Orexis Of Death

2009-06-30T19:20:00.000+04:00

REPORT BROKEN LINKS!!!

2009-06-30T18:03:00.000+04:00

Request And Shares

2009-06-30T16:26:00.000+04:00

If at somebody is, any interesting albums. I can publish them on the blog.

The Free Design

2009-05-23T19:32:00.003+04:00

The commercial failure of the Free Design remains one of the most baffling mysteries in the annals of pop music -- with their exquisitely celestial harmonies, lighter-than-air melodies and blissful arrangements, the group's records were on par with the work of superstar contemporaries like the Beach Boys, the Association and the Cowsills, yet none of their singles even cracked the Hot 100. The Free Design originally comprised siblings Chris, Bruce and Sandy Dedrick, natives of Delevan, New York whose father Art served as a trombonist and arranger with Vaughn Monroe; when Chris moved to New York City in 1966 to attend the Manhattan School of Music, he recruited Bruce (now living on Long Island) and Sandy (a teacher in Queens) to form a folk group, and soon the trio emerged as a popular attraction on the Greenwich Village coffeehouse circuit.

In time Chris began composing original material for the Free Design to perform, and with the assistance of their father, the siblings cut a demo, ultimately signing with producer Enoch Light's audiophile label Project 3. The title track from their 1967 debut LP Kites Are Fun was also their first single, cracking the Top 40 on the Billboard adult contemporary chart but reaching only number 114 on the pop chart -- somewhat amazingly, it was the Free Design's biggest hit. Another Dedrick sister, Ellen, joined the group after graduating high school, making her debut on 1968's You Could Be Born Again. "2002--A Hit Song," from 1969's Heaven/Earth, satirically addressed the Free Design's continuing inability to make a commercial impact, but still the group's chart woes continued, and with their next effort, 1970's Songs for Very Important People, they targeted a new audience -- children.

Stars/Time/Bubbles/Love, also released in 1970, returned the Free Design to their adult constituency; after issuing One by One two years later, the group was dropped by Project 3, at which time they relocated from New York to Canada. There Chris Dedrick recorded a solo album, Be Free, which went unreleased; signing to the Ambrotype label, the Free Design recorded one final LP, 1973's There Is a Song, before disbanding in 1975. In the years to follow, Chris remained the most musically active sibling, forming the choral ensemble Star Scape Singers as well as arranging and composing for the Canadian Brass. He also won a series of Gemini Awards for his scores for Canadian film and television productions. By the 1990s, hipster favorites including Cornelius, Pizzicato 5 and Louis Philippe were regularly citing the Free Design as a key influence, resulting in the 1998 release of Kites Are Fun: The Best of the Free Design. The new millennium saw the Free Design convene for another album -- 2001's Cosmic Peekaboo -- which gathered Sandy, Chris, and Bruce Dedrick back together again.

Chris Dedrick (guitar, trumpet, vocals, recorder)
Sandy Dedrick (keyboards, vocals)
Ellen Dedrick (vocals, percussion, 1968-1972)
Bruce Dedrick (guitar, vocals, trombone, 1966-71, 2001)

http://en.wikipedia.org/wiki/The_Free_Design

http://www.rcb.uklinux.net/light/freedesign/index.htm

The Free Design - There Is A Song - 1972 (US) Pop Rock, Vocals, Jazz Pop, Folk Rock

2009-05-23T19:30:00.001+04:00

There Is a Song was the last Free Design record the group made until 2001's Cosmic Peekaboo. It was recorded during a time of change for the group and the Dedrick family, as the group had parted with its label, Project 3, and Chris Dedrick moved to Canada. The album was released on the tiny New York label Ambrotype and was even easier to ignore than their other releases. Luckily for fans of the band, Light in the Attic rescued it from its fate and put the album out on CD, because it is definitely worth hearing. The group moved away from the big arrangements and orchestras of its past releases; most of the album is anchored musically by simple acoustic guitars and colored in subtly by just a few horns and strings. Their rich vocal harmonies hadn't changed at all, however, as Chris and sisters Ellen and Sandra sound as innocent and star-struck as ever. Despite its obscurity, the album holds some of the group's finest compositions and performances, like the relentlessly upbeat "Canada in Springtime," the sweetly spiritual "Peter, Paul and Mary," the bouncy "I Wanna Be There," and the breathtakingly clear-and-cool title track. The Dedricks fell in with a philosophy professor named Arthur Mills while in Canada, and many of the songs have a trippy, deeply felt intellectual point of view that comes from his teachings. As Chris says in the liner notes, they were exploring new definitions of love, freeing themselves from previously held notions of love, and opening themselves up to the possibilities of love and life. Songs like "The Symbols Ring," "Love Does Not Die," and "There Is a Song" delve into these issues, but manage to escape being pedantic or clunky by being so wonderfully melodic and beautiful. In fact, the entire record is beautiful, and while it doesn't have any jaw-dropping moments like "Kites are Fun," "Bubbles," or "My Brother Woody," the album may be the group's most fully realized and rewarding endeavor.

A1 Canada in Springtime 2:27
A2 Kum Ba Yah 3:15
A3 Peter, Paul and Mary 4:12
A4 Pineapple Crabapple 3:08
A5 The Symbols Ring 3:46
B1 Stay 2:53
B2 I Wanna Be There 3:17
B3 There Is a Song 3:01
B4 A Child Is Born 3:18
B5 Love Does Not Die 3:42
B6 Chorale 1:12
B7 Fugue 2:03

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The Free Design - One by One - 1971 (US) Pop Rock, Vocals, Jazz Pop

2009-05-23T19:27:00.002+04:00

This 1971 record would be the last one the band would record for Project 3, and while it may lack some of the great songs that marked their earlier records, it's still marked by charm. Sounding more like the Carpenters than the Association, the band indulge in some covers and light funk, and end up making a record that occasionally betters either of those. On par for a Free Design record, they serve up music and arrangements that are as light and breezy as you can imagine, but the lyrics are often bitter and pointed -- often attributed to the band's frustration at their lack of success. Musically, the harmonies and tight arrangements are in fine form. The opening and title track, "One by One" soars, while "Felt So Good" shows the markings of a new decade with it's less crystallized production, happy, laid-back guitar, and punching horns. Brass sections make repeat appearances on the record, with "Like to Love" aflutter with spirited horn arrangements and hip-swinging ultra-light funk, and their cover of "Light My Fire" uses muted horns and ends up evoking the sounds of some proto-quiet storm radio broadcasts. The high point of the record is the impossibly simple light rock of "Friendly Man," with its orchestral flourishes, country-rock guitar, heavenly harmonies, and the chorus of "friendly man/friendly person." When the tambourine kicks in and the big sing-along refrain follows it's endemic of everything that is great about the band. Another high point of the record is the mid-paced piano ballad "Going Back." The album ends thunderously with "Friends." It's a grandiose affair with a big buildup (a multitude of electric guitar squeals) and a heavy air of drama that almost seems to point out that the band knew they were at the end of their tenure as undervalued pop songwriters.

A1 One by One 3:47
A2 Felt so Good 2:53
A3 Friendly Man 3:32
A4 Light My Fire 4:38
A5 Like to Love 2:06
B1 You Are My Sunshine 5:15
B2 Go Lean on a River 3:04
B3 Going Back 2:43
B4 Love Me 3:17
B5 Friends (Thank You All) 6:45

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The Free Design - Sing for Very Important People - 1970 (US) Sunshine Pop, Vocals

2009-05-23T19:23:00.002+04:00

The Free Design always sounded a bit like a pop group for children, and they made the leap there themselves on their wonderful 1970 album Free Design Sing for Very Important People. Inspired by Peter, Paul & Mary's Peter, Paul and Mommy album and the fact that all of the Dedricks were parents by then, the record collects some of their kid-friendly previously released songs like "Kites Are Fun," "Bubbles," and "Daniel Dolphin" and adds some songs written and recorded for the project. The tunes they came up with are among their best; "Don't Cry, Baby" is harmonically rich and lyrically charming, "Ronda Go 'Round" sounds like a song angels might make up to keep themselves happy while floating through the heavens, and "Love You" is a bubbling a cappella delight. They also cover a few songs, turning in a sweet version of "Can You Tell Me How to Get to Sesame Street?," a reverent and solemn "Children's Waltz," a chamber jazz take on "Scarlet Tree," and a loping "Little Cowboy" (which was written Art Dedrick, the siblings' father). The Free Design's almost unbearably light and sweet feel, their flowing harmonies, and their lyrical and musical childlike sense of wonder make the record a smashing success artistically. It's too bad not many kids got a chance to hear it at the time -- the world might have turned out to be a much mellower place. At least we can spin it for our very important people now.

A1 Don't Cry, Baby 3:04
A2 Can You Tell Me How to Get to Sesame Street 2:12
A3 Children's Waltz 4:15
A4 Scarlet Tree 2:10
A5 Little Cowboy 3:50
B1 Love You 2:25
B2 Ronda Go 'Round 2:33
B3 Bubbles 2:15
B4 Daniel Dolphin 3:27
B5 Kites Are Fun 2:34
B6 Lullaby 1:28

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The Free Design - Stars/Time/Bubbles/Love - 1970 (US) Sunshine Pop, Vocals, Jazz Pop

2009-05-23T19:21:00.001+04:00

On the Free Design's 1970 record, Stars/Time/Bubbles/Love, not much has changed with the Dedrick clan. The group's amazing vocal harmonies are still very much in evidence, the lush arrangements are still fuller than Grizzly Adams' beard, and the songs, like the cute and silly "Kije's Ouija" and the finger-snappingly groovy "Keep Off Your Frown" (which sounds like an unlikely cross between Oscar Brown, Jr. and the Zombies), are still lighthearted and fun. Most of the songs sound like they exist in the the Dedricks' own strange little world of harmony and childlike innocence; the only one that sounds influenced by the times is "I'm a Yogi," which has sitars, a mild psychedelic break, and groovy lyrics. It sounds more like Yogi Bear than the Maharishi, but then that is the charm of the Free Design. The record is filled with some of the band's best work: the bouncy, perky "Bubbles" (a song later covered by Dressy Bessy on the Powerpuff Girls soundtrack record); the sweet "Butterflies Are Free," which features the Dedrick sisters on lead vocals; the brash (for them) "That's All, People," which sounds like a lost Jimmy Webb track, with great vocal interplay among the siblings; and the strangely bossy Christmas tune "Close Your Mouth (It's Christmas)." The only track that falls short is their cover of "Raindrops Keep Falling on My Head," which is the rare Free Design effort that sounds like run-of-the-mill elevator music. Pretty much any Free Design recording is going to be a treasure for fans of intelligent, witty, and above all, sophisticated sunshine pop. Stars/Time/Bubbles/Love is no exception.

A1 Bubbles 2:15
A2 Tomorrow is the First Day of the Rest of My Life 3:40
A3 Kije's Ouija 3:12
A4 Butterflies Are Free 2:42
A5 Stay Off Your Frown 2:43
B1 Starlight 2:53
B2 Time and Love 2:50
B3 I'm a Yogi 4:19
B4 Raindrops Keep Falling on My Head 3:00
B5 Howdjadoo 1:55
B6 That's All People 2:29

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The Free Design - Heaven/Earth - 1969 (US) Psychedelic Pop, Sunshine Pop, Vocals, Jazz Pop

2009-05-23T19:19:00.003+04:00

1969's Heaven/Earth is the Free Design's third album. It carries on the tradition of excellence the group's first two albums had firmly established. It was also very much of a piece with the rest of their output -- no big changes. The record is overflowing with beauty and weirdness and lush arrangements with plenty of groovy touches that instantly date the record but also give it a hipness that is lacking in other MOR vocal group records. However, the true genius of the band is the fresh clear voices of the Dedrick siblings and the way Chris Dedrick arranged them. Tunes like the swinging "Now Is the Time," the witty and alarmingly cynical "2002 - A Hit Song," and the quietly inventive version of "If I Was a Carpenter" have sublime and unusual vocal harmonies that soar and swoop like psychedelic eagles, always surprising and often breathtaking. Some of the other tracks here worth mention are the sweet samba of "My Very Own Angel, Girls Alone," which features Sandy and Ellen harmonizing over a full big-band arrangement, and the moody and quite amazing "Dorian Benediction," which manages to sound like the Electric Prunes with Miles Davis sitting in and the hippest monks on earth chanting along. Heaven/Earth is worth a listen by anyone who likes vocal harmony and the sweet, innocent sounds of sunshine pop.

