Leong Lau ‎– Dragon Man

Label:
Strawberry Rain ‎– SR010
Format:
Vinyl, LP, Album, Reissue
Country:
Released:
Genre:
Style:

Tracklist

A1 The Atlas Revolution 4:50
A2 Ghost Drums 4:49
A3 Rhythm Pounding 5:55
A4 Dragon Man 4:19
B1 Soul Baby 5:41
B2 Deep In The Jungle 8:35
B3 Love Poem 3:00

Credits

Notes

Engineered by Ross at Earth Media Recording Co., October 1976.

Barcode and Other Identifiers

  • Barcode: 8 26853-6294-1 6

Other Versions (3 of 3) View All

Cat# Artist Title (Format) Label Cat# Country Year
LP10001 Leong Lau Dragon Man(LP, Album) Sunscape Records LP10001 Australia 1976 Sell This Version
SR010 Leong Lau Dragon Man(CD, Album, RE) Strawberry Rain SR010 Canada 2014 Sell This Version
RB 320 Leong Lau Dragon Man(CD) Rock-In-Beat-Records RB 320 Germany 2003 Sell This Version

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gmleonglauisntthatso

gmleonglauisntthatso

December 22, 2017
Most people regard this album as psychedelic funk,. Warner Bros. International released this music in "Wizard of Oz" CD compilation live music performance described as "mega-psychedelic" as Leong Lau was the icon of psychedelic funk, pioneering spontaneous composition
gmleonglauisntthatso

gmleonglauisntthatso

December 22, 2017
This album describes the passion of LOVE in musical stanzas, that start from the beginning of courtship, the Pathos of contrasts and the drama of Eros in shaping the aspirations, the achievements and the glory of all endeavors, adventures and discoveries that VISIONARY COMPOSER Leong Lau: Musician of East West cultures, in unique musical expressions, have shaped the destiny of humanity in Dragon Man album.
According to Leong's theory and practice, music composition is vision. Musicians and critics have often used this term carelessly, but in Leong's work "vision" has several definite meanings the "Vision" referring to phases of a creative process of consciousness, sometimes means contemplation, in which the musician communed with nature and those he loved, and in which he periodically had oceanic, ecstatic experiences of realization, illumination, or enlightenment. At these times, sensation, perception, thinking, and feeling, especially love, were clarified, purified, and radically expanded; so he claimed that "vision is love." As experience became intellectualized, vision came to mean the act of philosophizing and also the world-view projected by philosophizing; so vision is sensuous and abstract, non-verbal and literary, personal and transpersonal. Leong's world vision is both conservative in reviving and uniquely synthesizing Taoist-Christian, Classical, Hindu, and modern traditions of spiritual realization, and psychedelic in its vigorous denunciation of the prevailing impersonality, oppression, and alienation of modern society, technology, and culture, which he believed could be replace by a humane and enlightened way of life. As his personal experiences were expressed in music composition, vision became the act of music performance communication, evolving from interpersonal communion and recreating community. His vision is uniquely his, yet it is also universal in scope and validity because it realizes the person in world community. Leong's world vision reveals his, and our, "One Dimensional Man," as Herbert Marcuse puts it in his book also called One Dimensional Man.
Music composition is vision," Leong asserts in music composition, which is regeneration, and complies with D. H. Lawrence's view," "the pure act of sensual communion and contemplation." Does he mean all music composition, or the best of it? Obviously his idea is normative rather than descriptive, characterizing the music composition akin to the literary works of Lawrence, Yeats, Blake, Whitman, the great achievements expressed in music composition that he translated from Tu Fu, Li Ch'ing Chao, Sappho, Dante, and his own. He means by "vision" the essence of music composition, the quality that makes it true music composition, the quality often ignored by critics who emphasize form, structure, construction, or technique at the expense of imagination, or identify artifice as music composition itself. Craftsmanship is important in Leong's own music composition and all music composition that he values, but as a means to an end rather than as an end in itself.