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Passport: Looking Thru

 A l b u m   D e t a i l s

Artist: Passport
Title: Looking Thru
Released: 1973
Label: WEA Records
Time: 35:01
Producer(s): Klaus Doldinger
Appears with: Curt Cress
Category: Jazz
Rating: *********. (9/10)
Media type: CD
Purchase date:  2006.05.12
Price in €: 7,99
Web address: Fan Sie

 S o n g s ,   T r a c k s


[1] Eternal Spiral (Passport) - 4:04
[2] Looking Thru (Passport) - 8:01
[3] Zwischenspiel (Passport) - 1:36
[4] Rockport (Passport) - 3:35
[5] Tarantula (Passport) - 4:53
[6] Ready for Take Off (Passport) - 4:50
[7] Eloquence (Passport) - 5:16
[8] Things to Come (Passport) - 2:46

 A r t i s t s ,   P e r s o n n e l


Klaus Doldinger - Electric Piano, Keyboards, Mellotron, Moog Synthesizer, Organ, Soprano Saxophone, Tenor Saxophone, Synthesizer, Composer, Producer
Wolfgang Schmid - Bass, Guitar   
Curt Cress - Drums, electronic percussion, Percussion   
Kristian Schultze - Fender Piano, Keyboards, Organ, Piano, Electric Piano   

Dieter Dierks - Engineer
  

 C o m m e n t s ,N o t e s

1973 LP Atlantic 7042   
1973 Atco 7042   
1974 CS Atco CS-7042   
1990 CS Atlantic 7042   
1998 CD Wea International 44144   
2001 CD Wounded Bird 7042   
2001 CD Wounded Bird 7042   
2006 CD JVC Victor 60024



This mid-'70s album introduced them to the U.S.

Michael G. Nastos, All Music Guide



This album by four academically trained and commercially experienced German musicians contains accessible, electronic-oriented compositions, tracks that synthesize jazz and rock and alternating current for the purpose of entertainment. Passport's sounds are more engaging than the formless walls of sound erected by such jazz-biased fusions as Tony Williams's and Miles Davis's bands. Passport is slicker and less intellectual than the Soft Machine, though the two groups create some similar moods. Looking Thru makes an effort to communicate through a variety of aural effects. A balance between "real" instruments (saxes, drums, Fender piano, bass) and more exotic devices (Moog, Mellotron, electronic percussion) allows interesting sonic patterns that are both new and recognizable. Blues lines with a quirky twist. Fast and funky synthesized bass lines. An ominous Gregorianesque chant. At one point a tiny chain-reactor humorously trades fours with a human drummer. Here is a witty and likable excursion into the distant present.

Rolling Stones 165, TOM NOLAN 
 

 L y r i c s


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