A1 My Very Own Angel 3:00
A2 Now Is the Time 2:14
A3 If I Were a Carpenter 3:17
A4 You Be You and I'll Be Me 2:34
A5 Girls Alone 3:55
A6 2002 - A Hit Song 2:34
B1 Summertime 3:36
B2 Where Do I Go (From "Hair") 2:14
B3 Hurry Sundown 3:04
B4 Memories 3:39
B5 Dorian Benediction 4:27

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The Free Design - You Could Be Born Again - 1968 (US) Psychedelic Pop, Sunshine Pop, Vocals

2009-05-23T19:17:00.004+04:00

The Free Design's second album offers fewer original songs than its predecessor, but a sound every bit as fresh and original as that earlier album. Chris Dedrick provides the title track, an upbeat, uplifting piece, not as hauntingly beautiful as "Kites Are Fun," but pretty in its own right, and followed by the ethereal "A Leaf Has Veins." The quartet also takes the risk of inviting comparisons with their West Coast rivals, the Mamas & the Papas, turning in a swinging rendition of "California Dreamin'," as well as gorgeous, ornate covers of the Beatles' "Eleanor Rigby" and Bonner & Gordon's "Happy Together," though perhaps the best moment here is their harmonized cover of Duke Ellington's "I Like the Sunrise" from "The Iberian Suite." The overall tone of You Could Be Born Again is more subdued and sophisticated than the group's debut, but it is also a more elaborate album musically, with a larger array of support musicians. The originals -- of which the prettiest examples are "I Found Love," "Daniel Dolphin," and "Ivy on a Windy Day" -- mesh nicely with the covers into a beguiling whole with a slightly spacy, psychedelic tone beneath its quiet elegance.

A1 You Could Be Born Again 2:38
A2 A Leaf Has Veins 2:30
A3 California Dreamin' 2:25
A4 The Windows of the World 2:33
A5 Eleanor Rigby 2:44
A6 Quartet No. 6 in D Minor 2:40
B1 I Like the Sunrise 3:37
B2 I Found Love 2:42
B3 Daniel Dolphin 3:27
B4 Happy Together 2:54
B5 Ivy on a Windy Day 2:39
B6 An Elegy 3:22

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The Free Design - Kites Are Fun - 1967 (US) Psychedelic Pop, Sunshine Pop, Vocals

2009-05-23T19:04:00.006+04:00

A1 Kites Are Fun 2:38
A2 Make the Madness Stop 3:09
A3 When Love Is Young 2:55
A4 The Proper Ornaments 2:49
A5 My Brother Woody 2:38
A6 59th Street Bridge Song (Feelin' Groovy) 2:52
B1 Don't Turn Away 3:59
B2 Umbrellas 2:28
B3 Michelle 3:13
B4 Never Tell the World 2:32
B5 A Man and a Woman 3:04
B6 Stay Another Season 4:35

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RON ASHETON, 1949 - 2009

2009-01-07T12:57:00.001+03:00

It's a sad day for rock and roll. Legendary Stooges' guitarist Ron Asheton was found dead in his home today at the too-young age of 60. Iggy Pop's flailing, half-naked gyrations might've drawn the crowds, but The Stooges wouldn't have rocked nearly as hard without the distinct churn of Asheton's guitar.

Cervello – Melos – 1973 (IT) progressive rock

2009-01-07T12:48:00.001+03:00

Nothing short of an incredible, but little known gem of Italian prog. If you like the sound of OSANNA's "Palepoli", then you need this album. In fact, CERVELLO featured guitarist Corrado Rustici, still in his teens at that time, who was the brother of OSANNA guitarist Danilo Rustici, so the OSANNA comparisons can't be avoided. And like OSANNA, CERVELLO consisted of saxes, flutes, bass, drums, and of course, vocals. The saxes and flutes are tamer (none of the flutes here are TULL-like, unlike OSANNA). Corrado Rustici's guitar work is in the vein of MAHAVISHNU ORCHESTRA's John McLaughlin (which should come as no surprise as McLaughlin was one of Corrado's guitar heroes).
The original LP comes with a gimmick cover on the Ricordi label, in which Si-Wan Records in Korea nicely replecated to CD size when they reissued it on CD (I believe the current CD reissue on BMG/Ricordi is packaged the same way as Si-Wan).
Regardless, this is an absolute must for those who enjoy Italian prog.

- Antonio Spagnolo / 6 & 12 string acoustic guitar, bass, pedal, recorder, vocals
- Giulio D'Ambrosio / electric sax (contralto & tenor), flute, vocals
- Corrado Rustici / guitar, recorder, flute, vibraphone, vocals
- Gianluigi Di Franco / lead vocals, flute, small percussion
- Remigio Esposito / drums, vibraphone

1. Canto Del Capro (6:30)
2. Trittico (7:14)
3. Euterpe (4:27)
4. Scinsicne (T.R.M) (5:39)
5. Melos (4:55)
6. Galassia (5:45)
7. Affresco (1:11

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Pulsar – Pollen – 1975 (FRA) space rock

2009-01-07T12:41:00.002+03:00

Incredible, if not a bit underrated debut from this French prog band. The music here tends to be mellow, but a bit more experimental than their following albums. This is their only album where they sing in French (their following albums, they sing so unintelligibly, you can't tell if they're singing in English or French, or both - but of course, those are great albums too). The only English you here here is some spoken dialog. The keyboard setup is basically the Solina string synths, the ARP 2600 synthesizer, and piano. Oddly the Mellotron isn't present here (but is on their following two albums). Mainly mellow prog, this is great stuff, and a classic debut.

- Victor Bosch / drums, percussion
- Gilbert Gandil / guitars, vocals
- Roland Richard / flute, strings
- Jacques Roman / keyboards, synths
- Philippe Roman / bass, vocals
- Carmel Williams / voice (3)

1. Pulsar (3:00)
2. Apaisement (7:30)
3. Puzzle / Omen (8:00)
4. Le cheval de Syllogie (7:00)
5. Pollen (13:05)

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Pulsar – The Strands Of The Future – 1976 (FRA) space rock/progressive rock

2009-01-07T12:39:00.001+03:00

Pulsar's second album, 'The Strands of the Future', is one of the definite and undisputable masterpieces of French prog, and together with their next recording 'Halloween', incarnates the band's peak in terms of inspired writing and skillful performing. Their style keeps on being somewhat inspired in 73-75 era Pink Floyd, but there are also obvious references to Tangerine Dream and Jean-Michel Jarre's electronic excursions (powerful presence of multiple layers of synths and mellotrons), and also some compelling pastoral passages of flute and acoustic guitar in the 3-minute coda. All this complex sonic whole is perfectly manifested in the top-notch 22-minute namesake suite. In fact, this very suite might as well be referred to as the definite Pulsar song, since it not only encapsulates the various recurring musical flavors that make up the band's style, but it also takes those flavors to a magnificent level - the motifs and arrangements are masterfully crafted under the progressive banner at its most essential. The guitar solos that go reappearing here and there stand somewhere between Hackett's hypnotic vibe and Fripp's free flooding dissonances, most of the times creating interesting dialogues with the synth leads, but securing a starring role everytime they come to the fore. The brief sung section is mesmeric, and so are the synth lines and layers that are displayed through all remaining sections, spacey, symphonic and places in between. You can tell that this is your typical poetically passionate French prog, but not in the sense of Ange/Mona Lisa (theatrical, cynical), bue in a more melancholy, introspective mood, something like a psychological travel into the deepest and most obscure realms of the individual self, which explains why Pulsar's sound tends to be so inescrutable and tetric so recurrently. This suite may as well be worth the whole album... but there are still other good things to enjoy, the other three remaining tracks that occupied side B ofthe vynil. 'Flight' is a brief instrumental that alternates jazzy colours in the opening and closing sections, with a nice, languid interlude in between. 'Windows' is a dense symphonic ballad, which allows the band to explore in its own "Pinkfloydness". A special metnion has to go to the delicate flute lines that create surrounding colors around Gandil's lead voice. The stunning closing number 'Fool's Failure' (its final section is a clear homage to that of PF's 'Welcome to the Machine') is yet another particular highlight in Pulsar's discography: 'Fool's Failure' recaptures partially the somber magic of the namesake suite, giving this recording a "full circle structure", so to speak. Gandil's chanting gets somewhat Hammillian at times, albeit focusing on the melancholic timber and not goig to as many places as Hammill himself (well, the point was not emulting him, right?).

- Victor Bosch / drums, percussion
- Gilbert Gandil / guitars, vocals
- Roland Richard / flute, strings
- Jacques Roman / organ, Mellotron, bass, synthesizers

1. The strands of the future (22:08)
2. Flight (2:37)
3. Windows (8:47)
4. Fool's failure (10:17)

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Pulsar – Halloween – 1977 (FRA) progressive rock

2009-01-07T12:37:00.003+03:00

After their spaced-out debut, Pulsar released their second album Strands Of The Future that sounded drastically different, presenting a very Genesis-based symphonic prog that would actually pave the way (and in a way pre-face) for future neo-prog groups of the 80’s and give Ange a run for its money in terms of national sales. With their third album Halloween (recorded in Switzerland), Pulsar reached their artistic peak, even earning a release on an international CBS label.
The album is made from two multi-movement suites sung in English (reminiscent of future Fish ambiances in Marillion), but I must say that the “romantic” (both in the literal and visual sense) artwork always looked suspicious and actually still repel me a bit even nowadays and the storyline seems rather thin and derived from more famous children storytelling. Sound-wise Pulsar still retains the Floyd soundscapes that was their trademark, but the Genesis influence was more notable than on their previous two albums. Although there are lots of delightful moments, Pulsar’s sense of writing long epics still leaves some (lots at times) space for improvements: ideas succeed to ideas but are not leading into one another. Those two epics seem a bit too much like a collage of the different shorter tracks (9 in all, ranging from 1 min 30 to 9 min+) without a succession of chords that the greater groups would’ve managed.
And while Pulsar had everything to gain with the promotion of this album, their CBS label (where they had a three-record deal) suddenly decided for obscure reasons not to promote it, cutting Pulsar’s wings, as they were about to soar towards unsuspected heights. But this was 77, the French public being one of the first markets for the advent of punk music with the Mont-De-Marsan in 76 being the first international punk festival. This maybe explaining that, but as much as Pulsar is hailed as a superb prog group, I never thought of them as likely to break the big leagues simply because although musically good, they were never great virtuosi and songwriters. I will round up the rating to the upper unit, but this is more academic than really heartfelt.

- Victor Bosch / drums, percussion, vibes
- Gilbert Gandil / guitars, vocals
- Michel Masson / bass guitar
- Roland Richard / flute, clarinet, acoustic piano, strings
- Jacques Roman / keyboards, Mellotron, synthesizers,
Guest musicians:
- Xavier Dubuc / congas
- Sylvia Ekström / child voice (1a)
- Jean-Louis Rebut / voice (2e)
- Jean Ristori / cello

1. Halloween part I: (20:30)
a) Halloween song (1:20)
b) Tired answers (9:30)
c) Colours of childhood (6:00)
d) Sorrow in my dreams (3:40)
2. Halloween part II: (18:40)
a) Lone fantasy (4:50)
b) Dawn over darkness (6:10)
c) Misty garden of passion (2:15)
d) Fear of frost (3:35)
e) Time (1:50)

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Corte Dei Miracoli - Corte Dei Miracoli – 1976 (IT) progressive rock

2009-01-07T12:36:00.002+03:00

One of the more underrated Italian progressives, at least to these ears. Kind of like a lower-key version of Banco del Mutuo Soccorso, with more understated (but still excellent) vocals. No guitar (save for a guest appearance by Nico di Palo of the New Trolls on the opening track), but the same dense, dual-keyboard action as Banco. And as it was probably their first experience with a high-tech, multi-track recording facility, the drummer saw fit to fill up all the free tracks with every percussion instrument he could lay his hand on (tons of temple block and bongo fills on this album!). Some folks actually complain about this, me I find it gives this album a distinction that is totally its own. Absolutely worth having.

- Alessio Feltri / keyboards
- Riccardo Zegna / keyboards
- Graziano Zippo / vocal
- Flavio Scogna / drums, percussions
- Gabliele Siri / bass
Guest musician:
- Vittorio De Scalzi / guitar

1. ...E Verrà L'Uomo (7:00)
2. Verso Il sole (6:34)
3 .Una Storia Fiabesca (6:52)
4. Il Rituale Notturno (7:12)
5. I Due Amanti (13:40)

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Quella Vecchia Locanda – Quella Vecchia Locanda– 1972 (IT) progressive rock

2009-01-07T12:35:00.002+03:00

The first release from QUELLA VECCHIA LOCANDA and in my opinion one of the all time Italian prog greats. This excellent debut album has a strong PFM-like attitude with loads of violin and classical themes. Songs are delicate and exceptionally well performed with warm precision. Imagine great 70's sounding keyboard work layered with flute, violin and great guitar work and you have got QVL. As you listen to this album four toes will be tapping and you hands will be moving as this music captivates your motor reflexes. QVL draw on some pretty heavy classical interludes to build their music on. Along the way we are treated to many thematic mood swings and tempo changes. This album has many standout tracks which combine the classical underground 70's Italian sound with a solid blend of tranquility and beauty. Vocals are very expressive and are full of harmonic textures.

