SOLAR PLEXUS – SOLARPLEXUS – 1972 (SWE) progressive rock

A seriously obscure album by a seriously obscure group. Featuring both guitarist George Wadenius and drummer (and race car driver) Tommy "Slim" Borgudd from the fusion band Made In Sweden, the sound is like a more intricate version of that band although the vocals are in Swedish rather than English. This album runs the gamut of fusion in the style of Soft Machine or Ian Carr's Nucleus (who actually had an album titled Solar Plexus), traditional Swedish music and symphonic rock (with very ambitious arrangements).

Carl-Axel Dominique (keyboards, flute)
Georg Wadenius (bass, guitar)
Monica Dominique (keyboards, vocals
Tommy "Slim" Borgudd (drums)
Tommy Körberg (vocals, guitar)

1 Bouillabaisse
2 Polska frЬn orsa
3 Den tanklнse spelmannnen
4 Skнna lЬten
5 Wallenberg
6 Odins Фga
7 Jag Гr glad jag Гr svensk
8 Som ett klarblЬtt klot
9 Cocerto gross fнr popgrupp och symfoniorkester
10 Dom bigger en stad
11 Frygisk samba
12 TЫnk nЫr vi bor allihopa
13 A real goodun'

Tnanx to Chris!

256@ (artwork included)
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SIEGEL SCHWALL BAND – SIEGEL SCHWALL 70 – 1970 (US) blues rock

The group's fourth album, and their final one for Vanguard, showed them mildly progressing within the strictures of the blues format, although in large measure this was more of the same second-division white Chicago blues. There were some slight funk and soul influences in tunes like "Geronimo" and "Walk in My Mind," the latter of which has a psychedelic tinge both to the spacy lyrics and the wavering wordless vocal-harmonica effects heard at the end of the verses. The two live cuts, particularly "Angel Food Cake," captured their jittery take on the blues better than any of their Vanguard studio recordings. The most unusual offering, however, is "Song," which breaks out of the usual blues format with a gentle, hippyish rock ballad not far from the territory of the early work of Vanguard labelmates Country Joe & the Fish, complete with inventive electric piano. Far from being a failed departure, that cut's actually a highlight of this uneven set, which is weighed down by some pedestrian 12-bar blues.

Corky Siegel (harmonica, piano)
Jim Schwall (guitar, mandolin)
Rollo Radford (bass)
Sam Lay (drums)
1 I don't want you to be my girl
2 Do you remember
3 Geronimo
4 Angel food cake
5 Walk in my mind
6 Song
7 Tell me
8 A sunshine day in my mind

Tnanx to Chris!

256@ (artwork included)
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SIEGEL SCHWALL BAND – SIEGEL SCHWALL BAND – 1971 (US) blues rock

Corky Siegel (harmonica, piano)
Jim Schwall (guitar, mandolin)
Rollo Radford (bass)
Sam Lay (drums)

1 (I Wish I Was on A) Country Road 3:19
2 Devil Siegel 5:10
3 Leavin' 3:10
4 Corrina 6:05
5 I Won't Hold My Breath 4:01
6 Next to You 4:20
7 Hush Hush 11:06

Tnanx to Chris!

256@ (artwork included)
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CHILLUM – CHILLUM ... PLUS (UK) – 1971 heavy progressive

This is supposed to be the 3rd Second Hand album and surely the organ parts sound like it. On the other hand there isn't much coherence between the players, so the music comes forth in uncontrolled spurts, leaving it to coincidence whether it coagulates or not. Too much of the insanity of Second Hand's Death May Be Your Santaclaus and too little of the solidity of Reality makes it hard on the ears. A full-blown drum solo doesn't improve things either. Funny insert, though.

Ken Elliott (keyboards, Mellotron, organ, vocals)
Kieran O'Connor (drums)
Tony McGill (guitars)
George Hart (bass)
1 Introduction 0:16
2 Brain Strain 21:42
3 Land of a Thousand Dreams 1:19
4 Too Many Bananas 4:11
5 Yes! We Have No Pajamas 10:33
6 Promenade des Anglais 2:04
7 Fairy Tale 8:07
8 Celebration 6:08
9 This Is Not Romance 5:13
10 Incubator (Take 1) 2:45
11 Incubator (Take 2) 4:00

Tnanx to Chris!

VBR 200@ (artwork included)
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THE OLD MAN AND THE SEA - 1972-75 – 1999 (DEN) heavy progressive

Awesome collection of early 70s Danish progressive rock songs considered a masterpiece by some.

Benny Stanley (guitar)
Knud Lindhard (bass)
Tommy Hansen (organ)
Ole Wedel (vocals)
Lars "Bekse" Thygesen (drums)
1 Setting Back the Time
2 Lady Nasty
3 Elvira (the Night Rider)
4 Sadness
5 Through Your Hair
6 The Sea of Green - Part 1
7 The Sea of Green - Part 2
8 Nasty Backbone
9 Old Man Fishing
10 Roll the Dice
11 White Collar Worker
12 Down by the Sea
13 Love 77
14 The Jam
15 Money

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BAKERY – MOMENTO – 1971 (Australia) progressive rock

Jazzy prog-rock with a bit of a psychedelic sound. Quite groovy and features a lot of extended jamming. Worth checking out if you're big into obscure prog-rock.

John Worrall (vocals, flute)
Tom Davidson (vocals)
Eddie McDonald (bass)
Rex Bullen (keyboards)
Hank Davis (drums)

1 Holocaust 9:24
2 Pete for Jennie 1:30
3 Living With a Memory 8:52
4 S.S. Bounce 4:19
5 The Gift 7:59
6 When I'm Feeling 2:19
7 Faith to Sing a Song 7:25

Tnanx to Chris!

256@ (artwork included)
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KVARTETTEN SOM SPRANGDE – KATTVALS – 1973 (SWE) heavy progressive

Very rare album from the obscure label Gump. Instrumental rock with lots of guitar and groovy hammond organ, sounds like early Santana with some swedish folk. Great album with a nice cover!

Finn Sjöberg (guitar, bass, flute)
Fred Hellman (keyboards)
Rune Carlsson (drums)
A1 Andesamba 5:11
A2 På en sten 4:30
A3 Gånglåt från Valhallavägen 8:48
B1 Kattvals 4:48
B2 The Sudden Grace 4:52
B3 Vågspel 4:02
B4 Ölandsshuffle 3:14

Tnanx to Chris!

320@ (artwork included)
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ELONKORJUU – HARVEST TIME – 1972 (FIN) heavy progressive

Finnish quintet Elonkorjuu are one of the many little-known bands that did heavy blues/psych with strong prog elements, drawing initially from the schools of Cream, Sabbath and Colosseum but expanding on those influences with soulful church organ and cutting guitar from leader Jukka Syrenius. There are also warm jazz undertones and an earthy quality to the production, giving this group a vintage sound you can put on like a pair of ancient but dear shoes.

'Unfeeling' is self-sorry blues rock with almost evangelical vocals and Jukka Syrenius' hot licks, not a great opener but 'Swords' continues the disillusioned weeping and picks up with a good arrangement, understated organ and a bit of flute. The surprising 'Future' absolutely rocks and even foreshadows Fripp's use of atonal guitar lines, Syrenius showing sadly underappreciated talent. 'Old Man's Dream' is strange heavy psych with great changes and a beautiful dual guitar exchange, and 'A Little Rocket Song' is a Sabbatic rocker with Zeppelin's guitar/drum dynamics. No obvious pull here for the jaded progster but many little surprises hidden just beneath the surface, and Elonkorjuu is worth investigation if you have an ear for the shadowy and mysterious world of early heavy progressive rock.

