STARCASTLE- U.S.A. 70's

Para amantes da sonoridade do YES ou similares como DRUID ou ENGLAND, é altamente indicado.Banda dos U.S.A., anos 70, estes 3 CDS que indico são meus preferidos.Som é excelente, realmente lembra muito o YES, mas não tem aquela pegada com inserções mais complexas e atonais como em Close to The EDge.Capas muito belas também.

Infelizmente é mais conhecida por copiar o YES, o que é uma pena, A história do Starcastle remonta a 1968, quando Steve Hagler (guitarra), Mike Castlehorn (bateria) e Paul Tassler (baixo) formaram o ST. JAMES, uma banda cover que obteve algum sucesso tocando em pubs e bares locais. Logo depois, Herb Schildt se juntou à banda e, com um tecladista, eles estavam prontos para voos mais altos, mas uma tragédia os atingiu: Mike Castlehorn morreu em um acidente de carro e foi substituído por Steve Tassler. Após anos de ensaio e composição de novas músicas, o STARCASTLE lançou seu álbum de estreia homônimo em 1976. Mesmo sendo rotulados como clones do YES, a banda foi bem recebida nos EUA e no Canadá. Apesar de diversas mudanças na formação, o STARCASTLE conseguiu lançar mais três álbuns: "Fountain of Life" (1977), "Citadel" (1977) e o mais comercial "Real to Reel" (1978). Depois disso, a banda se separou, mas realizou alguns encontros breves.

LIZ LITH -Two Albuns

LIZ LITH - voices/vocals/keyboards AMYR CANTUSIO JR: synthesizers/drums/arrangements Rare digital CD, where we produced 2 CDs in a Dark Wave style with nuances of Gothic Metal and Dark Progressive Rock. Liz has a unique vocal performance and this work has no parallels in Brazil. Closer references would be Siouxie & Banshees, Colony 5, Garbage, Sisters of Mercy, but with a very unique and personalized touch. ALPHA III HOME STUDIO Campinas S.P. Brazil 2022

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LILITH-The Garden of Midnight

LILITH (Owl in the Akkadian language) Commented Historical Analyses ALPHA III PROJECT MUSIC & VIDEO: Amyr Von Bathel cantusio IMAGES FREE ILLUSTRATIONS -EDITION(Net) Editing,

SOUNDTRACK COMPOSITION, and Effects: Amyr. 