- Massimo Roselli / piano, organ, Mellotron, Moog, electric sitar, cembalo, vocals
- Giorgio Giorgi / lead vocals, flute, piccolo
- Patrik Traina / drums
- Romualdo Coletta / bass, frequency generator
- Raimondo Maria Cocco / electric & acoustic & 12 string guitars, vocals
- Donald Lax / electric & acoustic violin

1. Prologo (4:59)
2. Un Villaggio,Un'illsione (3:54)
3. Realta (4:13)
4. Immagini Sfuocate (2:59)
5. Il Cieco (4:11)
6. Dialogo (3:41)
7. Verso La Locanda (5:15)
8. Sogno, Risveglio E... (5:15)

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Quella Vecchia Locanda – Il Tempo Della Gioia – 1974 (IT) progressive rock

2009-01-07T12:33:00.001+03:00

"Tempo Della Gioia" is a prog album with stronger classical influences than what is usually expected. In fact, instruments like violin, flute, classical guitar, piano, and harpsichord dominate over electric guitar, bass, and drums(which do appear sometimes). QUELLA VECCHIA LOCANDA were also influenced by early jazz, and tend to mix it with classical on some of the later pieces (very unique I must say). The vocals are excellent, and typical of most 70's Italian prog bands. They are never harsh or overbearing, but rather soft, warm, and melodic. Anyway, this album is a classic!

- Claudio Gilice / violin
- Giorgio Giorgi / vocals, flute, piccolo
- Massima Giorgi / bass, contrabass, vocals
- Massimo Roselli / vocals, keyboards
- Patrick Fraina / vocals, drums
- Raimondo Cocco / vocals, clarinet, guitar

1. Villa Doria Pamphili (5:27)
2. A Forma Di (4:07)
3. Il Tempo Della Gioia (6:15)
4. Un Giorno, un Amico (9:39)
5. È Accaduto una Notte (8:16)

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Delirium – Dolce Acqua – 1971 (IT) progressive rock

2009-01-07T12:32:00.002+03:00

DELIRIUM's "Dolce Acqua" is a wild concaution of Jazz, Prog, World and Psychedelic influences yet always retains that Characteristically 70's Italian influence. Musically this album explores a wide range of impressions with some great flute, piano and percussive passages... lots of gentle syncopation. Vocals are deep and full of emotion. Songs are quite rhythmic and heavily centered on a the melodic aspect... even some orchestration. This album unveils many highs for this music lover with its wide spectrum of bright and bouncy colors and sounds. Although 70's sounding throughout, "Dolce Acqua" leans much more on the Jazz-prog arena than many of the heavy Ital-Prog albums of its era and most certainly that of their second album. One of the most remarkable aspects of this album for me lies in its sound reproduction which comes to life in the CD re-mastered version. Sonically this album offers great wide speaker separation and clear definition making the performers sound as if they are in your living room. Might be one of the best recorded albums of 1971... Captivating and then some!!- Ivano Fossati / lead vocals, acoustic & electric flute, acoustic guitar, recorder, harmonica - Marcello Reale / bass, vocals
- Peppino Di Santo / drums, percussion, timpani, vocals
- Ettore Vigo / piano, organ, electric piano, celesta, vibraphone, cembalo, prepared piano, harmonium
- Mimmo Di Martino / acoustic guitar, vocals

1. Preludio (Paura) (3:39)2. Movimneto I (Egoismo) (4:31)3. Movimento II (Dubbio) (3:26)
4. To Satchmo, Bird and Other Unforgettable Friends (Dolore) (5:38)
5. Sequenza I e II (Ipocrisia - Verità ) (3:36)
6. Johnnie Sayre (Il perdono) (4:48)
7. Favola o storia del Lago di Kriss (Libertà) (4:22)
8. Dolce acqua (Speranza) (5:49)
9. Jesahel (4:05)

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Delirium –Viaggio negli arcipelaghi delTempo – 1974 (IT) progressive rock

2009-01-07T12:31:00.002+03:00

Third and final album by this Italian prog band. This album has been a little more difficult to review than some other prog albums, but here goes. At times they remind me a little of JETHRO TULL, especially the flute. Aside from the flute, musically they don't remind me of TULL. Sometimes they explore a more folk-y style, like the opening cut, but then they start going in to lengthy prog passages, dominated by Hammond organ and piano (with some electric piano). Vocals are in Italian, and they tend to be harsh (reminding me of LOCANDA DELLE FATE's Leonardo Sasso with a hoarse voice) and needs getting a little used to. Strings are used from time to time as well. But the one thing bothering me is the keyboardist is credited to using Mellotron but I sure don't notice any. Still, this album is worth having if you're in to the Italian prog scene.

- Pino Di Santo / drums, percussion, vocals
- Martin Frederick Grice / flute, saxs, vocals, keyboards
- Marcello Reale / guitar, bass, vocals
- Ettore Vigo / piano, moog, organ, vibraphon, Mellotron, vocals
- Mimmo Di Martino / guitar, vocals

1. Il Dono (4:17)
2. Viaggio Negli Arcipelaghi Del Tempo (4:45)
3. Fuga N.1 (7:40)
4. Dio Del Silenzio (2:55)
5. La Battaglia Degli Eterni Piani (6:42)
6. Un Uomo (2:06)
7. Viaggio N.2 (4:33)
8. Ancora Un'alba (2:33)

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Samadhi – Samadhi – 1974 (IT) progressive rock

2009-01-07T12:30:00.002+03:00

A somewhat slicker take on Italian prog, but still quite good. This one is pretty low on most people's lists, but I was very pleasantly surprised by it. I think the vocals are actually really great, as are the string arrangements, though they are admittedly a bit more conventional and a bit saccharine (not as much as Hunka Munka though). There are also some grooving horn arrangements, quite a rarity for Italian prog, especially for 1974.

- Luciano Regoli / vocals
- Nanni Civitenga / guitar
- Aldo Bellanova / bass, acoustic guitar
- Stefano Sabatini / keyboards
- Sabdro Conti / drums
- Ruggero Stefani / percussion
- Stevo Saradzic / flute, sax

1. Uomo Stanco (4:05)
2. Un Milion d'Anni Fa (4:47)
3. L'Angelo (3:11)
4. Passaggio di via Arpino (5:55)
5. Fantasia (3:38)
6. Silenzio (5:10)
7. L'ultima Spiaggia (8:25)

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Circus 2000 – An Escape From A Box – 1972 (IT) progressive rock

2009-01-07T12:28:00.002+03:00

The Italian progressive rockers CIRCUS 2000 offered up an attention-grabbing profusion of moody progressive rock enchantment. This gatefold LP reproduction strikingly remasters the original recording for more sonic value and lucidity than ever before.
"An Escape From A Box" was originally released in 1972 on the RiFi label and was subsequently re-released in the vinyl and CD formats by Akarma Records in 1999.
The progressive rock elements are strong although the influences of jazz fusion exist with reference to the guitar work of Marcello Quartarone. Lead singer Silvana Aliotta sounded like Lulu with a European accent. By adding her fluttering butterfly voice to the mix with strong classical and operatic overtones, their sound took on a distinct exclusivity. Her voice was flexible and she could have easily been on the cutting edge of the opera circuit rather than on the cusp of groundbreaking progressive rock. She had a lot of range, which gave her fellow musicians tremendous freedom to experiment and play extended compositions.
Side 2 clearly demonstrated the band’s ability to create full-length pieces that convincingly stretched their musical wingspan in an impressive fashion.

- Silvana Aliotta / lead vocal, percussion
- Marcello Quartarone / electric & acoustic guitar, vocal
- Gianni Bianco / bass, vocal
- Franco Lo Previte / drums

1 Hey Man 6:15
2 You Aren't Listening 4:58
3 Our Father 6:12
4 Need 8:36
5 When the Sun Refuses to Shine 7:42

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Bubu – Anabelas – 1978 (Argentina) progressive rock

2009-01-07T12:27:00.002+03:00

BUBU's "Anabelas" is one of the most complete prog albums to have come out of Argentina in the 1970s. "Anabelas" consists of three long epic compositions, and features mostly instrumental music that sounds like a cross of early KING CRIMSON, MAGMA and ÄNGLAGARD. BUBU was quite a large band and actually with a wide range of talent and instrumentation. Along with the traditional rock set-up (guitar, bass, and drums), the band featured a violinist, flutist, saxophonist, and pianist. Each composition is filled with intense interaction between the musicians, dozens of melodic surprises, and unexpected tempo changes. Their music is complex, energetic, and diabolical in a KING CRIMSON-ish sort of way. Very surprising is that there is no noodling and very little soling to be found here and although does offer a pretty trippy and wild musical experience, never gets too out of control or becoming un-accessible for the listener. Without a question this is an awesome recording and a necessity in anyone’s progressive rock collection. Absolutely brilliant progressive rock...!

- Sergio Polizzi / violin
- Cecilia Tenconi / flute, piccolo, bass flute
- Win Fortsman / tenor sax, words
- Petty Guelache / lead & backing vocals
- Eduardo Rogatti / guitar
- Eduardo "Fleke" Folino / bass
- Eduardo "Polo" Corbella / drums, percussion
- Daniel Andreoli / composition, arrangement

1. El Cortejo de un Día Amarillo (19:25)
2. El Viaje de Anabelas (11:12)
3. Sueños de Maniquí (9:16)

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Sahara – For All The Clowns – 1975 (GER) krautrock

2009-01-07T12:25:00.002+03:00

Previously known as Subject Esq., it seems they changed name to Sahara to get out of a redundant contract with CBS. Personnel wise, the only difference in Sahara was a new keyboardist (Hennes Hering from Out Of Focus), and a full-time lead guitarist. With a proliferation of multi-instrumentalists, a mass of keyboards and various wind instruments, it was no surprise that the album SUNRISE should be quite different. In fact, it's an odd album! Two of the tracks on side 1 do develop the Subject Esq. sound on a more progressive and classical rock spiced front (they sandwich a duff country number, that's best forgotten). But it's the instrumental 27 minute "Sunrise" suite that's the most extraordinary, a winding excursion that ranges from Camel to The Cosmic Jokers, from Pink Floyd to Pulsar, from... you get the idea?! It's a cosmic fan's nirvana. Over a year and a half on, a few minor personnel changes, including Holger Brandt from Missing Link, and a much more distinctive sound developed. As witnessed on FOR ALL THE CLOWNS, really it was back to Subject Esq., with an overdose of progressive influences, notably Focus, Caravan and Yes, and a potpourri of other styles. The results were a very complex and sophisticated progressive, and an album that is still very fresh and surprising. It's a shame that after this Sahara disbanded.

Hennes Hering (keyboards)
Michael Hofmann (flute, woodwinds, Moog, Mellotron, vocals)
Alex Pittwohn (harmonica, tenor sax, vocals)
Harry Rosenkind (drums, percussion)
Stefan Wissnet (bass, vocals)
Nick Woodland (guitars)
Holger Brandt (drums)
Günther Moll (guitar, vocals, bass)

1. Flying Dancer 3:23
2. The Source Part I & Part II 7:10
3. For All The Clowns 10:59
4. Prélude 1:05
5. The Mountain King Part I & Part II 13:20
6. Dream Queen 5:05
7. Fool The Fortune 1:19

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Holger Czukay & Rolf Dammers – 1968 (GER) krautrock

2009-01-07T12:23:00.002+03:00

Holger Czukay's first solo album was this experimental foray which fuses ambient, world music and an early form of sampling, a good 10 years before anybody else in the rock music field even started to get to grips with any of those ideas. Working with producer/engineer Rolf Dammers, this album was assembled from thousands of snippets recorded from short wave radio, a long standing obsession of Czukay's which he also incorporated into some of Can's later albums. For many years it was a real rarity, as only 1000 copies were printed and it was only released in Germany. The CD reissue includes a one-off recording of a brief jazz composition from German radio, which was Czukay's first broadcast work.
The first piece, Boat-Woman-Song, opens with a flurry of tape loops which settle into an irregular but compelling rhythm. The piece unfolds gradually, with a pair of Vietnamese singers (recorded from a short wave broadcast) providing the main melodic development. One of Czukay's charcteristic minimal bass lines is added to the sound collage part way through, and gives the piece a real impetus until it fades away (along with the singers) a few minutes before the end. The piece gradually fades away, having mutated and developed in an unexpected but very subtle manner - as with a lot of the best minimal music, you're left wondering exactly how we got to 'here' from 'there'. The second piece, Canaxis, is altogether more abstract but equally fascinating. There is no focal point to grab the attention until about half way through, when what sounds like a Japanese koto plays a simple but haunting melody over the constantly evolving sound collage. The closing piece, Mellow Out, is a short composition for guitar, bass and sax which, despite being in a very different style to the rest of the album, fits the general mood nicely.
Canaxis has scarcely dated since it was released 36 years ago, and is an impressive album from one of the most intelligent and innovative musicians rock music has produced. Recommended.