- Jukka Syrenius / guitar
- Veli-pekka Pessi / bass
- Pertti Hannus / drums
1. Unfeeling (3:23)
2. Swords (4:03)
3. Captain (3:41)
4. Praise to Our Basement (4:43)
5. Future (3:55)
6. Hey Hunter (3:40)
7. The Ocean Song (3:17)
8. Old Man's Dream (4:44)
9. Me and My Friend (4:01)
10. A Little Rocket Song (4:04)

Tnanx to Chris!

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BUMP – BUMP – 1972 (US) heavy psych

Not one of the more interesting period artifacts from the Detroit rock scene of the late '60s and early '70s, Bump took after neither the thrilling proto-punkish heavy rock of state mates the MC5 and the Stooges nor the raucous blue-eyed rock & soul of the Rationals and Mitch Ryder, and there are no hints of a Motown influence. Too bad on all counts, because, instead, the band opts for a psychedelicized brand of minor-key pop/rock with progressive flourishes that wants to be eerie but just as often comes off flat and uninspired. For the most part, the songs are just not there. There are a few things on this CD reissue of Bump's only album that could be construed as quaint reminders of a bygone era, even if they ultimately only act as reminders of how much better the best first- and second- (even third-) tier bands from that period were. Nevertheless, the brief snippet "Holly Thorndike" is so adorably twee and prissy it could have come off an early Bee Gees record (but only if it were better produced, performed, and recorded), and who knows how songs such as "Daydream Song" and "Spider's Eyes" may have come off in a smoke- and incense-choked room or through the filter of a swirling acid haze. Bump tries hard to be atmospheric, to work the same ominous side of the pop spectrum as the Doors and Procol Harum, and in that respect the album means well, but it's also derivative and completely cheesy faux psych-pop -- not the real thing at all, even though it pastes on the fuzz guitar and echo and every other sordid effect it can find. More often than not, the paper-thin organ riffs sound more roller-rink than ballroom, and the melodies more merry-go-round than psychedelic, and after only a few songs, George Runyan's expressiveless voice -- and hence the album that it carries -- just turns hopelessly grating.

ALAN GOLDMAN gtr
JERRY GREENBERG drms, vcls
PAUL LUPIEN keyb'ds, vcls
GEORGE RUNYAN ld vcls, bs
1 Sing into the Wind 2:26
2 State of Affairs :11
3 Daydream Song 3:26
4 Holly Thorndike :56
5 Got to Get You Back 2:37
6 Spider's Eyes 5:29
7 Clean Myself 5:08
8 From My Slot 2:27
9 Lifelines, Decisions, You Can't Even Think :48
10 Winston Built the Bridge 3:06
11 Sing into the Wind 2:26

Tnanx to Chris!

224@ (artwork included)
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GARYBALDI – NUDA – 1972 (IT) heavy psych

This second album (this includes Gleemen as a debut album since it is exactly the same group that changed its name – a bit like Flea became Etna) from this standard prog quartet has an absolutely astounding artwork cover concept (triple fold along with sexy commix story on the side gatefold) from future legend Guido Crepax.
The three tracks on side are rather somewhat 60’s-sounding and look heavily (but not solely) at The Jimi Hendrix Experience and the first track is rather too close for comfort to Hendrix’s fire track, but the keyboard saves it from disaster, a strange song referring to James Brown Similarly that second tracks lays heavily in its introduction to And The Gods Made Love and veering towards the psychedelic Mermaid I Shall Be track both from Electric Ladyland (the artwork is solidly with the spirit of the original artwork that got banned) and one can fear that we are into a copycat group by now. With the February 26, 1700 track, we now enter the world of Garybaldi and a definitely more Italian feel to it even if the previously afore- mentioned influences (The Wind Cries Mary) are still present, this is really one of their artistic peak, with all the drama a proghead could wish for and superb piano/organ duo to go along.
The sidelong suite of the second side is clearly the highlight of the album, with lengthy instrumental guitar passages but perfectly supported by Traverso’s bass, and the regularly changes in keyboards from Marchi. Here again the Hendrix influences are present but very much more discreet and the group approaches perfection mixing classical prog and fuzzy and Wah-Wah guitars. If one the first vinyl side, the vocals (sung in Italian) had Hendrixy tinges, with this track, they take on a much more Italian delivery and again this is what they do best.
This album is a weird mix of Hendrix homage and some rather unusual Italian prog, but really Garybaldi is only really successful when they stick to their more personal compositions (rather than copying well but clumsily TJHE) and when they do this, they are among the best.

Bambi Fossati (guitar, vocals)
Lio Marchi (keyboards)
Angelo Traverso (bass)
Maurizio Cassinelli (drums)
1. Maya Desnuda (6:08)
2. Decomposizione, Preludio E Pace (1:55)
3. 26 Febbraio 1700 (7:20)
4. L'Ultima Graziosa (5:22)
5. Moretto Da Brescia:
- a. Goffredo (6:15)
- b. Il Giardino Del Re (9:16)
- c. Dolce Come Sei Tu (5:19)

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GARYBALDI – ASTROLABIO – 1973 (IT) heavy psych

The second album under the Garybaldi name (but the third overall from the group) is maybe their best, but be prepared for a very short track list as only two of them lasting each their own vinyl side. With this album, they only confirm the direction they had taken with the sidelong suite from their debut album. Rumours has it that keyboardist Lio Marchi played on this as a session man - he does not get any writing credits, although he is very present.
Mother Of Lost Causes starts off as a very spacey-sounding exploration, but soon develops superbly what they had promised with the Moretto Da Brescia pinnacle of Nuda. Simply superb double-tracked guitar wailing somehow reminding more of Robin Trower (another Hendrix-ey connection) and very abruptly ended by an almost sonar- echoed repeating key that is reminiscent of a great Argent track. Astounding stuff, you proheads!!! In Italy only Flea (with their Topi O Uomini album) approaches such a complete feast of guitars at the time.
The second track is recorded live and is kick-arse rock’n roll (sometimes sounding a bit like Hendrix’s Voodoo Chile played by Trower) and some wild KB-guitars (Purple-like) call and response. This track is not quite as proggy as the previous one, but shows another facet (improvising) of the group. Pity these guys stopped so soon, even if Fossatti will make further records.
Easily their better album, this lengthy solo feast is never over-indulgent or gratuitous heroics and in its genre is a textbook example of its own.