On the seventh day of Creation, God created man in his image: “in the image of God he created him; male and female he created them.” (Genesis 1:27). Such a categorical statement is a denial of the more widespread version: that man was created before woman. At this point, there are different interpretations. The first is that Adam would be an androgynous being (male and female) and that the separation of Eve represented the splitting of the original androgynous creature into two (Unterman, 1992:25). Adam’s androgyny is explained in some rabbinic texts, such as the Sepher Ha-Zohar, which contain the statement of Rabbi Abba: “The first man was male and female at the same time, for scripture says: And Elohim said: let us make man in our image and likeness (Genesis 1:26). It is precisely so that man would resemble God that he was created male and female at the same time.” PS: Elohim are “creative forces” and their sum would be the divine monad, or God. Unknown cosmic forces, but acting like gravity. Some consider the text a “group of extraterrestrial entities.” In any case, they would be the “creators.” However, there is another interpretation, which seems more fascinating to us: that, as was done with the animals, God would have created a couple: Adam and a woman who preceded Eve. This primordial woman would have been Lilith, a figure well known in ancient Jewish tradition. Lilith did not submit to male domination. Her way of demanding equality was to refuse the sexual position where the man is on top. Because of this, she fled to the Red Sea. Adam complained to the Creator, who sent three angels in search of the rebellious bride. The three angels were Sanvi, Sansavi, and Samangelaf. The emissaries of the Lord tried to convince her. They threatened to drown her in the sea. Lilith, however, replied: “Leave me, do you not know that I was not created in vain and that it is my destiny to slaughter newborns; while it is a boy I have power over him until the eighth day, if it is a girl, until the twentieth.” However, she swore to the angels, in the name of the living God, that whenever she saw the figures or even the names of God’s messengers, she would leave the child in peace. She also accepted that one hundred of her own children would perish daily.” (Gorion, :53). Lilith was transformed into a female demon, the queen of the night, who became the bride of Samael, the Lord of the forces of evil. According to an old tradition, Lilith would be a seductive figure, with long hair, who flies at night like an owl, to attack men who sleep alone. Male nocturnal emissions can signify an act of union with the demoness, capable of generating demonic offspring. Newborn children are her main victims. The belief in Lilith, for a long time, served to justify unexplained deaths of newborns. One way to protect children against the fury of the beautiful demoness is to write on the bedroom door the names of the three angels sent by the Lord. Another way is to place three ribbons on the newborn’s cradle, each bearing the name of one of the three angels. According to Unterman, on the eve of Shabbat and the New Moon, when a child smiles it is because Lilith is playing with it. To protect the child, one must gently tap the child’s nose three times, pronouncing a protective formula against Lilith. The same author states that, in the Middle Ages, it was considered dangerous to drink water during solstices and equinoxes, periods in which Lilith’s menstrual blood drips into exposed liquids. Finally, another Jewish tradition states that the legendary Queen of Sheba who visited Solomon was none other than Lilith. The wise king, however, discovered the trick by lifting the queen’s skirt and noticing that her legs were hairy. According to a Jewish legend, after the expulsion from paradise, Adam, in order to mortify himself, stayed separated from Eve for one hundred and thirty years. Since he was sleeping alone, Lilith found him and lay beside him and conceived countless demons from him. Those who encountered them were tortured and killed (Gorion, :54). There is also the belief that Lilith transformed into a serpent to tempt Eve and avenge herself against Adam. A third interpretation belongs to a Jewish tradition: “the biblical serpent was a cunning animal, which walked upright on two legs, spoke and ate the same food as man. When it saw how the angels honored Adam, it became jealous of him, and the sight of the first couple having sexual relations awakened in the serpent a desire for Eve. By instigation of Satan or Samael, or, according to some versions, possessed by him, the serpent persuaded Eve to eat the forbidden fruit and seduced her. As punishment, its hands and legs were cut off and it had to crawl on its belly; all food it ate tasted like dust, and it became the eternal enemy of man.(...) When it had sexual relations with Eve, it injected its venom into her and into all her descendants.” Expelled from paradise, Adam and Eve had, according to the canonical version, two sons: Cain and Abel (Genesis 4:1–2). The causes of the fratricide committed by Cain are well known, so we move directly to another version: “in a paroxysm of jealousy due to the rejection of his offering and because of a twin sister whom Abel married, Cain killed his brother.” We draw attention to a new element that appears here: the existence of a twin sister who had been married to Abel. Later, we will return to this subject. For now, what interests us more is the version that Cain was not actually the son of Adam, but of the serpent that had seduced Eve. Moreover, when he was banished to the east of Eden, God gave him horns to scare away animals that might attack him. His punishment consisted of wandering the earth without rest, without anyone being able to kill him. “THE SHADOW MOTHER IN THE LAND OF NOD” In the Bible, the main female archetypes are Eve, the woman who brought sin into humanity; and Mary, the woman who brought into the world the one who would save all men from sin. However, in Semitic mythology, there is a third woman whose trajectory is directly linked to the fate of humanity: Lilith, Adam’s first wife, the serpent that deceived Eve, the demon of lust. Lilith was born from stardust and moonlight. She was not made from the dust of the Earth like Eve. She was a kind of primordial spirit incarnated and had sexual relations with Adam. After the expulsion of Adam and Eve from the Garden of Eden (primordial Earth), they went to the desert regions of Nod, mentioned as the border of the Garden of Eden in several ancient manuscripts. There are some different versions of the Lilith legend. In the most accepted one among scholars of myth and based on the Talmud (one of the books considered a source of rabbinic wisdom), Lilith is created by God in the same way as Adam, that is, molded by divine hands, but from mud and feces. Both are the first couple, responsible for caring for Eden. However, over time Lilith rebels for not accepting being in an inferior position to her husband, since both were created in the image and likeness of God. The submission is also sexual, where Lilith exercises power of seduction and orgasmic entrapment over Adam, and he, in turn, lies continuously on top of her, in a sign of dominance in intercourse and relationship, which Lilith does not accept. Seeking equality, Lilith comes into conflict with her husband, challenges her subordinate position, and also challenges the Creator, having to choose between submission or leaving the Garden. She chooses the latter and goes into exile in the Red Sea, a stronghold of demons. For some time Lilith is compelled by angels to return to the Garden, but she chooses to live as a demon and permanently abandons Adam. He, saddened