- Holger Czukay / bass, tapes, editing, engineering
- Rolf Dammers / co-producer, general support

1. Boat-Woman-Song (17:26)
2. Canaxis (19:37)
3. Mellow out (2:08)

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City - Am Fenster – 1977 (DDR) hrautrock

2009-01-07T12:21:00.002+03:00

Originating from what was at the time East Germany, City are virtually unknown to this day outside their native country. The band are rightly listed on this site as Prog related, that relationship being largely down to their one prog epic and best known song "Am Fenster". That song appears on this the band's first album released in 1978, supported by a further 5 songs. "Am fenster" (at the window) was originally released as a highly successful single, the album version being an expended version in 3 parts. The five songs which make up the first side of the original LP are well crafted but rather undistinguished blues/guitar rock. The lyrics are all in German although the sound is rather British; those looking for Krautrock need to look elsewhere. There are hints of bands such as Wishbone Ash (especially in "Nachts um halb eins") and Golden Earring ("Traudl" is more than a little like "Radar Love").
"Meister aller Klassen" (Master of all classes) is a slower guitar driven power ballad which tells the tale of an over ambitious motorcyclist. The appearance of flock like violin played by Georgi Gogow on "Der King vom Prenzlauer Berg" offers a pleasing additional dimension to the song.
It is though to "Am Fenster" that we look for the band's piece de resistance. This 17+ minute suite is made up in three contiguous parts, opening with the acoustic "Traum". Here, violin and acoustic guitar combine in a slightly folk influenced melody, the violin gradually swelling the sound in a manner similar to the middle section of Curved Air's "Vivaldi". The section ends abruptly as ticking clocks and chimes introduce the brief "Tagtraum". This simply acts as link to the main part of the suite, which is also titled "Am fenster". Here we find the first vocals of the track, but violin continues to dominate instrumentally. The track now finds a rhythm and a hook, the relentless violin acting as the catalyst for the development of the song into a hypnotic daydream (Tagtraum). While the song did find significant success in East and West Germany, and indeed in some other parts of Europe, it failed to find an audience in the lucrative markets of the English speaking countries. Such an injustice has befallen many bands who record in their native language, examples such as this merely emphasising how fine music is ignored simply because of the language used.
In all, this is something of a "Tarkus" with one superb side long number, and a collection of good but unremarkable supporting songs. Highly recommended simply for "Am fenster" though.

- Fritz Puppel / guitars
- Klaus Selmke / drums
- Georgi Gogow / bass, violin
- Toni Krahl / vocals

1. Es ist unheimlich heiß (4:30)
2. Der King vom Prenzlauer Berg (4:55)
3. Nachts um halb eins (3:55)
4. Traudl (3:15)
5. Meister aller Klassen (5:35)
6. Am Fenster (17:40)
I) Traum
II) Tagtraum
III) Am Fenster

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City - Der Tatowierte – 1979 (DDR) hrautrock

2009-01-07T12:20:00.002+03:00

Unlike the A-side songs from their debut, the tracks here are all top-flight rock & roll, with “Der Tätowierte” (also the title of the Amiga edition of this LP) probably the high point. Also, the band are stretching out and becoming more exploratory, with “Aus der Ferne” being a wonderful ethno-folk experiment involving violin solos and sitar. But the absolute high point, in my opinion, of the band’s entire career (not merely this album) is “Bulgarien-Rock,” nine minutes of frenetic Guru Guru-like power-guitar intensity.

- Fritz Puppel / guitars
- Klaus Selmke / drums
- Georgi Gogow / bass, violin
- Toni Krahl / vocals

1. Aus der Ferne (5:15)
2. Bulgarien Rock (9:20)
3. Der Tätowierte (5:00)
4. Wenn ich mal was sagen will (1:26)
5. Nur die Nächte gehören uns (3:02)
6. Biggi (3:58)
7. Dizzy (3:30)
8. Der Optimist (5:08)
9. Wo ist das Glück (5:03)

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Brainstorm – Smile A While – 1972 (GER) krautrock

2009-01-07T12:07:00.002+03:00

Brainstorm's debut offers an odd twist on jazz-rock, throwing in bits of Canterbury and Frank Zappa, as well as the Dutch band Supersister. The record starts off with the explosive energy of the instrumental "Das Schwein Trugt," a fast piece of complex prog-jazz. "Zwick Zwick" follows, beginning at an only slightly slower pace, with some wild flutes and clarinets over a choppy rhythm, and then halfway through the guitar, bass, and organ rip into the mix to add a furious energy to the piece. Though the album is mostly instrumental, a couple tracks offer quirky song structures, the very short "Watch Time Flow By" and a couple short sections in the long title track, while "Snakeskin Tango" has someone moaning in anguish and the middle section of "Bosco Biati Weiss Alles" contains strange wordless vocal drones. Through it all, Brainstorm has crafted top-notch music that combines the manic energy and flippancy of rock with the loose fluidity and chops of jazz, with dynamic arrangements, a sense of humor, and excellent musicianship. The CD also includes five bonus tracks that are in a similar vein to the album cuts, though these can be found on the From Fashion Pink to Brainstorm disc as well.

Rainer Bodensohn (flute)
Eddy von Overheidt (keyboards)
Enno Dernov (bass)
Roland Schaeffer (saxophone, guitar, vocals)
Jo Koinzer (drums)

1. Das Schwein Truegt (4:40)
2. Zwick Zwick (4:40)
3. Watch Time Flow By (1:29)
4. Bosco Biati WeiB Alles (8:59)
5. Snakeskin Tango (2:20)
6. Smile A While (15:34)
7. You Are What's Gonna Make It Last (live) (3:31)
8. Don't Forget (live) (0:25)
9. Thesen & Antithesen (live) (14:01)
10. Einzug Der Elefanten (4:09)
11. You Knock Me Out (3:03)

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Brainstorm - 2nd Smile – 1973 (GER) krautrock

2009-01-07T12:06:00.002+03:00

The second record by Brainstorm, from 1973, reveals even more variety to this German group's take on Canterbury jazz-rock. The album starts off with a spacy keyboard drone, dripping water noises, and gentle acoustic guitars, and just when you think you have the track, "Hirnwind," pegged as a mellow folk number, it becomes hyperactive progressive jazz-rock, with propulsive rhythms and lots of furious electric guitar, organ, flute, and sax, with some goofy wordless vocals thrown in. Other tracks also have that abrupt unpredictability, as Brainstorm's compositional prowess is even more developed, especially on the complex songs of "My Way" and "Marilyn Monroe," which feature a lot of changeups and different moods and tempos. They also do an ultra-funky arrangement of Leon Thomas' "There Was a Time," a standout on the disc. Though this record is energetic, it doesn't quite achieve the same manic overdrive of some of the material on their debut, Smile a While. Second Smile presents a more mature group, though one that is still a lot of fun, especially on the vampy "Marilyn Monroe" and wild "Hirnwind," the two songs that bookended the original album. The only weak cut is the bonus track, "You're the One." This single is a remake of "You Are What's Gonna Make It Last" from Smile a While, but tries to pump it up with a more conventional rock sound that is less interesting than the rest of the album.

Rainer Bodensohn (flute)
Eddy von Overheidt (keyboards)
Enno Dernov (bass)
Roland Schaeffer (saxophone, guitar, vocals)
Jo Koinzer (drums)

1. Hirnwind (5:43)
2. Herbst (3:40)
3. My Way (8:12)
4. Affenzahn (4:47)
5. There Was A Time (7:09)
6. Marilyn Monroe (8:32)
7. Bonus: You're The One (2:50)

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Brainstorm - Bremen – 1973 (GER) krautrock

2009-01-07T12:04:00.003+03:00

This is a live album (typical product of Garden Of Delight Label ) only released recently and mixed with more recent live stuff.

Rainer Bodensohn (flute)
Eddy von Overheidt (keyboards)
Enno Dernov (bass)
Roland Schaeffer (saxophone, guitar, vocals)
Jo Koinzer (drums)

1. Zwick zwick (5:29)
2. Das Schwein trügt (5:00)
3. You're the one (5:19)
4. My way (9:53)
5. There was a time... (14:23)
6. Affenzahn (5:07)
7. Hirnwind (21:01)
8. Marilyn Monroe (9:44)
9. Snakeskin tango (2:35)

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Brainstorm – Last Smile – 1974 (GER) krautrock

2009-01-07T12:02:00.001+03:00

These jazz-rockers from Germany were known to be a formidable live band, with an all-out jamming style and loose structures. Last Smile catches Brainstorm live in mid-1974, shortly before the group broke up. Since this was recorded for West German radio, the sound quality is excellent. Though the version of "Das Scwein Trugt," a track from their first album, is not quite as explosive as the studio version, the tracks from Second Smile, "Marilyn Monroe" and "There Was a Time," are drastically reworked. "Marilyn Monroe" has been trimmed of some of its more radical sections, while the Leon Thomas piece "There Was a Time" has been stretched out into a wild 12-and-a-half-minute opus of throbbing jazz-funk with bits of dissonant free jazz thrown in, and as good as the version on Second Smile was, this one has more power. The pair of new songs that round out the disc, "Signed" and "Stars on the Stage," are quite good too, maybe not as weird or as varied as the eccentric material on the first record, with abrupt changes like the songs on the second. Both tracks contain long instrumental passages with plenty of blistering solos for flute, sax, clarinet, and guitar over the loose but lively rhythms, as well as quirky vocals.

Rainer Bodensohn (flute)
Eddy von Overheidt (keyboards)
Enno Dernov (bass)
Roland Schaeffer (saxophone, guitar, vocals)
Horst Mittmann (drums)

1. Marilyn Monroe (4:12)
2. Das Schwein trügt (4:59)
3. Signed (8:32)
4. There was a time... (12:36)
5. Stars on the stage (10:33)

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Ardo Dombec - Ardo Dombec – 1971 (GER) krautrock

2009-01-07T11:59:00.005+03:00

Ardo Dombec differs from other folk-blues-fusion-hard rock bands of the early 70's by the presence of omnipresent visceral saxophone arrangements that remain pretty structured, sometimes reminding the Dutch fusion band Solution. Because of the aforementioned subgenres, Ardo Dombec perfectly falls into the art rock category. The drums and bass are often very fast, rhythmic and complex, flirting with fusion elements, and reminding the early Camel without the keyboards. Despite their German origin, Ardo Dombec have nothing to do with the krautrock subgenre. The lyrics are sung in English. The tracks are pretty progressive for 1971. Many flute parts a la Jethro Tull, Focus and even Camel add some interesting variety; the track with the very pleasant visceral harmonica exhibition also shows how versatile the members can be. The music is quite addictive, disciplined and structured: this allows me to qualify the album as excellent. Some catchy tracks, combined with the typical lead vocals, should even slightly remind the listener a sophisticated Elvis Presley!

- Helmut Hachmann / sax, flute
- Harald Gleu / guitar and vocals
- Wolfgang Spillner / drums and vocals
- Michael Ufer / bass

1. Spectaculum (4:02)
2. Supper Time (3:19)
3. A Bit Near the Knuckle (4:32)
4. Clean-Up Sunday (6:50)
5. Downtown Paradise Lost (5:52)
6. Oh, Sorry (0:08)
7. 108 (4:36)
8. Unchangable Things?! (5:58)
Bonus tracks:
9. Heavenly Rose (3:54)
10. Open The Door, Open Your Mind (2:11)
11. Young And Strong (3:15)
12. Riverside (4:15)

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Agitation Free - River Of Return – 1999 (GER) krautrock

2009-01-07T11:56:00.002+03:00

This is quite the impressive comeback for Agitation Free. A little cleaner than earlier albums, but still has that spacey/ambient feel added to the krautrock stew that made Agitation Free quite remarkable. "Susie Sells Seashells at the Seashore" won me over immediately. Very worthy return!

Lutz "Lüül" Ulbrich / guitar, keyboards
- Gustl Lütjens / guitar, keyboards
- Burghard Rausch / drums
- Johannes "Alto" Pappert (ex-Kraan) / saxophone
- Michael "Fame" Günther / bass, keybopards
Guest musicians:
- Chris Dehler / overtonevoice, Didgeridoo
- Koma / Bagpipe
- Minas Saluyan / percussion
- Bernard "Potsch" Potschka / guitar, Mandoline, Udu

1. River Of return (8:24)
2. 2 part 2 (5:46)
3. Fame's mood (4:10)
4. Susie sells seashells at the seashore (10:01)
5. The obscure carousel (5:16)
6. Nomads (7:07)
7. Das kleine Uhrwerk (5:04)
8. 177 spectacular sunrises (13:08)
9. Keep on (3:57)

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Agitation Free - The other Sides of Agitation Free – 1974 (GER) krautrock

2009-01-07T11:55:00.002+03:00

This IMO should not be considered a real Agitation Free album as there are only two remaining members playing all sorts of fusion jazz with invited guests. Trust me on this one , this has nothing to do with their normal sound , but this is not bad . It probably deserves a better rating from me but I wanted to make a point. If I can point out some same-sounding records , I could tell you second period Doldinger's Passport. Deliverance is the best track on here. Still worth a spin but be wary of the name

- Michael "Fame" Günther / bass
- Gustav Lütjens / guitar, vocals
- Mickie Duwe / vocals
- Harald Großkopf / drums
- Dietmar Burmeister / drums
- Jochen Bauer / drums
- Konstantin Bommarius / drums, percussion
- Manfred Opitz / keyboards, vocals
- Christian "Bino" Brero / piano
- Bernd Gruber / keyboards
- Klaus "Maus" Henrichs / saxophone
- Lou Blackburn / trombone

1. Atlantic Overcrossing (5:34)
2. Abulafia (6:17)
3. 6th Floor (5:11)
4. Deliverance (4:24)
5. Latino Catherine (3:37)
6. Get It Out (4:21)
7. Offstage (2:47)
8. Song Für Den Proletariersohn, Teil 1 (5:38)
9. Song Für Den Proletariersohn, Teil 2 (2:55)
10. Song Für Den Proletariersohn, Teil 3 (1:36)

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Agitation Free - At The Cliffs Of River Rhine - 1974 (GER) krautrock

2009-01-07T11:43:00.004+03:00

Another 1974 stunning live album from the band. Four pieces from the “2nd” album, plus one unreleased. Two guitarists here: GustI Lütjens and Lutz Ulbrich.
The first piece “Through the moods” -the unreleased one-, begins with space sounding synthe and then progressively evolves into a beautiful spacerock tune, dominated by cosmic (SF inspired) keyboards and excellent guitar.
The album’s summit is “First communication” which is transfigured on this live cover. It begins very slowly, as in the studio version. Guitar is amazing; organ is majestic while rhythmic section offers a delicate but powerful base. The climax is reached around 2’00 with a fantastic moment lead by guitar, which reminds of the best Grateful dead, with a more fluent cosmic space quality. Fantastic.
“Dialogue & random” is the minor short experimental piece from 2nd, which serves as a transition between “Through the moods” and “Laïla“.
“Laïla” cover is great too, with its highly emotional guitar solo, followed by its repetitive rhythmic pattern, on which guitar flies very high.
The quiet “In the silence of the morning sunrise” ends the album. It evokes a trip comedown with its bluesy and peaceful overtones.
Although the “Garden of delights” 1998 CD release may sound hazy at first, it's overall good, featuring an ample sound with satisfying dynamic and presence, and soft highs. It has been premastering in Los Angeles by Michael Hoenig.
A blazing testimony from this major german band.