Bambi Fossati (guitar, vocals)
Sandro Serra (bass)
Lio Marchi (keyboards)
Maurizio Cassinelli (drums)

1. Madre di Cose Perdute (20:30)
2. Sette? (21:18)

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LADIES W.C. – LADIES W.C – 1969 (Venezuela) heavy psych

Credit to the band this much -- they actually went right ahead and started their album with a flushing toilet, living up to their name and album art (the latter provided by guitarist/organist Adib Casta, later to gain more fame for his paintings). That droll touch aside, Ladies WC's sole album, like that of many one-offs from the Latin American late-'60s rock scene, is caught somewhere between moments of individual flair and amiable imitation of obvious favorites. Reissued by the Shadoks label in 2004 as part of their continuing exhumation of various small-release rarities -- the original album only received a pressing of 4,000 in 1969 -- it's still one of the more enjoyable full-lengths to get a digital revival. In his liner notes, bassist Steve Scott, the one American member of the Venezuelan quartet and co-writer of most of the songs with Casta, speaks of their love of such acts as Paul Butterfield, early Steve Miller, Cream, and so forth. There's little question that if one has heard enough electric blues-rock of the period that there won't be many surprises with songs like "Heaven's Coming Up" and "Put That in Your Pipe and Smoke It." To their credit, though, the quartet created a slew of originals instead of simply energetically delivering covers, and that plus their own exuberance means an album that throws in a few curve balls along the way, making an enjoyable listen. The occasional ballads are particularly lovely in a soft, drifting psychedelic way -- "To Walk On Water" blends low-key harmonica, chimes, and an echoed vocal to striking effect. The signature touch on the album is a series of sound effects rather than silence separating each of the songs -- fire engines, applause, and so forth -- and while it wasn't an innovation on their part, it's still amusing enough.

Steve Scott (vocals, bass)
Mario Seijas (drums)
Jaime Seijas (vocals, guitar)
Adid Casta (vocals, guitar)
1 People 2:41
2 I Can't See Straight 3:20
3 To Walk On Water 3:26
4 Heaven's Coming Up 4:22
5 And Everywhere I See the Shadow of That Life 3:25
6 Searching for a Meeting Place 2:49
7 Put That in Your Pipe and Smoke It 3:11
8 The Time of Hope Is Gone 2:35
9 W.E. Blues 2:53
10 I'm Gonna Be 5:48

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LOVE SCULPTURE – BLUES HELPING – 1968 (UK) heavy blues

As hyperkinetic blues albums by white English kids go, this is a good one. Dave Edmunds, armed only with a 1959 Gibson 335 and a 100-watt Marshall stack, cranks through these recognizable blues covers (with one original instrumental) with reckless abandon and gobs of technique. Backup support is handled by bassist John Williams and drummer Bob "Congo" Jones, who do their best to keep up and provide a rhythmic foundation for Edmunds to wail over. Edmunds also handled nearly all the vocals, and as blues singers go, he's merely serviceable, but what makes this album worthwhile is the revved-up guitar playing, especially when Edmunds shreds both Freddy King's "The Stumble" and Willie Dixon's "Wang Dang Doodle."

Dave Edmunds (guitar, vocals)
John Williams (bass)
Tommy Riley (drums)

1 The Stumble 3:01
2 3 O'Clock Blues 5:07
3 I Believe to My Soul 3:44
4 So Unkind 2:56
5 Summertime 4:01
6 On the Road Again 3:34
7 Don't Answer the Door 5:59
8 Wang-Dang-Doodle 3:33
9 Come Back Baby 2:40
10 Shake Your Hips 3:20
11 Blues Helping 3:44

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MENDELBAUM – MENDELBAUM – 1970 (US) heavy psych

This is an excellent unearthed gem of West Coast psychedelic rock: inspired songs, sturdy musicianship, and a fantastic cleanup job on the master tapes. Mendelbaum was active in the late '60s and early '70s in San Francisco. Singer, guitarist, and main songwriter Chris Michie would become a studio musician (he recorded with the Pointer Sisters and Van Morrison) and solo artist, while drummer Keith Knudsen would later join the Doobie Brothers. Bassist Tom LaVarda, sax player George Cash, and organist Ronnie Page (heard on the live cuts from the Matrix on the second disc, later replaced by J.D. Sharp) complete the group. The first disc of this double eponymous set is comprised of studio demos recorded in 1970 for Warner Bros. The group's blues-rock leanings and troubled topics make this music heavier than your run-of-the-mill West Coast psych rock (and at times evoking England's Savoy Brown). Pop attempts like "Since I Met Her" had no chance to make it on the radio -- the song is simply too frantic and ecstatic (which is all the better). Other highlights include Sharp's "Key of Be" and Michie's "Oh, Yes, Yes!" The second disc culls 54 minutes of live material from two concerts in 1969. Both recordings have been nicely restored. The group gets bluesier, stretching "Last Saturday Night" and "Every Day & Every Night" over seven minutes -- good occasions to witness Michie's impressive guitar work. Highly recommended to scavengers of psychedelia and '60s rock. Michie died on March 27, 2003, two months before the release date of this album.

Disc: 1
1. Days Gone By
2. Since I Met Her
3. Oh, Yes Yes!
4. Key of Be
5. No Hiding Place
6. All My Life
7. Walk With Me
8. I'm a Fool
9. Blood of the Nation

Disc: 2
1. Wars to Rainstorms
2. Rhyme of Time
3. No Reason
4. They Don't Know
5. Message for the People
6. What to Do
7. Last Saturday Night
8. Learning to Die
9. Lost Hope
10. Every Day and Every Night
11. Drivin' Wheel 12. Since I Met Her

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PHAFNER – OVERDRIVE – 1970 (US) heavy psych

Phafner was formed in Marshalltown, IA, in 1969, and immediately attracted local attention by playing a hard-edged, drug-induced brand of rock & roll. The band consisted of two sets of brothers -- Dale Shultz on guitars and vocals, James Shultz on bass, Steve Smith on lead guitar, and Greg Smith on vocals -- along with Steven Gustafson on drums. In 1971, the band decided to record an album of their own original material, so they got together in a local basement studio and put six songs together for what became the Overdrive album. In order to attract some attention from a major label, they pressed 50 copies of the record (on the Dragon label). Overdrive has become legendary among collectors of hard-rock music, and a copy of the original album will fetch well over $3,000 on today's collectors market. Now, for the first time, by way of a licensing agreement with Buckskin Music, Overdrive is available on CD. Housed in a digipack case with dragon-themed art work, the CD contains the six songs from the original album. Clocking in at just over 25 minutes, it features great, blues-influenced hard rock with loads of fuzz guitar, in the style of such artists as Josephus or early Johnny Winter. Unfortunately, there are no bonus tracks on this reissue, although the band did record a couple of cuts for a proposed second album in 1972. This is highly recommended to any fan of early-'70s hard rock.

1 Plea From The Soul
2 Uncle Jerry
3 Whiskey Took My Woman
4 Rock And Roll Man
5 Red Thumb
6 Overdrive

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SANDY COAST – SHIPWRECK – 1969 (Netherlands) heavy psych

Formed in 1961 in Voorburg as the Sandy Coast Skiffle Group, they had the following names: the Sandy Coast Five, Sandy Coast Rockers and, finally, Sandy Coast. Thanks to the Hitwezen magazine-organised talent search, they were awarded a record contract with Negram in 1965. Featured members: Hans Vermeulen (vocals, guitar, keyboards), his brother Jan (bass and guitar), Jos de Jager (bass, 1964-67), Henk Smitskamp (bass, ex-Livin' Blues, from 1970 till 1971, to Shocking Blue), Onno Bevoort (drums, in 1970 temporarily replaced by Will Morkus, in 1974 to Water), Ron Westerbeek (vocals, guitar, keyboards, ex-Daddy's Act, to Water), Charles Kersbergen (guitar, until 1965) and Marianne Nobles (vocals, ex-solo, 1972). In 1974, Sandy Coast disbanded; Hans formed Rainbow Train together with his brother Jan.

