It may be hard to believe, but this is the CD debut of this little-known title! Released by Charisma Records in 1972, the only album of this still highly underrated, British progressive band should appeal to fans of classic, heavy and quite melodic rock based on catchy, but intense guitars, ever-changing moods & rhythms and complex vocal parts. Spreadeagle offered a varied, imaginative, cheerful and well-arranged songs (very often in elaborate forms) in the vein of early Camel, Wishbone Ash, Public Foot The Roman, Home and with a hint of early Santana. This CD has been carefully remastered from the original, analogue source and sounds great!

The legendary pianist Joe Albany, whose career was largely fouled up by drugs, recorded several rewarding sets during 1971-82. "The Albany Touch" (originally recorded for the Japanese Trio label before being made available domestically on an obscure SeaBreeze LP) is relaxed, thoughtful and shows off Albany's roots in the bop era although the pianist generally sounded at his best in a trio setting. Highlights include "A.B. (After Bird) Blues II," "You Stepped Out Of A Dream" and "A Night In Tunisia."
"Pasadena Session" was recorded in Pasadena, CA on February 29, 1972.

This was Johnny B. Moore's first CD ever and he got an Award nomination for it! It was all Westside Chicago Blues and self-penned songs. Willie Kent and Tim Taylor are on bass & drums and you could hear that Johnny would be one of the greatest - on both - guitar & vocals.

The members of Welcome recorded their debut album in 1975 at Aquarius Studios in Geneva on the EMI/Swiss label to modest reception. The young trio embarked upon a small series of live shows in an attempt to promote the record, but lagging sales and lack of publicity led to the departure of bassist Francis Yost, who was replaced by Helmi Erdinger around the time of the band's second and final release, "You're Welcome". Welcome's music is distinctly in the vein of the early seventies, owing much of their sound to Yes ala "Relayer". The production quality of their studio releases is rather uneven, and is characterized by sometimes wavering harmony vocals, heavy mellotron and Hammond, and rather sparse guitar work. The band appears to have moved toward a more commercial sound with their second release.

Over the past 5 years, The Future Sound of London have released three A6 booklets, filled with stories of FSOL's past, images and accompanied by 20 mins of music. For the first time, these have now been put these together to form a 1 hour seamless journey.