- GustI Lütjens / guitar
- Lutz 'Lüül' Ulbrich / guitar
- Michael 'Fame' Günther / bass
- Michael Hoenig / keyboards
- Burghard Rausch / drums

1. Through The Moods (13:28)
2. First Communication (8:56)
3. Dialogue & Random (0:57)
4. Laila (10:03)
5. In The Silence Of The Morning Sunrise (4:41)

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С Рождеством Христовым!/Merry Christmas!

2009-01-06T18:38:00.002+03:00

Virgin and Child with Sts Catherine, Cecilia, Barbara, and Ursula
c. 1490
Master of the Virgo inter Virgines
(active 1470-1520)

HAPPY NEW YEAR!!!

2008-12-31T11:15:00.002+03:00

Streetmark – Nordland – 1976 (GER) progressive rock

2008-12-05T18:36:00.003+03:00

Streetmark is one of the lesser known german bands of the 70's.One of the reasons is that the musicians kept their day-jobs, toured mainly in their area and didn't develop a follow up like GROBSCHNITT or NOVALIS who toured heavily.STREETMARK played together since 1968 but took time to record their first record 'Nordland'.They took the time to play the songs live and work them out. 'Nordland' was recorded and produced by the well knownengineer/producer Connie Planck on the new Sky label.Side one starts with a suite ' House of 3 windows'. The first part shows influences of Ekseption and Focus especially towards the end when G.Buschmann does vocalises like T. van Leer.The second part goes more in the direction of Procol Harum, Gary Brooker being the obvious model for Buschmann.The third part is a cover of 'Eleanor Rigby' ( a minor hit for STREETMARK) and quite an interesting approach of such a classic track. STREETMARK plays the song up- tempo and agressive which works fine.'Amleth Saga' is another Procol Harum influenced track. The only weak track on side one is 'Italian concerto in rock' a pseudo baroque instrumental à la Ekseption or Wendy Carlos with cheesy synth sounds. The second side 'Nordland is more athmospherique.The first part, an instrumental reminding NOVALIS goes into a more jazzier track' Lyster Fjord'. The third part 'Ladoga' is my favourite track on the record, a beautiful melody ,the only weak point are the vocals. The second side closes with 'Reality Airport' an uptempo rocker with nice rhythm changes. On the CD edition there is a Bonus track 'Da Capo' a variation on the 'Eleanor Rigby' theme.

- Georg Buschmann / lead vocals
- Dorothea Raukes / keyboards
- Thomas Schreiber / guitars
- Hans Schweiss / drums
- Wolfgang Westphal / bass

1. House of three windows: (10:55)
a) House for hire 3:15
b) Green velvet curtains 2:20
c) Eleanor Rigby 5:20
2. Amleth saga (7:10)
3. Italian concert in rock (2:30)
4. Nordland: (20:19)
a) Waves and visions 2:50
b) Lyster fjord 7:24
c) Ladoga 3:45
d) Reality airport 6:20

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The Greatest Show On Earth – Horizons – 1970 (UK) progressive rock

2008-12-05T18:32:00.003+03:00

Although the Greatest Show on Earth (GSOE) were not the first bunch of rockers to incorporate a powerful brass and woodwind section, they are among the best and heaviest-sounding British bands to have emerged from the post-psychedelia of the late '60s and early '70s. GSOE were, in essence, the invention of EMI Records subsidiary Harvest, who were focusing in on new and progressive artists such as Pink Floyd and Deep Purple. When the group was initially signed in 1968, they were an R&B/soul revue whose forte was more along the lines of Stax or Motown, instead of trippy acid rock. After ditching their original vocalist, Ozzie Lane, they eventually settled on Colin Horton Jennings, a multi-faceted performer who would begin to compose originals that would allow the octet to incrementally abandon their Yankee soul leanings. After a few months of woodshedding new tunes, they emerged with a fresh sound and material for their debut, Horizons (1970). The extracted single "Real Cool World" is marked by its open-throttle, galloping tempo and some equally pungent electric organ riffs. As such, it was also given a few cursory spins on BBC's Radio One; however, the remainder of the disc was criminally overlooked. To modern ears, this is a great shame, as the effort is full of well-crafted and adeptly executed material. Of primary interest is the aggressive rocker "Angelina" and the groovy "Skylight Man." The latter title features a brief and buoyant trumpet-led introduction by Dick Hanson that recalls the Tijuana Brass more so than, say, Blood, Sweat & Tears or Chicago. The darker "I Fought for Love" stands as one of the edgier sides and is augmented by some stellar organ leads and fills from Mick Deacon. The title track extends over a quarter-hour and allows the combo room to demonstrate their remarkable improvisational skills in the context of an ensemble. In particular, Ron Prudence (drums/percussion) and Norman Watt-Roy (bass/vocals) stand out as a rock-solid rhythm section. Although they stuck around for a follow-up effort, The Going's Easy, the Greatest Show on Earth were never given the due that this release so evidently deserves.

- Colin Horton-Jennings / vocals, flute, guitar, percussion
- Garth Watt-Roy / vocals, guitar
- Norman Watt-Roy / vocals, bass
- Mick Deacon / keyboards
- Ron Prudence / drums, congas
- Dick Hanson / horns
- Tex Phillpots / saxophone
- Ian Aitcheson / woodwinds

1. Sunflower Morning (5:00)
2. Angelina (4:10)
3. Skylight Man (4:33)
4. Day Of The Lady (4:12)
5. Real Cool World (4:52)
6. I Fought For Love (4:26)
7. Horizons (14:02)
8. Again & Again (4:02)

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The Greatest Show On Earth – The Going's Easy – 1970 (UK) progressive rock

2008-12-05T18:31:00.002+03:00

As had been the case with the Greatest Show on Earth's (GSOE) debut long-player, Horizons (1970), the follow-up, Going's Easy (1970), made very little impact despite their originality and certainly better-than-average material. The band's rather auspicious origins were the invention of EMI Records subsidiary Harvest, who set out to manufacture a British version of Blood, Sweat & Tears or Chicago -- both of whom successfully fused a brass and woodwind section into the framework of a rock & roll combo. After a less-than-stellar initial outing, GSOE returned to the drawing board and reconvened with a disc of longer and more jammed-out sides. They had also been listening to their stateside counterparts. The extended track "Borderline" is a group-credited composition that seems to lift several distinct features from the David Clayton Thomas version of Blood, Sweat & Tears. Colin Horton Jennings' (vocals/flute/guitar) bluesy lead vocals seem to practically mimic Thomas'. In fact, GSOE even goes one better than Blood, Sweat & Tears with an exceedingly heavier rock vibe. The acoustic and lilting "Magic Touch Woman" as well as the dark, pastoral "Storytimes & Nursery Rhymes" include some well-crafted harmonies that could easily be mistaken for latter-era Hollies. This is particularly interesting as the Hollies actually scored a minor hit with "Magic Touch Woman." "Love Magnet" is another lengthy track that features some of the band's best ensemble work. Mick Deacon's (vocal/keyboard) electric organ solo is especially noteworthy, giving GSOE a really jazzy workout. Lacking consumer or industry support, GSOE disbanded by mid-1971. Even while the group was able to sell out shows throughout the rest of Europe, the total lack of interest back home inevitably sealed their fate.

- Dick Hanson / horns
- Colin Horton-Jennings / vocals, guitar, drums
- Tex Philpotts / saxophone
- Ron Prudence / congas, drums
- Garth Watt-Roy / vocals, guitar
- Norman Watt-Roy / vocals, bass

1. Borderline
2. Magic Woman Touch
3. Storytimes & Nursery Rhymes
4. The Leader
5. Love Magnet
6. Tell The Story
Bonus Track
7. Mountain Song

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Araks (Аракс) – The Star and the Death of Jaoquin Murieta – 1978 (USSR) progressive rock

2008-12-05T18:25:00.003+03:00

Fantastic group 70080s years – Araks. Rock opera – it is based on product of Chilean poet Pablo Neruda. Great vocal, fine very original psych prog

Yuri Shahnasarov - lead gutar
Sergey Rudnizkiy - acoustic guitar, bass, organ, piano, synth
Vadim Golutvin - acoustic guitar, badjo
Sergey Belikov - bass, flute, vocal
Alexander Sado - vocal
Anatoliy Abramov - drums

1. Вступление
2. Песня Хоакина
3. Песня Шарманщика
4. "Золото!"
5. Хоакин и друзья
6. Ария Звезды
7. Ария Смерти
8. Сцена в таможне
9. "Прощай!"
10. Куплеты Смерти "Будет заваруха!"
11. Вопросы Блаженного без ответа
12. Сцена на корабле
13. Таверна "Заваруха"
14. Девицы и Хоакин
15. Драка в таверне "Заваруха"
16. Реплика Смерти
17. Заговор
18. Песня Тересы
19. Нападение
20. Колыбельная не родившемуся сыну
21. Реквием
22. Клятва Хоакина
23. Месть Хоакина
24. Вторая ария Смерти
25. Воспоминания о Родине
26. Шествие к могиле Тересы
27. Эпилог

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Cinderella – Udkoksning i tre satser – 1970 (DEN) heavy progressive

2008-12-05T18:19:00.002+03:00

The liner notes in the booklet are strangely enough only in Danish, as if there wouldn’t be any foreigners interested in this band. The only thing I can make of the notes is that they were noticeably influenced by Rory Gallager, Vanilla Fudge, Hendrix and Cream, and secondly by Zeppelin & Doors which from which I don’t find any influence. They covered a Cream song, “Mr.Fantasy”, and two Hendrix tracks, “Fire” and “Break Song”. This last track is really convincing and shows a direct Hendrix endowment, and great solo guitar. I also saw the name Peter Quaife, bass player from The Kinks, mentioned as producer for their only 1971 album.
More or less the only and sure deliberately arranged or prepaired song for the album is “Carlt”, one side of a very good single, which highlights with speeded up heavy percussion (congas, drums,..). I found out that after the single, most of the CD is this LP album, with an additional 5 live tracks. Without knowing that, the CD sounds more or less like one long concert. The group definitely stands in the walking shoes of that part of the psychrock scene which developed out of blues and boogie-woogie. As a progressive band for me they still stand in the shadow of their Swedish neighbours, but as a jamming band they have some convincing elements, although the music sometimes sound somewhat absorbed by the jamming nature, and the poor quality of the live recording is a confirmation to this feeling. We hear mostly fuckin’ rocking long jams and jammed songs, with dirty and fat guitars, which sound pretty smoked, -and who knows drugged and alcohol-boozed-. Like I was mentioning, at times this smoky and stoned atmosphere for the length of the CD works altough at times it is a bit saturating. The best sound for live recordings of this kind of music normally does not always matter too much, but in the end for me it did take its toll ; at the time when the last track, the rock’n roll “Long Tall Sally” comes in, I’m really drunk from the music and tired, and with a feeling as if I’m truly there at the concert I take a break to go for a pee.