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RARE EARTH – GET READY – 1969 (US) heavy psych

Rare Earth's Motown debut is as well-oiled as a new V-8, and so are its liner notes: "In this age of ego-tripping freak bands, Rare Earth has stood pretty much alone. Each cat stands handsomely tall as if from a fashion rack at Carnaby. They do their gig; do it well -- and split." Smirking aside, the band turns in a smoothly harmonized "In Bed" and a chugging rhythm section for "Train to Nowhere." But the core of this release is a live side-long monster version of "Get Ready." It's as driven by the crowd's rapturous response as by the various solos, and the snake-charmer sax improv by Gil Bridges is easily the highlight of the album.

1 Magic Key 3:50
2 Tobacco Road 7:10
3 Feelin' Alright 5:00
4 In Bed 3:00
5 Train to Nowhere 3:20
6 Get Ready 21:30

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UTOPIA – UTOPIA – 1969 (US) heavy psych

An under-rated heavy blues rock album by a California band. If you dig the likes of Blue Cheer and Leaf Hound you are in for a treat here.

HARRY BENDER gtr
FRANK KRAJINBRINK gtr
GENE LUCERO bs
DANNY McBRIDE drms
DENNIS RODRIGUEZ vcls, hrmnca

1 I Just Want to Make Love to You 4:06
2 Me 6:08
3 Young and Crazy 2:18
4 Who's This Man 3:24
5 Walking Blues 7:11
6 Working Man 4:36
7 On My Feet Again 4:00
8 Ain't No Reason 4:33
9 Hound Dog 4:03
10 I Wonder 3:29
11 Back-Stabbin Woman 2:11

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THE OLD MAN AND THE SEA – THE OLD MAN AND THE SEA – 1972 (DEN) heavy progressive

This band just made one sole hard-prog-rock album back in the era where Denmark had a lively prog scene (bands like Burnin'Red Ivanhoe, Coronaria Dans, Secret Oyster, ACHE and many more).
They took their name from the Old Tale (seems to be quite popular one around the Baltic Sea) and made their album based on that. All of the songs on the album has been awarded an icon image of this tale on the booklet of the CD. Thge songs are definitely hard rock with a predominent guitar but KB are also quite present . We are also gratified of a few flute interventions. The vocals are in English and quite apt. The Monk Song is the highlight and cut into two section with the first part showing all of the possibilities of the band.
All in all , with this album, we are hovering around Zeppelin, Purple , Heep, Rooster and a few more bands of the genre but this album is far from derivative of those cited here.

Benny Stanley (guitar)
Knud Lindhard (bass)
Tommy Hansen (organ)
Ole Wedel (vocals)
Lars "Bekse" Thygesen (drums)
1. Living Dead (7:51)
2. Princess (6:02)
3. Jingoism (6:54)
4. Prelude (1:12)
5. The Monk Song 1 (5:54)
6. The Monk Song 2 (3:36)
7. Going Blind (10:31)

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NEKTAR – RECYCYLED NEKTAR – 1975 (GER) space rock

While the instrumental alliances that take place throughout Recycled aren't nearly as solid as on Journey to the Center of the Eye or Remember the Future, the album still harbors some of Nektar's intergalactic progressive rock penchants, although a slight decline in the band's cohesion is apparent. Guitarist Roy Albrighton lacks his usual gusto on most of the tracks, but tends to show signs of earlier days on both "Flight to Reality" and "Automatic Horrorscope." What does hold strong is Nektar's ability to conjure up a science-fiction atmosphere through the unorthodox application of percussion, guitar, and keyboards. Tracks like "Unendless Imagination" and "Cybernetic Consumption" wallow in a futuristic amalgam of strings and synth, with Larry Fast working the keyboards this time around. Fast holds his end up for the most part, but at times his playing sounds manufactured and colorless, which in turn dampens the rest of the surrounding instruments. Some intriguing creativity arises near the end of the album with "Sao Paulo Sunrise" and "Marvellous Moses," which resembles some of Nektar's early-'70s material. Recycled isn't a total disappointment, but the frequency of solid instrumentation and ability to hold attention does seem to fluctuate from time to time.

- Roy Albrighton / lead vocals, guitars
- Mick Brockett / visual environment
- Alan "Taff" Freeman / keyboards, backing vocals
- Ron Howden / drums, percussion
- Derek "Mo" Moore / bass, backing vocals
1 Recycle
2 Cybernetic Consumption
3 Recycle Countdown
4 Automaton Horrorscope
5 Recycling
6 Flight to Reality
7 Unendless Imaginations
8 Sao Paulo Sunrise
9 Costa Del Sol
10 Marvellous Moses
11 It's All Over
12-22 The Geoff Emerick Mix (same song titles as above)

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KALEIDOSCOPE – TANGERINE DREAM – 1967 (UK) psychedelic rock

Kaleidoscope's debut, named Tangerine Dream (which would inspired a much better known progressive rock band) is one of the finest albums released in 1967, the great year for music, along with Pink Floyd - Piper At Gates of Dawn, Moody Blues - Days Of Future Passed, Chad Stuart and Jeremy Clyde - Of Cabbages and Kings and The Nice - Thoughts of Emerlist Davjack. This is the least progressive of them, but it has its power and some similarities with the psychedelic rock made by Barrett. It seems less progressive since it has not many experimental sounds, no electronics, no jamming and the classical parts are subtle, but the arrangements are excellent, with solid drumming, great guitar, superb vocals by one of the most underrated vocalists ever (Peter Daltrey), beautiful melodies and an efficient psychedelia both in happy songs and sad songs. The lyrics are superb and the production is excellent.
First song, Kaleidoscope, has great drumming and percussion, nice guitar and bass riffs and excellent vocal harmonies. The song is rather short and doesn't leave much space for variations, but for many breaks in the riffs.
Next song is the opposite of the first song. While Kaleidoscope is a happy song, Please Excuse My Face is a beautiful sad psychedelic ballad, with great vocal melody and a beautiful acoustic guitar riff with some interesting progressions.
Dive Into Yesterday is the song with the most unusual structure. There are different parts and moods. The guitar has many interesting variations, with some effects during the different parts. The drums accompain the changes of the song structure, with many different drumming patterns. The vocal melody is very good.
Mr. Small, The Watch Repairer has an wicked percussion pattern and very different tones for guitar and keyboards, with some orchestral-like sounds, being a very traditional psychedelic song, more focused in different sounds.
Flight from Ashiya has bass pedals with a very different guitar riff, with many variations in the sound of the guitar over the same tone. The vocal melodies are superb in the one again.
Next song, Murder of Lewis Tollani, is somber in lyrics and sound with strange guitar effects during the verses, making a somber sound and the part after the chorus is much more somber. The flow of the song is uncommon and it adds to the drama of the song, talking of a murder.
Further Reflections In The Room Of Percussion is another superb psychedelic song and my favourite along with the previous. The first verses are common psychedelic, but the verses before the chorus have a subtle dissonance that grows until the chorus that is different that the rest of the song. The next times the dissonant part appears, it becomes more and more dissonant because it turns into guitar effects. The vocal melodies in this song is superb also.
Dear Nelly Goodrich is a very beautiful psychedelic ballad that starts with a good classical acoustic guitar riff and mellow singing in one channel and then comes the harpsichord in the other channel and after the rhythm section. The instrumental interlude has interesting interplay between the guitar and the harpsichord. The lyrics are innocent and fit very well the sound of the harpsichord.
Holidaymaker has many sounds of a beach, brass and light psychedelic arrangements, being a very traditional happy psychedelic song. The lyrics are also festive.
A Lesson Perhaps is a great song with only a very beautiful classical acoustic guitar riff and with philosophical lyrics spoken with a good amount of drama according to the content of the history being told.
The last song is The Sky Children, with 8 minutes. It is not a psychedelic jam neither a suite, but a story telling song with extensive lyrics and a beautiful instrumental arrangement of keyboards and guitar. The arrangement does not change much, just some few progressions over the same theme and some heavenly chimes. The vocals are superb and have the right tone to the childish dreamy story. The extensive lyrics are superb constructed and this song even it not being a crazy psychedelic jamming or an early multi-section suite it is a masterpiece of its own.
For me five stars because it is a fantastic proto-prog album and one of my favourite psychedelic rock albums. I like very much English psychedelic rock, but this album is one of the best with superb quality, production, musicianship and ideas.