by the loss of his woman, falls asleep, and from his rib God creates Eve, a woman who came from man, therefore dependent and submissive to him, who would officially be Adam’s first wife, the mother of humanity (*) (*) Not truly the mother of all humanity as we know it, because when they were expelled from Paradise, they encountered other tribes wandering the Earth of Nod. After her exile to the Red Sea, Lilith returns to the Garden of Eden as a demon, and in the form of a serpent is responsible for the temptation of Eve, which led all humanity into sin. With cunning, Lilith confuses Eve and awakens in her the desire for equality, not equality with man, as the first woman once desired, but equality with God himself. Lilith is the serpent already associated with Mesopotamian legends, the demon of lust — who tempted young men sexually at night, causing erotic dreams and “nocturnal emissions” — and later, with the greater systematization of Israelite beliefs, the legend was incorporated into the idea of the Devil and his hosts. On the other hand, the myth of Lilith, originally present in Babylonian and Assyrian culture, also persisted in the oral tradition of the Hebrews and in books of wisdom considered apocryphal by Christian culture. In addition, the legend has been revisited by the study of religions, comparative mythology, psychology, astrology, and mysticism, where Lilith is the Black Moon, the hidden face of the moon. Lilith (Owl) When Eve was tempted by the serpent, the Bible does not explicitly reveal whether she was alone or with Adam, but Adam’s lack of intervention in the dialogue between her and the serpent suggests that they were alone. Eve is tempted to be like God, knowing good and evil, if she eats from the fruit of the tree of knowledge; furthermore, she would not face the penalty instituted by God for disobedience, which is death. After analyzing the fruit, the woman decides to eat it and offers it to her husband, who also eats it. Immediately both realize they are naked and hide upon hearing God’s voice (Genesis, chapter II). It is important to note that when God asks about the disobedience, Adam blames Eve and she blames the serpent. (*) Note that Lucifer was in the Garden, and Lilith was his lover. This appears in apocryphal books in greater detail. The three are punished: the serpent (Lucifer, here embodied as a lesser angel, Satan) — which according to legends had wings — would crawl forever; man would have to work to sustain himself; woman and serpent would be enemies; woman would suffer childbirth pain and be dominated by man; and finally humanity would be banished from Paradise. There is also mention of the woman’s offspring who would crush the serpent’s head, which for some theologians refers to Christ and Satan (Genesis, chapter III). Eve is then the one responsible for original sin, which, in the collective imagination, spreads to all women. It is interesting that Eve, despite being transgressive, stays with Adam to hear her sentence and fulfills it, carrying the stigma of sin, impurity, fragility, naivety, and redemptive suffering that extends to women in Christian society as something inherent to their nature. Lilith, in turn, chooses to live alone and wandering, and as a woman does not receive the punishment of motherhood, or motherhood as punishment, in the sense of labor pains and suffering, as we will later see with Mary. Thus, in addition to being blamed for human misfortune, woman (from Eve onward) is also stereotyped as one who listens to the Devil, therefore prone to being deceived by him and following his designs and tricks. This stereotype pursued women especially during the Inquisition, where being born female was already a presumption of accusations of demonic pacts in the form of witchcraft or sorcery. Lilith – Other Considerations If Eve denies her ambition and desire to be equal to God, accepting being dominated by her husband, the perfect archetype of the clumsy and submissive woman; and Mary denies her sexuality, being both mother and virgin, the maternal archetype; Lilith, on the other hand, from her creation assumes her convictions, ambitions, and sexuality, and for this reason is even the woman who frightens, dominates, and can destroy. According to descriptions from Hebrew scriptures (Torah and Midrash), Lilith appeared to Adam covered in blood and saliva. The blood mentioned in the citation above suggests menstruation, a carnal and instinctive characteristic of women, as well as Lilith’s lack of modesty and taboos, appearing freely before man, also willing to experience sexual activity during the menstrual cycle. The saliva reinforces the symbolic sexual character, referring to erotic secretions. Thus, the sensual and liberated condition within the feminine symbolic universe in Lilith becomes evident; it is this sexual agency that leads man to ecstasy and loss of control, which frightens the masculine symbolic universe expressed in Adam: therefore, he withdraws and seeks a suitable companion — that is, submissive, obedient, who feels inferior. In any case, Lilith would be a feminine archetype of independence and sensuality. She would represent the woman who is not ashamed of herself, but rather proud of being a woman, and expresses this pride through her sexuality. Lilith also demonstrates this pride by refusing to live in submission to Adam, leaving paradise to live a free life outside the male shadow, paying for it by becoming a demon. It is therefore the opposite of the model of a restrained, submissive, repentant woman whose identity is only linked to a male figure. “Lilith is the figure of the insubordinate, intellectual, present, warrior woman, feminine in every sense, and sexually active.” The consequences of the repression of Lilith’s sexuality are, among others, the dissociation between motherhood and sexuality, the double moral standard, and the control of male sexuality. (Lilith – The Black Moon – Roberto Sicuteri) Psychoanalysis According to the myth, the relations between Adam and Lilith were marked by urgency, by passion capable of dominating Adam and making him lose reason and surrender to lust. It is believed that the seduction produced by her made him distance himself from his commitments to divinity. Lilith is behind hysterical phenomena, arising from the repression of sexuality, which generates somatizations and illnesses. She is responsible for the disintegration of the family, whether projected as a seductive lover who “takes” and “steals” the husband from the wife, or projected as the rebellion of the wife who cannot tolerate her husband-Adam’s “no.” However, beyond the sexual issue, which generates many other legends and interpretations about Lilith — such as the idea that she was a demon who populated the dreams of Israelite men, causing erotic dreams and thus being the first succubus, or the mother of succubi — Lilith is also considered a demon that inhabited men’s dreams. Lilith would have received a punishment equal to her transgressions from the misogynistic Jewish point of view, since the price of her rebellion was to become a demon. Lilith was created as a woman, but her new condition prevented her from living with humanity, and according to the punishment where woman and serpent would forever be enemies, Lilith and her archetype became drastically opposed and even rivals of Eve and the model of woman she suggests. Another aspect is Lilith’s demonic reference, because if Eve is the woman who yields to the devil’s temptations, Lilith is the devil itself. Represented for centuries in literature as the mother of succubi, the wife of Lucifer, the Black Moon, and her counterparts being Demeter, Hecate, Persephone, all linked to the underworld or “Netherworld.”