Allan Vokstrup (drums)
Henning Kragh Pedersen (guitar, vocals)
Søren Hilligsøe (bass, vocals)

1 Carlt (4:31)
2 Sexbombe (3:31)
3 Udkoksning I Tre Satser (6:06)
4 Break Song (9:20)
5 Parchman Farm (2:24)
6 Kong Galars Sang (4:23)
7 Fire (3:18)
8 Mr. Wild (3:35)
9 Ana-T-Nas (5:04)
10 Forurening (5:24)
11 Break Song (13:21)
12 Mr. Fantasy (9:11)
13 Stormen (4:18)
14 Long Tall Sally (3:02)

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Quicksand – Home Is Where I Belong – 1973 (UK) progressive rock

2008-12-05T18:18:00.003+03:00

Pretty solid rock with occasional prog and West Coast influences. The guitar work is pretty solid and the use of organ/piano adds to it. Songs vary from slightly harder rock to almost folk. "Empty Street, Empty Heart" has a country feel to it with both acoustic and electric guitar with the occasional faint organ. "Hiding It All" is a darker, slower piece of psych. "Overcome the Pattern Flying" is another solid track. "Seasons Alpha Omega" has some very Emerson-like keyboard work.

Robert Collins (keyboards, vocals)
Jimmy Davies (guitar, vocals)
Phil Davies (bass, vocals)
Anthony Stone (drums, vocals)

1. Hideaway My Song (3:11)
2. Sunlight Brings Shadows (4:22)
3. Empty Street Empty Heart (3:44)
4. Overcome The Pattern (8:16)
5. Time To Live (3:30)
6. Home Is Where I Belong (4:58)
7. Seasons - Alpha Omega (8:23)
8. Hiding It All (4:13)

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Ruphus – New Born Day – 1973 (NOR) progressive rock

2008-12-05T18:15:00.002+03:00

Lost Norwegian classic that time forgot from '73. Solid debut from a band that never really became known outside their native land although they did perform in Germany & Switzerland, this album in particular has over the years been unfairly compared to the likes of Uriah Heep and Yes but it really stands by itself. Harder rocking than the afore mentioned with powerful male/female vocal pairing and thoughtful lyrics despite the overall heaviness set them apart from UK contemporaries and if any comparisons could be drawn then the German band Octopus, who were yet to arrive on the scene would come the closest. Every track has it's own catchy groove here with vocal harmonies, keyboard orchestrations, guitar freakouts and some really heavy dominant Hammond organ.The sheer energy and dynamics of New Born Day cannot be over-stated with it's fluctuating arrangements which also have classical suggestions and jazz aspirations which would come into prominence as the band's career progressed. Not lacking prowess, the music veers into so many directions with more melodic sections featuring acoustic guitars, saxophone and flute which are particularily effective on tracks such as the prophetic Scientific Ways and up-tempo Still Alive giving the compositions even more colour. Other devices such as vocal incantations and emotive screams from vocalist Gudny Aspaas also come into play making this a total early seventies art/rock package which would give any contemporary band a run for their money. Although not a concept album per say all the tracks are loosely connected by cold war themes which are evident on tracks like Scientific Ways, The Man Who Started It All and Day After Tomorrow.
Anyone into everything from early Deep Purple to Yes ought to check out this precious blast from the past to see what was really happening musically in Scandinavia during the early seventies besides ABBA. While it may sound a bit dated, without question it personifies the true spirit of what was progrock back in it's glory era.

- Gudny Aspaas / lead vocals
- Thor Bendiksen / drums, percussion
- Hans Pelter Danielson / guitar
- Håkon Graf / organ, piano, vibes
- Kjell Larsen / guitar, flute
- Asle Nilsen / bass, flute
- Rune Sundby / acoustic guitar, saxophone, vocals

1. Coloured dreams (4:04)
2. Scientific ways (5:59)
3. Still alive (4:35)
4. The man who started it all (5:28)
5. Trapped in a game (6:08)
6. New born day (5:43)
7. Day after tomorrow (8:47)

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String Driven Thing – The Early Years – 1968-1972 (UK) prog folk

2008-12-05T18:13:00.003+03:00

Scotland’s contribution to progressive rock may appear rather minute, but the role the Scots played in the development of folk rock (and by the same extent progressive folk)is simply enormous. After Donovan, the Incredible String Band, the Pentangle and a few more, came this Glaswegian trio called String Driven Thing in 67, composed of Chris Adams and his wife and guitarist John Mannion. While they stayed rather unsuccessful for a long while, with their debut album completely unnoticed on a independent label. By 71, the group had seen Mannion leaving, but he was replaced with violinist Grahame Smith and bassist Colin Wilson. Soon they got signed to the Charisma label and with Shel Talmy producing two excellent albums, encountering a certain kind of success in Continental Europe, but staying close to unknown in the Isles. After health-related problems in a tour founder Chris Adams quit with his wife leaving Grahame Smith reforming the group from scratch for two further albums. Neither of these albums will have the charm or adventure of the two earlier albums, developing a more AOR rock that had no real distinction except for a violin sound and the group folded in the mis-70’s.

SDT reformed in the mid-90’s under Chris Adams’ instigation releasing a live album. SDT still plays now and again as the millennium is well under way.

- Chris Adams / guitars, vocals
- Pauline Adams / vocals percussion
- Colin Wilson / bass, guitars, banjo
- Grahame Smith / violin, viola
- John Mannion / guitar

1. July Morning
2. Say What You Like
3. Magic Garden
4. Wonderful Places
5. City Man
6. Another Night In This Old City
7. That's My Lady
8. No More You And I
9. Lie Back And Let It Happen
10. One Of The Lonely People
11. Someone Else's City ( Home Demo '67)
12. Sometimes I Wish ( Home Demo '67)
13. Waiting For The Sky To Fall (Home Demo '67)
14. Magic Garden (Dave Cousins Demo '69)
15. No More You And I (Dave Cousins Demo '69)
16. Say What You Like (Dave Cousins Demo '69)
17. Lie Back And Let It Happen (Dave Cousins Demo '69)
18. Lie Back And Let It Happen (Ironic Jam With Colin Wilson, '70)
19. Let Me Down (Home Demo, Chris & Colin, '70)
20. Old Love New Love (Studio Demo, '71)
21. Jack Diamond (Home Demo (only track with all five on it) '72)
22. Argyle Street (Home Demo, '72)
23. Winter Is Coming (Home Demo, '72)
24. Regent Street Incident (Home Demo, '72)
25. To See You (Blackpool 2001)
26. Circus ( Blackpool 2001)

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Tabula Rasa – Tabula Rasa – 1975 (FIN) progressive rock

2008-12-05T18:11:00.002+03:00

This mid-70's Finnish prog release might be a nice record to check out for those listeners, who like URIAH HEEP, JETHRO TULL and don't mind lyrics sung in Finnish. The band was signed to Love Records, and thus got good changes at local prog markets. The texts are quite good passionate writings of Mikko Alatalo, who has had a succesful popular music career (not referring to my own tastes with this claim). The melancholic ballad "Gryf" is my favorite track of this record and of the band. It's guitar player Heikki Silvennoinen is a really talented musician, and he has worked as a professional musician and as actor after his commitment to this group.

- Heikki Silvennoinen / guitar
- Jukka Leppilampi / vocals
- Tapio Suominen / bass
- Asko Pakkanen / drums
- Jarmo Sormunen / flute
- Jim Pembroke / piano

1 Lähtö
2 Miks' ette vastaa vanhat puut
3 Tuho
4 Gryf
5 Tyhjä on taulu
6 Nyt maalaan elämää...
7 Vuorellaistuja
8 Prinssi

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The Load – Praise The Load – 1976 (US) progressive rock

2008-12-05T18:08:00.001+03:00

This album strikes me as a collection of semi-serious musings by a couple of seventies Midwest suburbia kids who either spent a lot of their free time at the Lowry Organ & Piano store in their local mall, or maybe snuck some time in on their church’s Wurlitzer after services. The seventies Midwest suburbia types is pretty much accurate; not sure where they cut their musical teeth. In any case they undoubtedly listened to a lot of seventies keyboard music back then, and I suspect they had some classical training as well.

This is a pretty entertaining record, although getting your hands on the original vinyl release would be pretty difficult. Fortunately the album was reissued on CD in the nineties, and that one isn’t very hard to find. There are basically two types of tracks here – keyboard-crazed instrumentals, and keyboard-crazed instrumentals with vocals. The lineup is a trio consisting of brothers Tom and Sterling Smith, plus guitarist Dave Hessler. Apparently Sterling Smith has subsequently made a career of session work, no surprise since his keyboard skills are readily apparent all over this album. The other two have appeared as part of “America’s Favorite Party Band” the Danger Brothers for the past quarter-century. So they’ve managed to make a living in the industry, albeit not playing this type of music. But they have this and one other early recording and their memories, which is nice I suppose.

The opening track “Fandango” is an eleven minute instrumental featuring what sounds like acoustic guitar, slightly syncopated and lively drumming, and a whole cornucopia of Hammond and synth keyboard passages that are pretty entertaining and kind of impressive for the skill of Sterling Smith’s fast fingers if nothing else.

“Flyaway” features more detailed keyboard work and electric guitar, well done except for the harmonized and uncredited vocals which are quite dated-sounding and kind of pithy in their lyrics. This one sounds like a hundred different forgotten seventies bands, but wouldn’t have been too bad on the radio back then.

“Brandenburg #3” is another instrumental, mostly keyboards, and quite a bit shorter than “Fandango” but with the same kind of lively tempo. Smith seems to favor string synths, which is okay since he plays them quite well.

The Hammond and some electric piano are featured on “Dave’s ‘A’ Song”, and this is the one that reminds me of those Lowry organ showrooms in the malls back in the seventies. Peppy tempo, light and lively progressions, but not a whole lot of substance. This clocks a little over seven minutes but actually seems a lot longer than that.

There’s a short blast of the “William Tell Overture” included which is almost all organ, with a few synth flourishes for good measure. Heck, why not?

The longest and probably most ambitious track is “The Betrayal”, an eleven minute blend of funky bass, light guitar, and almost jazzy drum work. Again the featured instruments are the various keyboards, although they are a bit more subdued here. I think this is some kind of religious-themed song, but the lyrics are a little hard to follow since they almost seem like an afterthought added once the instrumental tracks had been laid down. Again the vocals are very dated, but wouldn’t have been out of place thirty years ago when this was recorded.

There’s two ‘bonus’ tracks on the CD version, which is probably the only version anyone who doesn’t already own this is likely to find. Both are pretty good. “Sit Down” reminds me a bit of “Fandango” with its twangy guitar, off-beat drumming, and Wurlitzer-like keyboards. The lyrics are just silly, which probably explains why this one didn’t make the original release.

“She Calls My Name” sounds like a cross between the Nice and the Beach Boys circa the mid-seventies. Not a bad song, but nothing special.

- Sterling Smith / keyboards
- Dave Hessler / guitar, bass
- Tommy Smith / drums, percussion

1. Fandango
2. Flyaway
3. Brandenburg #3
4. Dave’s ‘A’ Song
5. The Betrayal
6. The William Tell Overture
7. Sit Down (bonus track)
8. She Calls My Name

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The Web - Theraphosa Blondi – 1970 (UK) progressive rock

2008-12-05T18:06:00.002+03:00

One presumes that whoever was responsible for green-lighting this LP — on a pretty big British label — either didn't last long at their position or was in such favor at the company that they couldn't get fired no matter what impractical decisions they made. For records from the early progressive rock record don't get much stranger, inconsistent, or uncommercial than this one. It's beyond bizarre, which doesn't mean that it's very good. The biggest drawbacks are the vibrato-laden lead vocals, which sound kind of like Ray Collins of the Mothers of Invention might have if he A) wasn't nearly as good a singer, and B) was singing without a trace of satirical irony. And in fact, much of the opener, "Like the Man Said," sounds like a humorless variation on the early Mothers of Invention; the complex, shifting song structure and blend of rock and experimentalism are there, but none of the wit or knowing comedy is evident. It gets more distasteful than that when the track incorporates Jethro Tull-like sections and glides into a histrionic cover of "Sunshine of Your Love." Yet the very next cut is a sensitive middle-of-the-road pop ballad for which the quasi-operatic singing is wholly ill-equipped. Next is a percussive instrumental with an African-meets-West Indies flavor; then there's a seeming, and again wildly incongruous, attempt to emulate Burt Bacharach's smooth late-'60s pop with "1,000 Miles Away," though the singer surely ain't no Dionne Warwick. By the time it's followed by a swinging jazzy flute-paced instrumental, "Blues for Two T's" (actually the best thing on the album), it's apparent this band was thoroughly confused as to what direction to pursue. More messy zigzagging follows with the exotica of "Kilimanjaro," which is the kind of thing you might have expected to hear at a Hawaiian lounge bar in the 1950s (though the singing would likely have been better), and an ill-conceived cover of "Tobacco Road" that shifts into an early jazz-rock version of "America" (from West Side Story). As to whom might have bought this record when it was released, that's anyone's guess; it's not just an unappetizing mixture, but it must have been thoroughly unmarketable.