- Peter Daltrey / vocals, keyboard
- Eddie Pumer / guitar
- Steve Clark / bass
- Danny Bridgman / drums
1. Kaleidoscope
2. Please Excuse My Face
3. Dive Into Yesterday
4. Mr.Small the Watch Repairer Man
5. Flight From Ashiya
6. The murder of Lewis Tollani
7. In the Room Of Percussion
8. Dear Nellie Goodrich
9. Holiday Maker
10. A Lesson Perhaps
11. The Sky Children
bonus tracks
12. Flight From Ashiya, Mono Single Version
13. Holiday Maker, Mono Single Mix
14. A Dream For Julie
15. Please Excuse My Face, Mono Single Mix
16. Jenny Artichoke
17. Just How Much You Are

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KALEIDOSCOPE – PULSATING DREAM – 1967-1991 (2007 Remast 3CD Edition) (US) psychedelic rock

2007 compilation features the entire output from one of the most eclectic bands of the psychedelic era while signed to Epic Records from 1967 to 1970. It contains the albums, 'Side Trips' (1967), 'Beacon From Mars' (1968), 'Incredible Kaleidoscope' (1969), & 'Bernice' (1970), singles & B-sides. Features David Lindley on guitar & a host of exotic stringed instruments.

David Lindtey - Banjo, Fiddle, Mandolin, Guitar, Harp Guitar, 7 String Banjo
David Saul Feidthouse - Saz, Bouzouki, Dobro, Vina, Oud, Doumbek, Dulcimer, Rddie, 12 String Guitar and Vocals
Fenrus Epp (aka Maxwell Buda) - Violin, Viola, Bass, Piano, Organ & Harmonica
Chris Darren - Bass and Vocals, Mandolin and Guitar
John Vidtean - Percussion (Drums and Timpani)
Pete Madtem – Dobro

Disc: 1

Tracks 1-10 Formed the album "Side Trips" original release on Epic LN 24304 (Mono) & Epic BN26304 (Stereo) in 1967 (USA) • "Please" / "Elevator Man" issued as a single on Epic 45-10117 in 1967 (USA) • "Why Try" (single version) / "Little Orphan Nannie" issued as a single on Epic 45-10219 in 1967 (USA) • Track 11 issued as B side of "Please" only on above listed smgle (45-10117) Track 12 issued as B side of "Why Try" only on above listed single (45-10219) • Tracks 13 to 19 were issued on "A Beacon from Mars" on Epic IH 24333 (Mono) & Epic 8N 26333 (Stereo) in 1967 (USA) "I Found Out"/ "Rampé Rampé" issued as a single on Epic 45-10239 in 1967 (USA)

1 Egyptian Gardens (03:06)
2 If The Night (01:47)
3 Hesitation Blues (02:28)
4 Please (03:19)
5 Keep Your Mind Open (02:18)
6 Pulsating Dream (01:57)
7 Oh Death (03:27)
8 Come On In (02:08)
9 Why Try (03:40)
10 Minnie the Moocher (02:16)
11 Elevator Man (02:56)
12 Little Orphan Nannie (01:57)
13 I Found Out (02:10)
14 Greenwood Sidee (04:17)
15 Life Will Pass You By (03:26)
16 Taxim (11:23)
17 Baldheaded End Of A Broom (03:14)
18 Louisiana Man (02:46)
19 You Don't Love Me (03:59)

Disc: 2

Track 1 was included on "A Beacon From Mars" (Details as above) • Track 2 was issued as The B side of "I Found Out" on above listed single (45-10239) • Track 3 was issued as the A side of a
single credited to "Larry Williams and Johnny "Guitar" Watson" with Kaleidoscope on Okeh
45-7300 in 1967 (USA) • Tracks 4 & 5 were un-issued at the time and were re-rmxed for a CD set "Egyptian Candy" (A Collections on Epic/Legacy EK 47723 in 1991 (USA) • Tracks 6 & 7 were issued as a single "Hello, Trouble" /"Just A Taste" on Epic 45-10332 in 1968 (USA) Tracks 8-14 formed the album "Incredible Kaleidoscope" on Epic 8N 26467 in 1969 (USA) "Lie To Me"/"Let The Good Love Flow" issued as a single on Epic 45-10481 in 1969 (USA) "Killing Floor" / "Lie To Me" issued as a single on Epic 45-10500 in 1969 (USA)

1 Beacon From Mars (12:32)
2 Rampé Rampé (03:34)
3 Nobody (02:36)
4 Love Games (02:30)
5 Egyptian Candy (03:01)
6 Hello, Trouble (02:06)
7 Just a Taste (02:14)
8 Lie To Me (02:47)
9 Let The Good Love Flow (02:11)
10 Killing Floor (aka Tampe Arizona) (02:44)
11 Petite Fleur (03:31)
12 Banjo (03:35)
13 Cuckoo (04:16)
14 Seven-Ate Sweet (11:31)

Disc: 3

Track 1 was un-issued at the time and were re-mixed for a CD set "Egyptian Candy" (A Collections on Epic/Legacy EK 47723 in 1991 (USA) • Tracks 2-11 formed the album "Bernice" on Epic BN 26508 in 1970 (USA) Track 12 was an alternative single version which was issued as an A side on Epic 45-10219 in 1967 (USA)

1 Sefan (04:28)
2 Chocolate Whale (02:28)
3 Another Lover (02:47)
4 Sneakin' Through The Ghetto (03:19)
5 To Know Is Not To Be (02:16)
6 Lulu Arfin Nanny (03:13)
7 Lie And Hide (02:53)
8 Ballad of Tommy Udo (02:49)
9 Bernice (02:43)
10 Soft and Easy (02:57)
11 New Blue Ooze (09:41)
12 Why Try (02:46)

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HORSLIPS - DRIVE THE COLD WINTER AWAY – 1975 (Ireland) prog folk rock

At a time when Horslips were rapidly drifting away from their quasi-traditional Irish roots, they unexpectedly delivered this gift-wrapped gem. With the exception of Barry Devlin's electric bass and John Fean's occasional contemporary guitar stylings, this is a solid traditional Irish album and certainly the most autochthonous recording by Horslips. All 13 of the selections are of Irish origin, among them three Turlough O'Carolan tunes including the sprightly "Sir Festus Burke" (it is unclear whether it was ever intended as a Christmas song). It unfolds into a Celtic "wall of sound" featuring Jim Lockhart's harpsichord, with banjo, flute, fiddle and guitar gradually joining in the round. "Thompson's/Cottage in the Grove" is a pair of reels that progress in much the same fashion. This time, the concertina of Charles O'Connor is followed by banjo, piano, whistle, bodhran and bones. The nearest this record gets to familiar holiday carol territory is found in a passage from the hornpipe "Piper in the Meadow Straying," which bears a calculated resemblance to "Don we now our gay apparel" from "Deck the Halls." This was a surprising and risky recording for a mid-'70s rock band, but it definitely rejuvenated them and paved the way for their 1976 tour de force Book of Invasions: A Celtic Symphony.