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THE NICE & EMERSON LAKE AND PALMER( Special Review)

The poisoned year of 1967 gave off psychedelia, mutations, bizarre augmentations and radical insurrections in rock. In 1967, from this whirlwind also emerged the phenomenal virtuoso, master keyboardist Keith Emerson and his avant-garde group, The Nice. At the beginning they were four young men with a sound that was extremely bold and experimental, which even today sounds advanced and cannot be fully absorbed without a prior musical initiation. To understand The Nice, it is necessary, first of all, to have musical knowledge in the areas of traditional and contemporary classical music, as well as jazz and blues. All of this was mixed with great drive, creativity and pomp, making The Nice a pioneering group. Deep Purple would start in the same way and at the same time, but The Nice was more radical and erudite. In fact, conductor Jon Lord was Keith Emerson’s harmony teacher. The Nice became famous for its power-trio lineup: keyboards, bass and drums. The first LP, released in 1967, featured guitarist David O’List, the superb and virtuosic drummer Brian Davison, and the phenomenal bassist and vocalist Lee Jackson. Alongside, of course, mentor Keith Emerson. This first work is excellent, with more acidic and progressive tendencies due to the presence of O’List’s guitar, which greatly changes the overall musical expression. With the departure of this excellent guitarist, the band established the trio format for posterity, creating four more crushing albums that would mark an entire chapter in rock history. The music of The Nice is eclectic. Their compositions are generally about 10 to 15 minutes long and are based on the Hammond organ, acoustic piano (unequalled to this day), drums and bass with precise jazz-like divisions and interventions and incredible arrangements. Very difficult music to compose, rehearse and perform, as it requires a vast musical background. Emerson plays J.S. Bach, Sibelius or Beethoven just as well as Scott Joplin, rags and blues. Moreover, for keyboard players he is a reference school, especially in relation to the sonic excesses he extracts from the Hammond B-3 organ. On the piano the man is precise, with a spotless technique that is jaw-dropping. The Nice would be a pioneer of an era that would give the world the future Emerson, Lake and Palmer. It would also initiate a series of other high-level imitators, that is, a new school within rock such as Vincent Crane (Atomic Rooster), Triumvirat, Tritonus, Epidaurus, U.K., etc. The Nice would inspire King Crimson, from which an entire school of musicians emerged to make an impact in the 1970s, including bassist Greg Lake, who provides vocals and strings on the group’s first album, In the Court of the Crimson King. Lake debuted with Emerson, Lake and Palmer at the Isle of Wight Festival in August 1970. I cite here, for purposes of essential research for those interested, the essential albums of The Nice group: The Thoughts of Emerlist Davjack (1967), Ars Longa Vita Brevis (1968), The Nice (1969), Five Bridges Suite (1970), Elegy (1971). In reality, the work developed by The Nice would not even be matched by the later ELP itself, despite inevitable comparisons. ELP would be more bombastic, and Keith Emerson would make use of Moogs and more aggressive synthesizers, with fewer jazz insertions and more rock. The Nice is more purist, raw, and from a time when innovations were a major feat and risk for producers, so much so that in one of the group’s performances the indifference was so great that Emerson literally set off a bomb on stage so people would pay attention to the band’s sound. Therefore, it has always been difficult for great art to reach the masses, as the voice of the masses has never been the voice of God.

