edit Artist. More Images. Patrick Moraz. Real Name: Patrick Moraz. Profile: Swiss progressive rock keyboard player (born June 24, 1948, in Morges). Sites: patrickmoraz.com, MySpace, Wikipedia See more of Kim Patrick Murray, MD - Miami Rhinoplasty Specialist on Facebook. Log In. or. Create New Account. See more of Kim Patrick Murray, MD - Miami Rhinoplasty Specialist on Facebook.
[Show full text]
Time and a Word: the Yes Story Online
DbOIg [Download pdf] Time And A Word: The Yes Story Online [DbOIg.ebook] Time And A Word: The Yes Story Pdf Free Martin Popoff ePub | *DOC | audiobook | ebooks | Download PDF Download Now Free Download Here Download eBook #494124 in Books Ingramcontent 2016-05-01Original language:EnglishPDF # 1 9.00 x 1.00 x 6.00l, .0 #File Name: 0993212026248 pagesTime and a Word The Yes Story | File size: 29.Mb Martin Popoff : Time And A Word: The Yes Story before purchasing it in order to gage whether or not it would be worth my time, and all praised Time And A Word: The Yes Story: 24 of 27 people found the following review helpful. A good book but unsatisfying on so many levels.By CustomerI wish I could say this was a great book,but it's let down on a few levels.First of all, it relies on too may quotes, especially from Steve Howe, and it becomes more and more boring as it progresses through the years. It can be a humorous book much of the time, but it bounces around between the timeline format, quotes, and the occasional review too often that it really doesn't have a consistent feel. I wish it consistently remained detailed through the entire timeline but it pretty much runs out of steam by the time it hits the late 80s and just begins to rely almost exclusively on quotes and timeline data for the remainder of the book. It needs more reviews, and more details, to remain engaging, but just doesn't have that.0 of 0 people found the following review helpful.
[Show full text]
Monday • April 7Th Steve Hackett
Monday • April 7th MIAMI, FLORIDA TIME LOCATION DECK BAND 1:15 pm – 2:30 pm Atrium 5 Heavy Mellow 3:00 pm – 5:00 pm Indoor Pool 14 DJ 5:00 pm Pool Stage 14 Black Out Picture 5:30 pm – 6:45 pm Pool Stage 14 SAGA Sail Away Show 6:45 pm – 8:00 pm Pantheon Theatre 6 Steve Hackett BLUE Group 7:00 pm – 8:00 pm Golden Lounge 7 Moon Safari Storyteller 7:30 pm – 8:45 pm Black & White Lounge 7 The Pineapple Thief 9:15 pm – 10:00 pm Atrium 5 Electric Asturias Storyteller 9:15 pm – 10:30 pm Pool Stage 14 Lifesigns 10:15 pm – 11:30 pm Pantheon Theatre 6 PFM OPEN SEATING 10:15 pm -11:45 pm Black & White Lounge 7 Stickmen Strawbs 10:45 pm – 11:30 pm Golden Lounge 7 Storyteller 11:00 pm – 11:45 pm Atrium 5 IO Earth Storyteller 11:45 pm – 1:15 am Pool Stage 14 Sound Of Contact PLEASE NOTE SCHEDULE TO CHANGE AT ANYTIME Tuesday • April 8th DAY AT SEA TIME LOCATION DECK BAND 11:00 am – Noon Atrium 5 Jon Kirkman Yes Book Showing 11:00 am – Noon Golden Lounge 7 Armando Gallo-Genesis Noon – 1:00 pm Pool Stage 14 Presto Ballet 1:00 pm – 3:00 pm Black Crab 6 Meet and Greet Saga • Queensryche Moon Safari • PFM Pamela Moore • IO Earth Soft Machine 1:15 pm – 2:00 pm Atrium 5 Heavy Mellow 1:15 pm – 2:15 pm Black & White Lounge 7 Lifesigns 1:30 pm – 2:30 pm Pool Stage 14 Patrick Moraz 2:15 pm - 3:30 pm Pantheon Theatre 6 Renaissance OPEN SEATING 3:30 pm – 4:30 pm Pool Stage 14 UK Storyteller 3:45 pm – 4:45 pm Black & White Lounge 7 Prog Rock Orchestra 4:00 pm – 4:45 pm Atrium 5 Soft Machine Storyteller 5:15 pm – 6:00 pm Black & White Lounge 7 Patrick Moraz Storyteller
[Show full text]
Patrick Moraz Joins Yes Ounce of Polish, Professionalism Throughout His Presentation
CLUB REVIEW CONCERT REVIEW /111111.1111111111111111111111,1111111111111111111111 'Mini Meeting' ...,,,,1,1,,,,11111,1,1,,,,,,1,,,,1,,,,,1,,,,,11,1,,,,1 Honk, Comanor: Held by London Dick Clark Brings R&R to Las Vegas LAS VEGAS Dick Clark, Upon Cannon leaving the An Epic Event NEW YORK London Records - - veteran rock n' roll emcee, bet- stage, Jeff Kutash and the Greasy recently held a 'mini meeting' LOS ANGELES - Honk (Epic) ter known as "America's oldest Kids, a group of eight highly pro- involving all sales and promotion offered a livewire performance teenager, recently presented an fessional dancers, performed a personnel from the eight north- before a capacity audience on elaborate show before a capacity medley honed from the '50s and eastern states serviced out of the their opening night (8) at the audience at the Las Vegas Hilton '60s, complete with garb ranging company's main warehouse and Troubadour. Hotel (9). from mini -skirts to go-go boots. shipping depot in New Jersey. The six member group, three The dancers were a welcome Herb Goldfarb, London's market- Performers ad- of which are vocalists as well as dition to the show and fit in ing sales VP, has announced that The show featured Freddie musicians, opened their set with perfectly. this type of staff meeting will be Cannon, Cornell Gunter and the an energetic version of "Sea Cornell Gunter and the Coast- held in all of the company's major Coasters, Jackie Wilson, and Cruise," in which saxist Craig Buh- ers were the next to appear. sales/promotion centers to dance troup Jeff Kutash and the ler and guitarist Richard Stekol Gunter had the audience practi- "strengthen and consolidate the Greasy Kids.
[Show full text]
Progressive Rock, “Close to the Edge, // and the Boundaries of Style
1 Progressive Rock, “Close to the Edge, // and the Boundaries of style JOHNCOVACH 1 “Progressive rock,” “classical rock,” “art rock,” “symphonic rock”- these labels have been used over the last twenty-five years by various authors to designate a style of popular music developed in the late 1960s and early 1970s, primarily by British rock musicians.’ During this time groups such as King Crimson, the Moody Blues, Procol Harum, the Nice (and later Emerson, Lake, and Palmer), Gentle Giant, Genesis, Yes, Jethro Tull, Van der Graaf Generator, and Deep Purple attempted to blend late-’60s and early-’70s rock and pop with elements drawn from the Western art-music tradi- tion.2 This attempt to develop a kind of “concert-hall rock‘‘-which was neverthe- less still often performed in stadiums and arenas-was the result of a tendency on the part of some rockers and their fans to view rock as“listening music” (as opposed to dance music), an aesthetic trend that Wilfrid Mellers3 attributes to the influence of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band of 1967.4 The early progressive rockers were not the first to employ musical elements gen- erally associated with the “classical” or art-music tradition in their arrangements. The mid- 1960s British-invasion groups, in an apparent attempt to surpass one another in eclecticism, began to use instruments and stylistic elements drawn from both the British music-hall and European art-music traditions. Music-hall elements are present, for instance, in Peter and Gordon’s “Lady Godiva” (1966) and Herman’s
[Show full text]