- Charles O'Connor / fiddle, mandolin, concertina, Northumbrian pipes, vocals
- Jim Lockhart / keyboards, flute, uilleann pipes, flute, tin whistle, recorder, vocals
- Barry Devlin / bass, vocals
- John Fean / guitars, fiddle, mandolin, banjo
- Eamon Carr / drums, percussion, bodhran, Arabian bongo1. Rug Muire Do Dhia (Mary Bore a Son to God) (1:53)
2. Sir Festus Burke/Carolan's Frolic (3:41)
3. The Snow That Melts the Soonest (4:29)
4. The Piper in the Meadow Straying (2:36)
5. Drive the Cold Winter Away (2:32)
6. Thompson's/Cottage in the Grove (2:43)
7. Ny Kirree Fo Naghtey (The Sheep 'Neath the (2:22)
8. Crabs in the Skillet (2:18)
9. Denis O'Connor (2:50)
10. Do'n Oiche un I Mbeithil (That Night in... (3:31)
11. Lullaby (2:26)
12. The Snow and the Frost Are All over/Paddy... (2:50)
13. When a Man's in Love (4:13)

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HORSLIPS – THE UNFORTUNATE CUP OF TEA – 1975 (Ireland) prog folk rock

If Dancehall Sweethearts was Horslips' attempt to attract a mainstream rock & roll base, this album surely must have frightened listeners off just as quickly as its predecessor acquired them. It's curious that this band, who seemed able to innately create intricate and memorable original melodies coupled with complex arrangements of traditional tunes, was also capable of churning out one nondescript and melody-challenged song after another. The title track offers hope at the midway point of this album as it injects some traditional Irish playing but unfortunately only for a mere 60 seconds. "Turn Your Face to the Wall" might have fit in nicely on other Horslips albums as one of the obligatory crossover pieces (rock with minor folksy adornments) but here it is the strongest track, which is a sad commentary on this record as a whole. "The Snakes' Farewell to the Emerald Isle" is a decent bluesy instrumental piece followed by the Celtic/pop/rock song "Everything Will Be Alright" which concludes this sub par album in relatively positive fashion. In retrospect, The Unfortunate Cup of Tea is a Horslips anomaly as it is sandwiched between three quality albums that both preceded and succeeded it.

- Charles O'Connor / fiddle, mandolin, concertian, vocals
- Jim Lockhart / keyboards, flute, tin whistle, uileann pipes
- Barry Devlin / bass, vocals
- John Fean / guitar, banjo, vocals
- Eamon Carr / drums, bodhran, percussion
1. If That's What You Want (That's What You Get) (7:10)
2. Ring-A Rosey (4:35)
3. Flirting in the Shadows (5:43)
4. Self Defence (6:12)
5. High Volume Love (5:34)
6. The Unfortunate Cup of Tea (1:14)
7. Turn Your Face to the Wall (6:28)
8. The Snakes' Farewell to the Emerald Isle (5:30)
9. Everything Will Be Alright (5:19)

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HORSLIPS - ALIENS – 1977 (Ireland) prog folk rock

"Aliens" is regarded as the album HORSLIPS pretty much abandoned the Celtic rock for just rock, with a West Coast influence. The reason for that was this album was a concept album about Irish immigration to America in the 1840s during the potato famine in dreams of making it big in America, only to end up disappointed. This change in style was in hope the band would break with an American audience. With songs like "The Wrath of the Rain" and "Sure the Boy Was Green", you can see an absence of the Celtic style, no concertinas or uileann pipes like you might get with "The Tain". There is no doubt the best song on this album is "Speed the Plough". "Come Summer" shows the folk-influence, with Jim Lockhart giving us some nice flutework. The second half of the album regards the Irish finally making it to America only to find out the realities that life wasn't going to be as easy as they thought, like on "A Lifetime to Pay". To be fair, this album isn't bad at all, and it could have been a lot worse. Good stuff, actually.

- Charles O'Connor / fiddle, mandolin, concertina, vocals
- Jim Lockhart / keyboards, flute, whistles
- Barry Devlin / bass, vocals
- John Fean / guitar, vocals
- Eamon Carr / drums, percussion
1. Before the Storm (0:47)
2. The Wrath of the Rain (2:56)
3. Speed the Plough (3:35)
4. Sure the Boy Was Green (4:12)
5. Come Summer (3:26)
6. New York Wakes (4:06)
7. Stowaway (3:41)
8. Ghosts (3:35)
9. Second Avenue (4:03)
10. A Lifetime to Pay (4:08)
11. Exiles (3:12)

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HORSLIPS – THE MAN WHO BUILT AMERICA – 1978 (Ireland) prog folk rock

A concept album about an Irish emigrant who makes a success of himself in the US, this album is energetic and often engaging, with some excellent songs ("The Man Who Built America") and some tepid stretches. The Irish content is fairly subdued here, with the overall sound favoring rock songs built around moderately complicated hooks.

- Charles O'Connor / fiddle, mandolin, concertina, vocals
- Jim Lockhart / Keyboards, flute, whistles
- Barry Devlin / bass, vocals
- John Fean / guitar, vocals
- Eamon Carr / drums, percussion
1. Loneliness (4:24)
2. Tonight (You're With Me) (3:23)
3. I'll Be Waiting (6:29)
4. If It Takes All Night (3:35)
5. Green Star Liner (3:26)
6. The Man Who Built America (3:43)
7. Homesick (4:02)
8. Long Weekend (3:41)
9. Letters From Home (4:19)
10. Long Time Ago (3:33)

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CONGRESSO – EL CONGRESSO – 1971 (Chile) progressive folk rock

When three González brothers left 60’s psych band Los Sicodélicos and recruited lyricist/vocalist Francisco Sazo from another Chilean (and slightly more conventional) band Los Masters, Congreso was formed. This is their first full studio album, and while not quite as polished as the sophomore release ‘Terra Incógnita’, it is still a well-constructed folk offering that shows influence of the González brothers’ psych background (the fuzz guitar and wailing vocals on “Mírate al Espejo” are a perfect example).

The band clearly establishes their modus operandi as well, which is to take native Chilean instruments, paired with an occasional sprinkling of traditional tunes, and craft fresh and inspirational progressive folk offerings. I have to say that they succeeded here. Also, considering this album is nearly thirty-seven years old that the band did a pretty good job of putting together songs that would stand the test of time and not end up sounding like some scratchy old Parra family record. Listen to the guitar and vocals on a track like “La Roca” and you’ll see that the music is quite relevant still today, albeit mostly to folk fans, but still….

The lineup here is largely the same as for the second album, that being the three González brothers; Francisco Sazo and his excellent voice; and bassist Fernando Hurtado. Hugo Pirovich guests on flute, as he would with the band’s third album. The one missing element on this album is the earthy-sounding charango, which would not appear until later in the band’s career but which would really flesh out their sound and give it a more authentic Latin American tone.