- John L. Watson / vocals
- Kenny Beveridge / drums, percussion
- Lennie Wright / vibes, percussion
- John Eaton / guitar
- Tony Edwards / guitar
- Dick Lee-Smith / bass
- Tom Harris / saxes, flute

1. Like the Man Said / Sunshine of Your Love (13:54)
2. ‘Til I Come Home Again Once More (3:02)
3. Bewala (2:32)
4. One Thousand Miles Away (4:34)
5. Blues for Two T’s (2:51)
6. Kilimanjaro (3:54)
7. Tobacco Road / America (5:40)

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Todd Rundgren's Utopia – Another Live – 1975 (US) progressive rock

2008-12-05T18:04:00.001+03:00

It's hard to say exactly why Another Live works better than either Todd Rundgren's Utopia or Initiation, Rundgren's two previous excursions into synth-heavy prog-rock. It's not that the music is more energetic or focused, since it isn't. Neither is the music more challenging or ambitious -- it's simply better. It's true that the second half is devoted to covers (West Side Story's "Something's Coming," the Move's "Do Ya") or Rundgren classics ("Heavy Metal Kids," "Just One Victory"), all of which are more song-oriented than anything on the first half, or anything on either TR's Utopia or Initiation. That said, the prog-rock epics that comprise the first half of the album cut deeper than before, possibly because the band has worked out the kinks in its style, developing a unified, provocative sound. It still tends to be a little excessive and impenetrable, but intriguing moments float to the surface alarmingly often. Too bad the hideous cover will prevent anyone but the most devoted Rundgren/Utopia fan from discovering that...

- Moogy Klingman / keyboards, vocals
- Roger Powell / synthesizers, vocals
- Todd Rundgren / vocals, electric guitar
- Ralph Schuckett / keyboards, vocals
- John Siegler / bass, vocals
- John Wilcox / drums

1. Another life (7:07)
2. The wheel (6:59)
3. The seven rays (8:46)
4. Intro/Mister Triscuits (5:24)
5. Something's coming (2:49)
6. Heavy metal kids (4:14)
7. Do ya (4:09)
8. Just one victory (5:17)

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Blues Magoos – Psychedelic Lollipop – 1966 (US) psychedelic rock

2008-12-05T18:02:00.003+03:00

"(We Ain't Got) Nothing Yet" is an extraordinary and magical two minutes and ten seconds which, like the Box Tops' "The Letter," is one of those little two-minute blasts of pop which brought the transistor radio to life and which is the proverbial breath of fresh air on oldies radio stations daring enough to play psychedelia. Psychedelic Lollipop is the real thing, the band looking on the LP cover like Captain Kirk abandoned them on some forgotten Star Trek planet, the music inside authentic acid pop. They stretch J.D. Loudermilk's "Tobacco Road" across four and a half Seeds-style minutes, obliterating the Nashville Teens' 1964 hit recording in the process. D.Blue's "Queen of My Nights" may have inspired the Troggs' 1968 hit "Love Is All Around." The melody might be different, but the intro music is identical to what Reg Presley gave the world a couple of years after this. Producers Bob Wyld and Art Polhemus do a great job of keeping the intensity up across two sides of this album. James Brown's "I'll Go Crazy" gets splashy garage rock sounds and Mike Esposito's guitar work cannot be denied. Check out the jangle mayhem on "Gotta Get Away." According to the LP The History of Syracuse Music, Vol. 7, Esposito performed in the Escorts with Felix Cavaliere, and that vibe from the Rascals' rendition of Laurie Burton's "I Ain't Gonna Eat Out My Heart Anymore" is the same type of authority these kids pour all over "Psychedelic Lollipop." "One By One" has that band going from the garage group to the Beatles transition -- and what's so disappointing is that they couldn't mature in this direction. Had this lineup stuck around for the ABC albums, who knows what they might have been capable of? Psychedelic Lollipop is a solid and precious gem from the Nuggets vaults, the difference between this and other one-hit artists being that you can play the entire album repeatedly, quite an accomplishment coming from the era of the hit single. That such a tremendous smash like "(We Ain't Got) Nothin' Yet" kicks the whole thing off is just an added bonus.

1 (We Ain't Got) Nothin' Yet 2:14
2 Love Seems Doomed 3:02
3 Tobacco Road 4:30
4 Queen of My Nights 2:52
5 I'll Go Crazy 1:58
6 Gotta Get Away 2:35
7 Sometimes I Think About You 3:35
8 One by One 2:50
9 Worried Life Blues 3:45
10 She's Coming Home 2:36
11 Tobacco Road 4:41
12 Sometimes I Think About 4:12
13 (We Ain't Got) Nothin' Yet 2:17
14 Gotta Get Away 2:40

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Jasper – Liberation – 1969 (UK) jazz/blues-rock

2008-12-05T18:00:00.002+03:00

Jasper's sole album is an odd, unbalanced affair that doesn't have enough ideas or songs to really merit a full-length release, even as it betrays sporadic hints of quirky imagination. There's John Mayall-styled blues-rock ("Ain't No Peace," "Confusion"), Colosseum-like jazz-blues-rock ("Baby Please Don't Go," "The Beard"), rambling morbid bluesy instrumental jamming (including a six-minute wordless version of "St. Louis Blues" with hauntingly sad harmonica), and a Baroque-psychedelic arrangement of Donovan's "Cuttin' Out." Weirdest of all is "Liberation," a repeated classical-sounding bolero that's actually rather catchy, but seems more suited for the soundtrack of a movie like To Sir With Love than a late-'60s underground blues-rocky LP. Weirder still, the "Liberation" motif is repeated four times in varying arrangements over the course of the album, twice in full-length versions, and twice as briefer interludes. It's not an offensively bad record by any means, but it's not noteworthy as either blues-rock or off-the-wall strangeness.

Nick "Nicky" Payne (vocals, harmonica, flute)
Steve Radford (guitar)
Jon Taylor (bass)
Brian "Chico" Greenwood (drums)
Alan Feldman (keyboards)

1 Liberation I 3:47
2 Ain't No Peace 2:56
3 Baby Please Don't Go 7:18
4 Shelagh 2:24
5 Liberation Interlude 1:15
6 Liberation Interlude 0:33
7 Confusion 2:29
8 St. Louis Blues 6:32
9 Cuttin' Out 2:42
10 The Beard 3:49
11 Liberation II 3:08
12 Finale 0:48

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The Deviants - The Deviants 3 – 1969 (UK) heavy psych

2008-12-05T17:58:00.003+03:00

The third and, for the time being, final Deviants album is also, according to frontman Mick Farren, the record that they should never have made. Writing in his 2001 autobiography, Give the Anarchist a Cigarette, Farren observes that even the album's title encapsulated the group's state of mind -- "so creatively tapped out we couldn't even come up with a snappy name for the damned record." He is being harsh. While The Deviants, No. 3 can in no way be compared to either of its predecessors, or to Farren's own magnificent solo album Mona, it is still a fascinating glimpse into the state of the British underground in 1969. A few of the songs are indeed as unrehearsed (and certainly undeveloped) as Farren has since complained -- "Death of a Dream Machine" is little more than a jingle, when it ought to be a masterpiece. But it's also a considerably more coherent album than the group's speed-freak monster mash reputation might allow you to expect, and it doesn't even sound that horribly dated. At its most seething, "Billy the Monster," the sinister Zappa-esque chant with which the album opens, captures the archetypal hippie-freak. Then, skip over the somewhat Airplane-y "Broken Biscuits" and "First Line," and you reach "The People's Suite" -- and what could be more brilliant than a suite that lasts just two and a half minutes? "We are the people who pervert your children, lead them astray from the lessons you taught them": Again, Zappa hangs heavy over the proceedings, but if the tabloids of the day ever needed to have their worst fears confirmed, the Deviants were pleased to oblige. Musically, The Deviants, No. 3 hangs in a void somewhere between the early Edgar Broughton Band, with whom they enjoyed the wildest rivalry, and the incipient Pink Fairies, to which all the members bar Farren soon fled. Culturally, however, it is a brutal reminder of that moment when the '60s dream teetered on the brink of the precipice, and the planet went to hell in a handcart around it.

Mick Farren (vocals, piano)
Russell Hunter (drums)
Duncan Sanderson (guitar, bass)
Paul Rudolph (guitar)

1 Billy the Monster 3:25
2 Broken Biscuits 2:11
3 First Line (Seven the Row) 2:44
4 The People Suite 2:27
5 Rambling B(l)ack Transit Blues 5:41
6 Death of a dream Machine 2:53
7 Playtime 3:08
8 Black George Does It with His Tongue 1:22
9 The Junior Narco Rangers (If We Gotta Get Raleigh from Chicago, We're Gonna) 0:30
10 Lets Drink to the People 1:32
11 Metamorphosis Exploration 8:55

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Apocalypse – Apocalypse – 1969 (GER) psychedelic rock

2008-12-05T17:55:00.002+03:00

They sound somewhat like "The Beatles" in their psychedelic ventures but here you can find other influences, of a more rock based nature, mainly the rest of the heavy German rock bands who experimented with the boundries of rock in the late sixties.
It's not a bad album, but nothing really innovative.
The sitar solos are nice, and the vocal harmonies are good in most parts.

Gerd Müller (vocals, guitar)
Enrico Lombardi (vocals, guitar)
Bernd Scheffler (vocals, percussion, drums)
Jürgen Drews (vocals, guitars)

1 Life Is Your Profession
2 Let It Die
3 Patricia
4 Milkman
5 Try to Please Me
6 Pictures of My Woman
7 Linda Jones
8 Blowing in Blow

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After All - After All – 1969 (US) heavy psych

2008-12-05T17:54:00.003+03:00

After All may have only been a band in the loosest sense of the term, but its only record is a quite wonderful -- if ultimately difficult to categorize -- one-shot relic of the transitional late-'60s. The four members of the combo were actually friends and acquaintances in different bands on the Tallahassee, FL, rock circuit before culling their skills together, along with lyrical assistance from young local poet and songwriter Linda Hargrove, when an opportunity to record an album in a Nashville studio presented itself. The resulting piece of work is the type of strangely compelling hybrid album that could only have come together in the musical gumbo of the post-psychedelic era. Drummer and primary vocalist Mark Ellerbee wrote most of the music, and his songs are basically freeform, open-ended tone poems that eschew typical verse-chorus and melodic considerations (although the odd melodic hook or harmony surfaces from time to time) for music that is much more amorphous and improvisational. There are elements of rock, R&B, blues, progressive, classical, avant-garde composition, and, to an even greater degree, jazz weaving through the music, while a thick hallucinatory cloud hovers over the whole of the album, giving it an oddly surreal and even ghostly demeanor. It is a complex and ambitious mix that doesn't always come off seamlessly, but is by and large an engaging amalgam, exploring similar territory to that being investigated during the period by much higher profile bands such as Chicago, Procol Harum, and Blood, Sweat & Tears (Ellerbee's singing, in fact, is a dead ringer for David Clayton Thomas). Each band member displays near virtuosity on his instrument, which allows After All to harness all its sonic influences and renders the music exciting to hear even when the songwriting drags the slightest bit or loses its way. But, for the most part, the songs are rather outstanding. "Intangible She" and the psychedelic "A Face That Doesn't Matter" play with the foreboding, seedy flair that frequently made the Doors' songs seem like such ominous musical prophecies, while "Blue Satin" is a bit more swirling and romantic but maintains an edgy sense of intangible mystery, represented by the flute that threads through the song's final moments. "Let It Fly," on the other hand, is pure groove, and maybe the best example of the band's playing capabilities (if not the best song), while "And I Will Follow" builds a slow, tensive burn to match the yearning nature of the lyrics before turning more wistful. Hargrove's beautifully lustful and longing words frequently create an interesting tension with the spacier instrumental interplay, and the music is even more enigmatic as a result. After All is not easy to fully enter, but it is well worth the effort. As obscurities from the era go, it may not be one of the most fascinating, but it may have some of the most accomplished musicianship.

Bill Moon (vocals, bass)
Charlie Short (guitar)
Alan Gold (keyboards)
Mark Ellerbee (drums)

1 Intagible She 7:10
2 Blue Satin 3:46
3 Nothing Left to Do 7:07
4 And I Will Follow 4:51
5 Let It Fly 4:32
5 Now What Are You Looking For 3:05
6 A Face That Doesn't Matter 4:31
7 Waiting 4:23

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38 Special - 38 Special – 1977 (US) southern rock

2008-12-05T17:51:00.003+03:00

.38 Special's first album made them one of the full-force unique Southern Rock bands in 1977. Unfortunately their sound became more aor polished. There are not many Skynyrd-influenced songs but they rock. If you're a southern rock fan you know that there aren't many bands or albums to pick, the chances are limited. So don't even hesitate to buy this album. Southern Rock will always rule!