Emerson, Lake & Palmer, the epitome of the splendor of 1970s progressive rock, were one of the most successful groups of the genre, selling more than 40 million albums and filling large stadiums. They were also criticized for incorporating some of prog’s excesses. Although the trio produced several shorter, more melodic songs that received radio airplay at the time of their release, ELP’s true strength lay in epic classical rock pieces, which often occupied entire sides of albums and became the centerpiece of the trio’s increasingly grandiose live shows. As a supergroup whose members had already played in renowned English bands, ELP was seen as a success from the very beginning. The flamboyant keyboard virtuoso Keith Emerson, notable for his many synthesizers, had already achieved success in the UK with the band The Nice. Vocalist, bassist, and guitarist Greg Lake, whose unmistakable voice and catchy melodies were among ELP’s most accessible elements, had been an important member of the original lineup of King Crimson. Drummer Carl Palmer, known for augmenting his massive drum kit with gongs and other percussion instruments, had been a member of Atomic Rooster and the Crazy World of Arthur Brown. NOTE: Tarkus and Toccata are piano pieces from the pianist Alberto Ginastera(Argentine).

Pictures at an Exhibition was great LP !!The second Live Album inspired by Mussorgsky(URSS)age 19 piece.Of course full vocal arrangements by Lake its very beautiful too!!My predilect album of all.

Keith Emerson plays at first time live a Big Modular Moog Synthesizer.

ELP albums from the early 1970s, such as Emerson, Lake and Palmer, Tarkus, Trilogy, and Brain Salad Surgery, balanced longer tracks with more radio-friendly songs like “Lucky Man” and “From the Beginning,” while the fact that Pictures at an Exhibition was a classical suite spanning an entire album did not prevent it from becoming one of the top 10 best-selling albums in the United States.

The trio’s adventures reached their logical conclusion with Works, Volume I, from 1977, a double album that combined group collaborations with solo pieces, including an Emerson piano concerto that occupied an entire side of the record. That album and its sequel, Works, Volume 2, a single disc, were commercial failures, as was an enormous tour with a full orchestra, whose operating costs resulted in estimated losses of $3 million. The Works albums and tour proved to be ELP’s last major gasp. (**)Are great LPS...!!!Of course Fanfare for Common Man was a great music of the " Works Black  Double Album".Composed by Aaron Copland(  Like "Rodeo" from Trilogy great album) The "Works White Album" it's another great  music for fans,with high approach technique ,and Scot Joplin's inspirations on Ragtime.The change in public taste, including the rise of punk and new wave, made the group’s style seem outdated, and after the release of the bad Love Beach in 1978, ELP disbanded.

(*)E,L&P short review( I agree)  from Teachrock .

