Description
- A NEW 4 CD RE-MASTERED CLAMSHELL VARIOUS ARTISTS BOXED SET CELEBRATING THE FINEST MUSICAL SOUNDS OF THESO-CALLED BRITISH “UNDERGROUND” & PROGRESSIVE ROCK MUSIC OF 1970
- FIVE HOURS OF MUSIC FEATURING TRACKS BY ATOMIC ROOSTER, KEVIN AYERS, BARCLAY JAMES HARVEST, BLODWYN PIG, EDGAR BROUGHTON BAND, CARAVAN, MICHAEL CHAPMAN, CURVED AIR, DEEP PURPLE, EGG, EMERSON LAKE & PALMER, FAMILY, FLEETWOOD MAC, GENTLE GIANT, HAWKWIND, HIGH TIDE, JETHRO TULL, LINDISFARNE, McDONALD & GILES, THE MOVE, PATTO, PRETTY THINGS, PROCOL HARUM, QUATERMASS, RARE BIRD, STATUS QUO, AL STEWART, TRAFFIC, VAN DER GRAAF GENERATOR, WISHBONE ASH, YES & MANY MORE
- INCLUDES AN ILLUSTRATED BOOKLET WITH ESSAY BY MARK POWELL
- REVIEWS & FEATURES IN NATIONAL NEWSPAPERS, “UNCUT”, “MOJO”, “RECORD COLLECTOR” & “PROG” MAGAZINES
- COVERAGE ON RELEVANT WEBSITES & FANZINES
Esoteric Recordings are pleased to announce the next release in their series of compilations celebrating the so-called “underground” rock music – “Taking Some Time On – Underground Sounds of 1970”, is a 4 CD clamshell boxed set which gathers together over five hours of music from 1970, the first year of a new decade that would see Progressive music in all its forms become a dominating force with the album-buying public.
The innocence of psychedelia and the optimism expressed by such vast expressions of the Hippy ideal as the Woodstock Festival in New York State and the Hyde Park Free Festivals of 1969 in London were shattered by the violence of the Altamont Festival in California at the end of the year. As 1970 dawned, a more cynical tone began to appear in the counter-culture which was also reflected in some of the music by “Progressive” artists as some music got heavier or more anarchic. Jazz, blues, hard rock, folk and classical music influences melded together to form a diversity of music among so-called Underground artists, championed by “underground” figures of the day such as John Peel on his BBC Radio One show Top Gear.
These artists retained a common audience who anticipated their albums eagerly, resulting in the “progressive” imprints of major record labels such as EMI’s Harvest, Decca’s Deram and Philips Records’ Vertigo imprints and the independent Island Records enjoying healthy sales with some artists enjoying success in the UK singles charts.
Universities and Colleges were regular venues on burgeoning live music circuit in the UK for these artists, most of whom earned loyal