Available in Audiophile 96kHz/24bit

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Album Name Dauer Format Auflösung Preis
Eidolon 2:31:49 22,00 €
Buy Individual Tracks
# Track Title Dauer Format Auflösung Preis
1 The Sixteen Men of Tain (Remastered) 06:24 96/24 Album only
2 The Drums Were Yellow (Remastered) 05:55 96/24 Album only
3 Eidolon (Remastered) 04:35 96/24 Album only
4 How Deep Is the Ocean (Remastered) 05:29 96/24 Album only
5 Nuages (Remastered) 05:41 96/24 Album only
6 Ruhkukah (Remastered) 05:32 96/24 Album only
7 Low Levels, High Stakes (Remastered) 09:03 96/24 Album only
8 Tullio (Remastered) 06:00 96/24 Album only
9 Sphere of Innocence (Remastered) 05:59 96/24 Album only
10 Dodgy Boat (Remasterd) 05:36 96/24 Album only
11 Against the Clock (Remastered) 04:57 96/24 Album only
12 City Nights (Remastered) 02:34 96/24 Album only
13 54 Duncan Terrace (Remastered) 04:35 96/24 Album only
14 Road Games (Jack Bruce)(Remastered) 04:14 96/24 Album only
15 Peril Premonition (Remastered) 04:47 96/24 Album only
16 Distance vs. Desire (Remastered) 05:18 96/24 Album only
17 Pud Wud (Remastered) 06:43 96/24 Album only
18 Non-Brewed Condiment (Remastered) 03:43 96/24 Album only
19 Funnels (Remastered) 06:13 96/24 Album only
20 Metal Fatigue (Remastered) 04:57 96/24 Album only
21 Home (Remastered) 05:33 96/24 Album only
22 Devil Take the Hindmost (Remastered) 05:38 96/24 Album only
23 Tokyo Dream (Remastered) 05:04 96/24 Album only
24 Water on the Brain Pt II (Remastered) 02:46 96/24 Album only
25 Letters of Marque (Remastered) 07:00 96/24 Album only
26 Temporary Fault (Remastered) 03:17 96/24 Album only
27 The 4.15 Bradford Executive (Remastered) 08:30 96/24 Album only
28 Curves (Remastered) 05:32 96/24 Album only

Preis wie konfiguriert: 22,00 €

* Pflichtfelder

℗ 1982 1984 1985 1986 1997 1989 1992 1993 1996 2000 2001 2003 Allan Holdsworth, under exclusive license to Manifesto Records, Inc.
© 2017 Manifesto Records


Allan Holdsworth is widely regarded by fans and contemporary musicians as one of the 20 th century's most prominent guitarists. He is one of a handful of musicians who has consistently proven himself as an innovator in between and within the worlds of rock and jazz music. Many of music's best-known instrumental masters cite Holdsworth as that rare and shining voice—a legendary player who continues to push the outer limits of instrumental technique and the electric guitar's range of tonal and textural possibilities. Particularly during the 90s, Holdsworth has enjoyed the recognition so many musicians strongly feel he deserves, given that he has developed his career outside the big label mainstream and has consistently produced his own recordings with complete creative control since the mid-80s. Despite the uncompromising nature of Holdsworth's predominantly genre-defying solo projects, he's no stranger to all-star jazz festival line-ups or large venue rock audiences. Musician Magazine placed Holdsworth near the top of their “100 greatest guitarists of all time.” There's never been a shortage of media attention or acclaim for Holdsworth's accomplishments and originality. An inductee of Guitar Player Magazine's Hall of Fame, Holdsworth is a five-time winner in their readers' poll. Beyond his ability in improvising mercurial solos and sculpting the guitar's voice into an ever-expanding range of textures and colors, Holdsworth has dedicated his energies to develop many different aspects of guitar technology. This has included new “baritone” variations of the instrument, his own custom 6-string designs (one most recently manufactured by Carvin), the invention of electronic components for the recording studio, and exploring the possibilities of guitar-based synthesizer controllers. Holdworth's ability to improvise over complex and challenging chord voicings always reveals a deep emotional base and a strong, imaginative personality that is as instantly identifiable as any among Holdsworth's generation of guitar and jazz masters. The sounds of Django Reinhardt, Jimmy Rainey, Charlie Christian, Joe Pass , Eric Clapton, and John Coltrane were among this English musician's early inspirations when he began to work professionally as a musician in his early twenties. Born in the city of Bradford , England , Holdsworth had been extensively tutored in aspects of musical theory and jazz appreciation by his father, an accomplished amateur musician. Holdsworth paid his musician's dues early on working the dance-club circuit, where he began to meet fellow musicians who hailed from the south. One of England 's best jazz tenor saxophonists, Ray Warleigh, heard amazing potential in Holdsworth's playing and brought him along to participate in jazz sets at the onset of the 70s, including sessions with Ray at Ronnie Scotts in London . Holdsworth's career brought him to international audiences suddenly in the early 1970s, when he joined drummer John Hiseman's short-lived but much acclaimed “progressive” rock band, Tempest. A decade later, Tempest vocalist Paul Williams would team up with Holdsworth again to form Holdsworth's IOU band and create their independently-released debut recording, which prompted Holdsworth to move his home from London to Southern California . Holdsworth's career throughout the 70s saw a series of feast-or-famine periods all too familiar to many of the most talented musicians. By 1975 Holdsworth had developed a reputation as one of England 's best, underrated guitarists in what was then the avant-garde of English instrumental music ensembles, the legendary group, Soft Machine. Holdsworth's trademark sound is evident with a technique that routinely soars with supersonic intensity, and one of its earliest available samplings can be heard on the 1974 Soft Machine studio release, Bundles . While his reputation in Soft Machine attracted international audiences, he also gained the attention of one of jazz's greatest drummers, the late Tony Williams, known for his pivotal role in bringing Miles Davis to explore rock-based riffs and motifs in an improvisational context. Holdsworth recorded on one of the most celebrated fusion albums from the mid-70s, Believe It , (Epic), as a member of the Tony Williams' New Lifetime. This marked the beginning of Holdsworth's career as a legendary journeyman, but one rarely performing before U.S. audiences. Between 1976 and 1978 Holdsworth's guitar sounds and solos emerged as a mesmerizing tour de force and he participated in many of that era's landmark jazz-fusion and instrumental rock recordings by Jean Luc Ponty ( Enigmatic Ocean ), Gong ( Gazeuse! ), and Bill Bruford ( Feels Good To Me , One of A Kind ). Late in the 70s, the once dominant genre of classic British “prog rock” stumbled on unsure footing as the punk and new wave bands rose in commercial prominence. Drummer Bill Bruford, a founding member of Yes who later joined King Crimson, suggested Holdsworth partic...