Another example of the psych influence is ” Maestranzas de Noche”, a track that begins with all the intent of being a fairly uncomplicated pop-folk tune, but quickly evolves into a series of odd tempo shifts, guitar that alternates between acoustic strumming and a sort of dampered fuzz tone with staccato piano chops behind to make it sound more strident. A really odd song, but it will grow on you as well.

Some other tracks like “Vamos Andando mi Amigo” show a level of maturity in composition that is impressive for these young musicians. This album was supposedly recorded live in the studio with just two takes, and the polished sound really is a testament to the band members’ skill and discipline.

In keeping with the notion of adapting traditional music the band includes their rendition of “El Cóndor Pasa”, a song made famous as “El Condor Pasa (If I Could)” the year prior by Simon & Garfunkel. The history of this tune is a bit unclear to me; The Simon & Garfunkel version on their ‘Bridge over Troubled Water’ album is credited to Peruvian Daniel Alomía Robles, while the Congreso liner notes attribute this to a Bolivian traditional tune. Not sure which is correct, but no matter – Congreso extend the basic tune to include a couple of flute and piano forays that add to the emotional feeling this song tends to evoke in people.

The last and most interesting song on this album is the eleven-minute plus “A.A.R.”, an instrumental whose meaning is not explained in the liner notes. I’m guessing this doesn’t stand for “Association of American Railroads” or the “American Academy of Religion”, but it doesn’t matter really. This lengthy tune features a seductive bass line and somewhat restrained electric guitar solo backed by traditional percussion sounds and flute that result in a uniquely Chilean-sounding jam session. Worth picking up all by itself, and I suppose intended to give the band their requisite signature ‘opus’ to play at summer music festivals. I would sit through this at an outdoor concert, that’s for sure.

So overall a very good album, not as good as the two that would follow simply because those albums are more ambitious in terms of instrumentation, experimentation and variety. But this one is better than just a collector piece, and I would recommend it to any prog folk band or anyone who is into Andean music. progarchives.com

Fernando González (guitar)
Patricio González (guitar, violoncello, charango, spring guiro)
Sergio González (drums, percussion, piano, guitar)
Fernando Hurtado (bass)
Francisco Sazo (vocals, recorder, rondador, tarca)
1. Maestranzas de noche
2. Vamos andando mi amigo
3. Así serás
4. El errante
5. Has visto caer una lagrima
6. Mírate al espejo
7. Rompe tu espada, vive la vida
8. La roca
9. El cóndor pasa
10. Ella en todas partes
11. A.A.R.

Thanx to Fran Solo

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SWEET SLAG – TRACKING WITH CLOSE-UPS – 1971 (UK) heavy psych

A very sombre lot, Sweet Slag cook their brand of progressive hard-rock with more spices than many. Almost all tracks (invariably written by Kerensky) are depressed, bitter and subtly menacing. Although it's hard to point out any highlights, the overall atmosphere of despair and waste is so strong that it permeates all rock conventions, turning this album into a document of some of the darker conditions of the human soul. There are also quite a few excellent and very discordant guitar solos to be found here. It may take some time to explore all the hidden and suppressed fear in this music, but it is rewarding to do so.

AL CHAMBERS drms
PAUL JOLLY woodwind
MICK KERENSKY gtr, vcls
JACK O'NEILL bs, trombone
1. Specific
2. Milk Train
3. Rain Again
4. Patience
5. Twisted Trip Woman
6. World of Ice
7. Babyi Ar



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SBB – AMIGA – 1977 (Poland) progressive rock

The most well-known Polish band in the Seventies! SBB contains a rich variety of influences, which include symphonic prog with intricate and fully orchestrated arrangements. The acoustic guitar adds a very interesting texture. Beauty of the keyboard parts, romantic sonorities of the piano parts and careful, aerial vocal parts brought this group close to PINK FLOYD, CAMEL or GENESIS.
- Józef Skrzek / keys, harmonica, vocals
- Antymos Apostolis / guitar
- Jerzy Piotrowski / drums1. Tanzbar (3:09)
2. Magische Blaue Stunde (3:07)
3. Hektik (3:08)
4. 2:10 (2:08)
5. Ouzo (4:58)
6. Unterbrochene Erotik (2:54)
7. Kala (3:33)
8. Tumba (3:49)
9. Mutraczka (4:26)
10. Nr. 7 (5:05)
11. I Wonder Why (4:40)
Bonus tracks:
12. Nervoser Nikolaus (5:15)
13. Tom Cat (3:07)
14. Gonitwa (2:33)
15. Beci (3:33)
16. Profesor Moog (3:18)
17. Balon

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SBB – NOWY HORYZONT – 1975 (Poland) progressive rock

1. Na pierwszy ogień (Curtain Raiser)(4:20)
2. Błysk (A Flash)(3:27)
3. Nowy horyzont (The New Horizon)(8:25)
4. Ballada o pięciu głodnych (A Ballad About The Five Hungry Ones)(3:59)
5. Wolność z nami(Freedom With Us) (19:56)
Bonus tracks:
6. Xeni (6:39)
7. Penia (15:59)
8. Dyskoteka (6:55)
9. Na pierwszy ogień (6:49)

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SBB – 1974 (Poland) progressive rock

SBB's LP debut (actually they had debuted long before that playing with Niemen as Grupa Niemen) is a monster! In 1974 prog rock reached its peak and there was only way down the mountain in front, however 'SBB' sounds as if there had been still much to come.
It's raw, brutal and positively sophisticated at the same time.
An uncompromising blend of unforgetable SBB on-stage energy (which actually became their trademark), white-blues, jazz and psychedelic rock - that's what this LP really is. They may have recorded better sounding albums after that, but it's 'SBB' that represents the essence of their music. A boundless force in sounds.

- Apostolis Antymos / electric guitar
- Jerzy Piotrowski / drums
- Józef Skrzek / bass, piano, Moog, vocals

1. I Need You Baby (4:39) (not specified on LP cover!)
2. Odlot (incl. Odlecieć z wami) (14:39)
3. Wizje (incl. Erotyk) (18:50)
Bonus tracks:
4. Zostało we mnie (5:44)
5. Wicher w polu dmie [Obraz po bitwie (13:54)
6. Figo-Fago (13:09)
7. Toczy się koło historii (8:35)

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SBB - 2 & 3 – 1974/1975 (Poland) progressive rock

SBB are architects of an irresistable cosmic prog sound, as long as you pick up the key albums from the '70s. 'Pamiec' is one of their best.

Even though SBB's music isn't extremely complicated or difficult doesn't make them any less captivating to even the most demanding ears. The dramatic qualities and the patience they exercise in building their songs are wonderful elements of their style. 'Pamiec' consists of three lengthy songs, each a fine representation of the band's style: jazzy, cosmic, synth-dominant, dramatic, it's all here, with occasional flurries of kinetic storms from drummer Jerzy Piotrowski and generally unpredictable dynamics. Mainman and bassist/keyboardist/vocalist Jozef Skrzek is cleary the guiding light, though he gives the other members plenty of room to move around. His vocals are full of conviction, sometimes fragile, sometimes triumphant, usually carrying a kind of lamenting/melancholy tone.