(**)My note

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Greenslade “A Musical Progressive Odyssey”

*)Greenslade “A Musical Progressive Odyssey”

Despite being little talked about or remembered among the giants of progressive rock—perhaps more due to a lack of awareness of the band’s full body of work than to the promotion of its albums—this is one of the bands that has produced some of the most complex and beautiful sounds in the entire history of prog. Formed primarily by the virtuoso keyboardist Dave Greenslade, the sonic structure is heavily built on a Bachian counterpoint over a foundation of jazz-like percussion. Incidentally, the drummer Andrew McCulloch (who also plays on King Crimson’s album *Lizard*, also from 1970) is an impressive percussive machine, which gives the group a distinctive sound, drawing attention through the intricate beauty of its music. What impresses me most when listening to their sound are the keyboard arrangements, which at the time had to be recorded on separate channels and then layered, something that today can be done all at once via MIDI or computer. The classical and baroque arrangements stand out to the ear at first, with a Fender piano base, then often layered with Hammond organ, enriched with harpsichord, ARP strings, Mellotron, and Moog. Greenslade’s precise technique places him above groups like Triumvirat and closer in stature to Trace than, for example, Keith Emerson. The precision and integration of the keyboards with the drummer is overwhelmingly enjoyable and impressive! The music as a whole does not use guitars, which appear only occasionally on some records. In fact, the basic format is a keyboard-oriented power trio.Sometimes, two keyboard-players.Simon Phillips debuts the first LP on drums!!Fantastic!!Art cover by Roger Dean. I must also mention the magnificent album covers, which are works of art in their own right, designed by major artists. I cite here Roger Dean (Yes), who created the logo for the first album, followed by Patrick Woodroffe (who made the wonderful 1979 album *Pentateuch of Cosmogony*). In fact, listening is mandatory for lovers of drums and keyboards, and also for admirers of classical music, especially from the Baroque period, on which the cited work is based, particularly J.S. Bach, Handel, and Vivaldi. I had to enshrine this article, as I still lacked the memory of having properly done so years ago, which would have been a great sin on my part and an injustice to progressive ears. Friends, dive headfirst into this wonderful group, which will grant you unforgettable moments! Recommended albums: Greenslade, *Time and Tide*, *Spyglass Guest*, *Cactus Choir*, *Besides Manners Are Extra*, *Pentateuch of Cosmogony* (1979 double album with 47 pages illustrated by Patrick Woodroffe).

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THE SYNTHESIZERS (Vintage Tests by Amyr Von Bathel Cantusio)

As a pianist and synth programmer for decades, here are some short DEMO TEST videos (Teasers) recorded with cell phones, etc... of synthesizers that are now rare, vintage, some complex and very expensive to acquire, at least in Brazil. I've seen prices on eBay and they really cost more than modern synths. In my opinion, some sound better than modern ones, but others are very heavy and outdated contraptions. It will depend on the musician, the type of sound and style for each one to choose what best suits their musical segment. The videos are available in large quantities on my YouTube channel (I have two) and in the playlists. You can search for Keyboards and Synthesizers, Symphonies, Solo Pianos, and the page with all the operas by Carlos Gomes, which I remastered and are rare worldwide (I will do a separate synopsis and review of this on another occasion).

 

 

 I am Brazilian and an Italian citizen, leader of the ALPHA III projects (various LPs and CDs including the Italian label Mellow Records), SPECTRO (70s) and ACRON (CD by Musea label Distributors). I have 12 published books and a vast body of musical work in the areas of avant-garde, classical music, classical & progressive rock, and electronic vintage music. Some Teasers have a lot of drums-samplers on back to improving the records!Live Studio Demos.

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ALPHA III- Illusions of Edgar Allan Poe

"When the wind came out of the cloud in the storm that night It froze and killed the one I knew how to love. I felt that neither the angels of heaven, nor the demons under the sea Could separate my soul from the one I always knew how to love." (Edgar Allan Poe) The musical work I have developed since SPECTRO (1974) in Brazil has always been based on philosophy, esotericism, and occultism. Books by authors such as Carlos Castaneda, Edgar Allan Poe, Jorge Luis Borges, H.P. Lovecraft, Dante Alighieri, John Milton, etc., have always been preferred sources of inspiration for composing. I have also developed some fractal videos, mixed with images to alter eye contact along with the music and lead the listener to an interactive audiovisual experience. In this case, I based this video on stories by Edgar Allan Poe. The music was composed for this purpose... a journey to the center of the hidden mysteries of each one.