Color Humano is an Argentinian heavy rock trio. Their very rare albums mostly comprise long tracks, folky tunes, some good guitar leads and a sort of U.S. West Coast vibe.
Their name was taken from a track written by Molinari for the first Almendra album, which was his previous group.
Their debut album in 1972 opens with Edelmiro's wife Gabriela singing a nice melody and is an effective blend of energetic (Silbame Oh Cabeza and Introducion Polenta) and more restrained (the guitar instrumental El Hachazo, ten-and-a-half minute Humberto and the lengthy guitar-driven progressive rocker Larga Vida Al Sol) compositions.
In late 1972, Color Humano played at the Buenos Aires festival, where they were filmed performing Larga Vida Al Sol and Coto De Caza for the movie "Rock Hasta Que Se Ponga El Sol", which can be heard on the original Soundtrack album (Talent 1-382).
The material for their other two albums was recorded during Spring 1973 but instead of releasing a double album it was decided to put the material out on two single ones. They were released on the Talent label owned by Jorge Alvarez, who had founded the pioneering Mandioca label.
Color Humano, Vol. 2 is dominated by the lengthy fourteen minute Va A Salir Un Lugar, which has the inevitable pace changes but falls well short of being a masterpiece. It closes with the slow-paced blues number Un Blues Para Adelina. The best cut is arguably the doom-laden Humanoides, also notable for quite a melodramatic intro.
On Color Humano, Vol. 3, Las Historias Que Tengo clocks in at just under twelve minutes and contains a lot of guitar dominated instrumental play, but it's unexceptional and some cuts on the album are downright tedious.
Color Humano split soon after this release. Molinari and his wife Gabriela relocated to Los Angeles. More went on to La Maquina de Hacer Pajaros and various other outfits and Rafanelli re-emerged in Sui Genesis and Polifemo. They reformed in 1995 for an unsuccessful reunion CD
1. Mikrokozmos (7:23)
2. Nech zije clovek ~ Long live man (16:29)
3. Preludium in C Dur (a cast z baletu Romeo a Julia) (8:40)
4. Hudba k vodometu C.1 ~ Music to the fountain no (10:38)
5. Nesmierny smutok hotelovej izby ~ An immense sadness of Ti (2:37)
Ivan Belak / bass
Jozef Farkas / guitar
Dusan Hajek / drums
Marian Varga / organ, piano
Code III were never a proper band, but were an impromptu group created for an album dedicated to showcasing the amazing sound characteristics of the Kunstkopf Artificial Head Recording System. Principally, Code III were Berlin studio engineer Manfred Schunke and American multi-instrumentalist Ed Key.
The music on PLANET OF MAN is a sonic depiction of the history of the Earth, from the void of empty space, via the formation of the planets, the evolution of life, through to man's domination of the planet, and ultimately back to the void. The opening and closing excursions, involving atmospheric electronics, injections of a dreamy folk song, and disembodied resonant female voice, hint a little at Brainticket's CELESTIAL OCEAN, although the mood is much spookier. Confusingly "Dawn Of An Era" (the lyrics are sung in the previous track) involves what sounds like demented Neanderthals involved in some weird drum ritual. "Countdown" adds up to a blend of atmospheric electronics with abstract use of voice collage and effects (and Indian music), onto a remarkably clever accelerating space-rock burn-out featuring Klaus Schulze at the drum stool! Returning to weird space music at the end, it all adds up to a remarkable and unique album.
'68: wikipedia:
The songs were written as part of prominent Canadian playwright George Ryga's stage play Grass and Wild Strawberries. The distinctly literary lyrics were written by Ryga. The song "Seventeenth Summer" was later re-recorded by Chilliwack and an extended jam based on it became a feature of their live performance. The fast-paced "Early Morning" was released as a single but did not become a major hit, reaching #84 on the RPM Magazine chart on July 12, 1969.
07. "Overture" 4:46
08. "Grass & Wild Strawberries" 2:09
09. "Things I Remember" 2:49
10. "Dont Turn Away (From Me)" 3:12
11. "Teletype Click" 2:54
12. "Seventeenth Summer" 3:31
13. "The Long Rain" 2:58
14. "My Love Delights Me" 2:26
15. "Dream Of Desolation" 2:35
16. "Rainbow Of Fire" 2:54
17. "Early Morning" 3:35
18. "Shep On The Hillside" 4:19
Howie Vickers - lead vocals
Claire Lawrence - saxophone, backing vocals, flute, harmonica, keyboards
Bill Henderson - guitar, backing vocals, keyboards
Glenn Miller - bass, backing vocals
Ross Turney - drums, percussion
Universal Migrator Part 2: Flight of the Migrator is a progressive metal album released in 2000 by Dutch multi-instrumentalist Arjen Lucassen, and is the fifth album of his Ayreon project.
The musical styles found on Flight of the Migrator are in stark contrast to its counterpart The Dream Sequencer, illustrating a wild, raucous journey through the tumultuous and chaotic reaches of outer space. In keeping with the setting of the story, the album's tone is much heavier, exuding a powerful, guitar-driven metal feel throughout.
Both albums were released simultaneously, sold well and were received positively, with most fans purchasing both separate discs. In 2004, Arjen moved to a new record label - InsideOut Germany - and with this move came re-issues of all the previous Ayreon releases, including The Dream Sequencer. The special edition re-issue merged both albums into a single release, titled Universal Migrator: Parts I & II. No new features were added, as Arjen felt it would be unfair to those fans who bought both albums originally, in 2000.
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