Anekdoten's first brace of albums all largely chase the same broad style of heavy prog influenced strongly by mid- 1970s King Crimson, and an audience thirsty for new prog lapped them up eagerly. A Time of Day finds the band sidestepping into a quieter style, with psychedelic influences suggesting that they had been listening to a good deal of 1960s proto- progressive works in the intervening years since Gravity, establishing a new sound for themselves which they would successfully polish further on the following Until All the Ghost Are Gone.

The only studio meeting between Stan Getz and Bill Evans took place over two days in 1964, with the aggressive drummer Elvin Jones and either Richard Davis or Ron Carter on bass. It is peculiar that Verve shelved the results for over a decade before issuing any of the music, though it may have been felt that Getz and Evans hadn't had enough time to achieve the desired chemistry, though there are memorable moments. The punchy take of "My Heart Stood Still," the elegant interpretation of "Grandfather's Waltz," and the lush setting of the show tune "Melinda" all came from the first day's session, with Davis on bass. (Evidently he was unavailable the following day, so Carter replaced him.) Evans' driving, challenging "Funkallero" is the obvious highlight from day two, though the gorgeous "But Beautiful" and the breezy setting of "Night and Day" are also enjoyable…

While there's nothing wrong with doing an album of covers, putting such a project together has its risks. For Erasure, the experiment yields mixed results. More often than not, they connect with the material in unexpected ways, and certainly with greater success than one might expect from other electronic groups. This is due largely to the fact that these guys have been around long enough to develop a sensitivity to music as being more than a beat and a hook. Their sense of humor leads them to revise "Video Killed the Radio Star" in a way that's not only highly amusing - it actually suits the message of the song. Plus, Andy Bell remains a very convincing singer, particularly on the softer material, where his choir-boy timbre glistens and shimmers…

A quirky detour of late-'60s British progressive/blues rock, Blodwyn Pig was founded by former Jethro Tull guitarist Mick Abrahams, who left Tull after the This Was album. Abrahams was joined by bassist Andy Pyle, drummer Ron Berg, and Jack Lancaster, who gave the outfit their most distinctive colorings via his saxophone and flute. On their two albums, they explored a jazz/blues/progressive style somewhat in the mold of (unsurprisingly) Jethro Tull, but with a lighter feel. They also bore some similarities to John Mayall's jazzy late-'60s versions of the Bluesbreakers, or perhaps Colosseum, but with more eclectic material. Both of their LPs made the British Top Ten, though the players' instrumental skills were handicapped by thin vocals and erratic (though oft-imaginative) material. The group were effectively finished by Abrahams' departure after 1970's Getting to This. They briefly reunited in the mid-'70s, and Abrahams was part of a different lineup that reformed in the late '80s; they have since issued a couple of albums in the 1990s.

Dutch Trio (keyboards, bass & drums) led by ex-Ekseption keyboards player Rick Van Der Linden, Trace was considered as the most famous super-group of its country. Its music includes virtuoso, researched, complicated, ever evolving themes, full of breaks and instrumental developments where the keyboards player could show his talent on Hammond organ, synthesizers, harpsichord, piano and Mellotron. By the profusion of its themes and the numerous melodies which compose it, Trace's music is close to ELP. and Yes.