Some moments are crushingly beautiful ("From Whose Blood My Blood") and some are frightening in their dynamic range (the side-long "Memory Grows Into Stone"). The sounds are all an analog-loving synth-enthusiast could ask for, but it's so much more than just a showcase for Skrzek, as his compositions shine brightly throughout this eventful album, and the band chemistry reaches peak points all over the place. The instrumental balance is another highlight, guitar given plenty of presence amidst the other sounds, nothing ever battling for the spotlight, all of it working toward the strength of the song. Perhaps I should give this a 5, but I'll hold back since I'm not familiar enough with SBB's daunting catalog...maybe there's another masterpiece out there more worthy of that rating. So, 4.5++. But who cares about numbers: this is an album any enthusiast of prog's grand '70s era must own.

- Jozef Skrzek / bass, piano, moog, vocals
- Antymos Apostolis / guitar
- Jerzy Piotrowski / percussion1 Na pierwszy ogień
2 Błysk
3 Nowy horyzont
4 Ballada o pięciu głodnych
5 Wolność z nami
6 W kołysce dłoni twoich (Ojcu)
7 Z których krwi krew moja
8 Pamięć w kamień wrasta

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CHICKEN SHACK – IMAGINATION LADY – 1972 (UK) hard rock

Imagination Lady is the fifth long-player for Stan Webb's Chicken Shack. Much in the same tradition as the great British bluesmen Alexis Corner and John Mayall, Webb's revolving-door personnel landed the band several notable members, including: John Almond (tenor/alto sax), Hughie Flint (drums), and Christine Perfect (keyboards/vocals). For this album, Webb (guitar/vocals) gathered a trio consisting of himself, future Gods and Jethro Tull member John Glascock (bass), and Paul Hancox (drums). Enthusiasts of the more traditional 40 Blue Fingers, Freshly Packed and Ready to Serve and OK Ken albums have been quick to dismiss the latter-era band, often citing the whole over amplified power metal trip as detracting from their blues origins. While certainly valid assessments, the power trio featured on Imagination Lady brings more than sheer volume to this release. As with the previous Chicken Shack long-players, this disc features several Webb originals augmented with some well-chosen cover tunes. The album opens with a ferocious cover of B.B. King's "Crying Won't Help You." This version is highlighted by Glascock's thrashing basslines and Webb's wah-wah driven lead guitar and gin-soaked vocals. In a style akin to the Faces or even some of the rowdier moments from the Peter Green-led Fleetwood Mac, this trio grinds out the blues with a decidedly English edge. The folkie "If I Were a Carpenter" is speared with searing electric guitar leads that rip throughout the likewise spirited contributions from Glascock and Hancox. The tune is also afforded an unexpected sensitivity that contrasts well between the all-out sonic onslaught of the chorus and the restrained polyrhythms of the verses. In regards to original material, "Daughter of the Hillside" is without a doubt Webb's most impressive contribution to the album. It is arguably the strongest side on the disc. This straight-ahead rocker is an ideal trio effort with equal contributions from all three recalling the intense instrumentality of Cream or early Led Zeppelin. With so much potential, it's unfortunate that the 11-minute epic "Telling Your Fortune" -- which is nothing more than a 12-bar blues platform for solos from Webb and Hancox -- is so erratic. In an ironic contrast, the closing number "The Loser" is upbeat and almost pop-oriented, again displaying the immense strength of this short-lived incarnation of Chicken Shack.

1 Crying Won't Help You Now 5:10
2 Daughter of the Hillside 3:52
3 If I Were a Carpenter 6:34
4 Going Down 3:32
5 Poor Boy 5:10
6 Telling Your Fortune 11:10
7 The Loser 2:32


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CHICKEN SHACK – ON AIR (Original BBC recordings) – 1991 (UK) heavy blues

Perhaps the next sighting of a Chicken Shack release came in 1991 with the release of On Air, one of the Band of Joy BBC session recordings. It's since been reissued. It featured mainly stuff from the first four Chicken Shack albums, an exhortation from Stan on the liner notes to get hold of his new CD Changes, and some annoying fade outs.

1 Tired Eyes
2 I'd Rather Go Blind
3 Tears in the Wind
4 Night is when it matters
5 Telling Your Fortune
6 You Knew You Did
7 Midnight Hour
8 Hey Baby; Things You Put Me Through
9 Get Like It Used To Be
10 You Done Lost That Good Thing Now
11 Look Ma I'm Crying

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CHICKEN SHACK - OK KEN – 1968 (UK) heavy blues

This was Chicken Shack's most popular album, making the British Top Ten. If you're looking for relics of the British Blues Boom, however, you'd be much better off with Ten Years After, to say nothing of legitimate artists such as Fleetwood Mac and John Mayall. British blues at its best could be exciting (if usually derivative), but it's difficult to fathom how this relentlessly plodding, monotonous effort met with such success. Stan Webb took most of the songwriting and vocal chores, emulating the slow-burning Chicago boogie with little skill or subtlety (though he wasn't a bad guitarist). Christine Perfect did write and sing a few songs, but these unfortunately found both her compositional and vocal chops at a most callow stage of development. To nail the coffin, most of the songs were preceded by excruciating comic dialog that made Cheech & Chong sound sophisticated in comparison.
1 Baby's Got Me Crying 2:34
2 The Right Way Is My Way 2:34
3 Get Like You Used to Be 3:49
4 Pony and Trap 3:20
5 Tell Me 4:50
6 A Woman Is The Blues 3:27
7 I Wanna See My Baby 3:53
8 Remington Ride 3:02
9 Fishing in your River 4:40
10 Mean Old World 3:45
11 Sweet Sixteen 6:21

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CHICKEN SHACK – FORTY BLUE FINGERS FRESHLY PACKED AND READY TO SERVE – 1968 (UK) heavy blues

If one can overlook Stan Webb's hyperventilating vocal excesses (which ain't easy), this is a promising debut, especially noteworthy for Webb's Freddie King-inspired guitar sting and Christine Perfect's understated vocals (only two, unfortunately compared to Webb's six). Webb does justice to his mentor with two instrumentals, King's "San-Ho-Zay" and his own "Webbed Feet," and Perfect proves the ideal counterpart -- one of the few pianists paying homage to King's longtime collaborator Sonny Thompson. Nice spare sound, typical of Mike Vernon's Blue Horizon label.

1 The Letter 4:26
2 Lonesome Whistle Blues 3:02
3 When the Train Comes Back 3:31
4 San-Ho-Zay 3:03
5 King of the World 5:00
6 See See Baby 2:23
7 First Time I Met the Blues 6:24
8 Webbed Feet 2:53
9 You Ain't No Good 3:35
10 Wha You Did Last Night 4:39

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CHICKEN SHACK – 100 TON CHICKEN – 1969 (UK) heavy blues

Lethargic blues, sounding like an opening act recorded at the blues bar down the street. This record literally screams for a competent singer, as Stan Webb's lazy, mumbling vocals are almost laughable

1 The Road Of Love 3:27
2 Look Ma, I'm Cryin' 3:22
3 Evelyn 4:14
4 Reconsider Baby 3:22
5 Weekend Love 2:11
6 Midnight Hour 2:52
7 Tears In The Wind 2:42
8 Horse And Cart 3:33
9 The Way It Is 4:26
10 Still Worried About My Woman 3:09
11 Anji 1:36
Bonus Tracks
12 The Things You Put Me Through 3:53
13 Night Life 5:20

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