Don Barnes (lead vocals, guitar)
Donnie Van Zant (vocals)
Jeff Carlisi (guitar)
Ken Lyons (bass)
Steve Brookins (drums)

1 Long Time Gone 4:01
2 Fly Away 5:14
3 Around and Around 3:30
4 Play a Simple Song 3:14
5 Gypsy Belle 4:58
6 Four Wheels 4:42
7 Tell Everybody 4:10
8 Just Hang On 5:02
9 I Just Wanna Rock & Roll 5:59

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38 Special – Wild -Eyed Southern Boys – 1980 (US) southern rock

2008-12-05T17:42:00.007+03:00

Building on the bandmembers' own personal accomplishments that came from the Rockin' Into the Night album, .38 Special released an even stronger bunch of songs a year later with Wild-Eyed Southern Boys. Focusing on the same Southern-based rock & roll formula, the efforts from Southern Boys contain a little more guitar zing while complementing the band's ability to produce marketable radio music. "Hold on Loosely," with its smooth vocal stride, managed to peak at number 27 in April of 1981, giving .38 Special its first Top 40 single, and the title track, "Honky Tonk Dancer," and "Back Alley Sally" keep a homespun flavor alive and well, indicating that the band's Southern roots haven't been dismissed completely. Even though the bulk of the tracks lean toward .38 Special's rootin'-tootin' good-time persona, tracks such as "Fantasy Girl" and "First Time Around" reveal a stronger regard for producing catchy and approachable rock & roll tunes. It's on Wild-Eyed Southern Boys that .38 Special seemed more confident, harnessing a distinct guitar rock sound that enabled the group to distinguish itself from other FM rock bands. Cracking the Top 20 on the album charts and eventually reaching platinum status, Wild-Eyed Southern Boys marked the onset of the band's success throughout the course of the decade.

Don Barnes (lead vocals, guitar)
Donnie Van Zant (vocals)
Jeff Carlisi (guitar)
Ken Lyons (bass)
Steve Brookins (drums)

1 Hold on Loosely 4:39
2 First Time Around 3:59
3 Wild-Eyed Southern Boys 4:18
4 Back Alley Sally 3:11
5 Fantasy Girl 4:06
6 Hittin' and Runnin' 4:55
7 Honky Tonk Dancer 4:59
8 Throw Out the Line 3:45
9 Bring It On 5:38

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ZARATHUSTRA – ZARATHUSTRA – 1972 (GER) heavy krautrock

2008-09-25T18:27:00.002+04:00

ZARATHUSTRA stole their name from German philosopher Frederich Nietzsche but their sound came from somewhere completely else. ZARATHUSTRA were 5 piece energetic heavy progressive rock band who took the URIAH HEEP- DEEP PURPLE organ led sounds and mixed in heavy guitar drum and bass interplay. With the aggressive vocals of Ernst Herzner, this album leaves little to question and lands as a straight forward heavy krautrock album with lots of expanded instrumentation and arrangements. Overall a fine album full of nice dark and deep organ grinds and emotive vocals...

- Ernst Herzner / lead vocals
- Michael Just / bass, vocals
- Klaus Werner / organ
- Wolfgang Behrmann / drums, percussion

1 Eternal Light 5:39
2 Mr. Joker 3:42
3 Past Time 9:54
4 Nightmare 5:34
5 Sad Woman 3:35
6 Ormuzd 7:27

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WIND – SEASONS – 1971 (GER) heavy krautrock

2008-09-25T18:26:00.002+04:00

West Coast 60’s inspired German psych rock band. Their first album "Seasons" (1971) is considered to be a little classic in the early days of progressive rock. It features complex epic songs within heavy rock, psych-spaced out proportions. "Morning" (1973) is a catchy collection of almost conventional heavy rocking songs. Without gaining the commercial success, the band split in 1973. The drummer Lucky Schmidt will pursue his career with the band Aera.

Steve Leistner / Lead Vocals, Harmonica, Percussion
Thomas Leidenberger / Guitars, Vocals
Andreas Büeler / Bass, Vocals, Percussion
Lucian Büeler / Organ, Piano, Vocals, Percussion
Lucky Schmidt / Drums, Percussion, Vibraphone, Clavinet, Piano

1. What Do We Do Now (8:28)
2. Now It's Over (4:25)
3. Romance (1:35)
4. Springwind (7:10)
5. Dear Little Friend (4:17)
6. Red Morningbird (15:54)

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WIND – MOURNING – 1972 (GER) heavy krautrock

2008-09-25T18:24:00.002+04:00

Absolutely high classic from Germany with heavy guitars leads and strong organ sounds. This is killer stuff for friends of URIAH HEEP.

- Steve Leistner / lead vocals, percussion
- Thomas Leidenberger / guitar, vocals
- Andreas Bueler / bass, vocals, percussion
- Lucian Bueler / keyboards, vocals, percussion
- Lucky Schmidt / drums, percussion, Mellotron, piano

1. Morning Song (3:59)
2. The Princess And The Minstrel (6:39)
3. Dragon's Maid (8:39)
4. Carnival (7:56)
5. Schlittenfahrt (3:08)
6. Puppet Master (3:25)
7. Tommy's Song (5:28)
8. Josephine (3:38)

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TYBURN TALL – TYBURN TALL – 1972 (GER) heavy krautrock

2008-09-25T18:23:00.002+04:00

Sole album from this Hammond-driven heavy prog, came in a gatefold artwork with a rare copper plate by Merian of the Speyer city in the Renaissance era. This private pressing of 200 copies was produced at low cost, which is rather audible, but there is nothing scandalous either. Their earlier musical direction was very much in the symphonic prog range (The Nice or ELP), but some line-up changes modified that somewhat as incoming organist had a jazzier feeling, more in the Colosseum-vein, especially in the Dave Greenslade sound. The resulting is a symphonic prog that has some Uriah Heep (organ, vocals), Atomic Rooster (Gallo’s guitar is inspired of DuCann) and Colosseum (organ).
The four tracks comprising the original album (three of them well above the 10 minutes) are all in the heavy rock domain, dominated by the huge organ sound. Indeed the 13-mins War Games hesitates between Colosseum (Greenslade-like organ twirls) and Uriah Heep (Byron-like vocals, in English, often correctly pronounced), but the whole thing sounds much more symphonic than the average track of those two groups. The 10-mins+ In The Heart Of The Cities is much more guitar-ey, DuCann and Litherland (not Clempson), but the brilliant drums/bass work of the opening track is not as present, and the track ends in a semi-operatic Byron-like yell.
On the flipside, I Am America Too, is a piano & organ piece (the shortest, clocking at 5-mins+) that first takes on Bernstein, before veering hard rock with Heep-like vocals, but you can feel the singer’s effort to match Farlowe’s range, which of course is too far removed to succeed. The 17-mins epic Strange Days Hiding is pure Hammond galore, Hensley-inspired, unfortunately mared by a long drum solo, which like all of them is terribly boring. The two bonus tracks are both covers of Colosseum, one of them being the famous Lost Angeles, which they manage correctly at best, but certainly no more. The production quality on these tracks is not as good as the rest of the album (therefore they stick out a bit), but again nothing scandalous.

Stefan Kowa / bass
Hanns Dechant / drums, percussion
Klaus Fresenius / vocals
Werner Gallo / guitar
Reinhard Magin/ keyboards

1 War Game 13:07
2 In the Heart of the Cities (Broken People) 10:35
3 I Am Amercian Too 5:24
4 Strange Days Hiding 17:09
5 Lost Angeles [Bonus Track] 6:22
6 Bring Out Your Dead [Bonus Track] 4:19

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TRIUMVIRAT – ILLUSIONS ON A DOUBLE DIMBLE – 1974 (GER) progressive rock

2008-09-25T18:22:00.002+04:00

"Illusions On A Double Dimple" is a breathtaking masterpiece and IMHO perhaps TRIUMVIRAT’s PHD of all their albums. “Illusions” is essentially 2 epic tracks and stands as highly creative in scope and ambition with its fusion of classical, pop, rock and even some jazz elements. For the most discerned listeners will love this album with continuously shifting musical interludes and dazzling mood and tempos shifts. The songs themselves are brilliantly written and the Harvest Records Remastered version brings out the deep tonal sophistication and true analog feel the album is rich in.
Band line up is Jurgen Fritz (keyboards), Hans Bathelt (drums), and Helmut Kollen (guitar, bass, vocals). The overall sound of the album is very crisp and fresh sounding not sounding like an old 70’s release. I hear lots of elements on “Illusions” with allusions to ELP (Obviously) , BEATLES, ELO, YES and GRAVY TRAIN. This is an album that either you love to death or I guess don’t get, but I definitely love this album all the way thru and will take this one to the desert Island.

- Hans Bathelt / drums
- Jürgen Fritz / keyboards, vocals
- Helmut Köllen / guitar, bass, vocals
- Hans Pape / lead vocals, bass
- Peter Cedera / backing vocals
- Hanna Dölitzsch / backing vocals
- Vanetta Fields / backing vocals
- Brigitte Thomas / backing vocals
- Ulla Wierner / backing vocals

1. Illusions On A Double Dimple (22:59)
- a. Flashback (0:54)
- b. Schooldays (3:20)
- c. Triangle (6:55)
- d. Illusions (1:40)
- e. Dimplicity (5:28)
- f. Last dance (4:42)
2. Mister Ten Percent (21:22)
- a. Maze (3:01)
- b. Dawning (1:01)
- c. Bad Deal (1:40)
- d. Roundabout (5:49)
- e. Lucky Girl (4:32)
- f. Million Dollars (5:19)

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HORSE – HORSE – 1970 (UK) hard rock

2008-09-25T18:20:00.002+04:00

Reissue of rare 1971 UK heavy psych rock monster originally released on the RCA label. I don't know why some people like to single this one out to beat up on. It's a good record and the opening song, which nobody ever mentions, is a certified beast. It's not as heavy all the way through as Nightsun, Buffalo, Toad, Jerusalem or something like that but this album has more UK psychedelic influence and feel so it's more mellow and vaired. I love that lead guitar sound!

Adrian Hawkins (vocals)
Colin Standring (bass)
Rod Roach (guitar)
Rick Parnell (drums)

1 The Sacrifice
2 See The People Creeping Round
3 And I Have Loved You
4 Freedom Rider
5 Lost Control
6 To Greet the Sun
7 The Journey
8 Heat of the Summer
9 Gypsy Queen
10 Step Out of Line

Thanx to Chris

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TEAR GAS – PIGGY GO GETTER – 1970 (UK) hard rock

2008-09-25T18:18:00.003+04:00

Reissue of the 1971 debut by the fantastic hardrock band formed by Zal Cleminson & Chris Glen. The band would reach a far-wider audience when, in 1972, Alex Harvey got involved and they evolved into The Sensational Alex Harvey Band. A rarity that's well worth a listen on both your left and right ear!

Eddie Campbell (keyboards)
Alexander "Zal" Cleminson (guitar)
Ted McKenna (drums,)
Andy Mulvey (vocals)

1 Lost Awakening 3:25
2 Your Woman's Gone and Left You 2:22
3 Night Girl 5:40
4 Nothing Can Change Your Mind 3:31
5 Living For Today 2:57
6 Big House 3:35
7 Mirrors of Sorrow 2:52
8 Look What Else Is Happening 5:05
9 I'm Fallin' Far Behind 2:57
10 Witches Come Today 3:16

Thanx to Chris

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TITUS OATES – JUNGLE LADY – 1974 (US) hard rock

2008-09-25T18:17:00.002+04:00

Titus Oates was a Dallas, TX, progressive hard rock five-piece that was never well known. The group's lone 1974 LP was only issued locally on the Lips label, and until this reissue from Radioactive the only way to hear the thing was to lay down hard cash for a shoddy bootleg -- an important point because, while it may not have the bombast of a major-label recording, Jungle Lady does not suffer from the murky sonics that dog most self-released records of this sort. Because it was a local pressing, it has been nearly impossible to locate, too; as a result, Titus Oates has been at the top of many collectors' want lists for years, its legend growing every time someone added it to a personal catalog of Holy Grails. Does it live up to the hype? Sort of. Jungle Lady is a competent curiosity that balances tough Texas-style hard rock playing -- it's not ZZ Top, but it's close -- with progressive rock keyboards and jazzy guitar licks. Those aren't things that often intersect, and so the legend is deserved. The execution leaves something to be desired, though, and despite some very nice guitar playing, Titus Oates sits flatly at the journeyman rock level, which is probably why Jungle Lady didn't make it out of Dallas the first time around. That doesn't really take away from enjoying Jungle Lady, though, and with its heady, largely unexplored mix of rock grit and prog flourish, it's sure to find an appreciative audience.

BILL BEAUDET keyb'ds
CHRIS EIGENMANN perc
RICK JACKSON bs, vcls
LOU TIELLI gtr
STEVE TODD gtr

1 Jungle Lady 3:16
2 Dream on a Train 4:07
3 Blanket 3:33
4 Friend of Life 3:49
5 Jupiter, Mars 3:55
6 Time Is Only to Fear 3:43
7 Mr. Tips 3:46
8 Don't Get Your Honey Where You Make Your Money 4:45
9 The Cage 7/2/74 4:05

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ANGEL – ANGEL – 1975 (US) hard rock

2008-09-25T18:16:00.004+04:00

Angel's later releases were given over entirely to the sort of pomp and glam excess that made them a virtual spot-on blueprint for '80s hair metal, and their debut certainly has Queen-ish guitar and shrill hair-sprayed aggression in abundance on numbers like "Rock & Rollers." But from the opening notes of "Tower," there's a curious admixture of progressive rock, almost entirely due to Gregg Giuffria's contributions of harpsichords, piano, and Mellotrons. Like many first albums, this one is in some ways more interesting than the more Angelic follow-ups, simply because it shows as much what routes they did not follow as which ones they did.

Greg Giuffria (keyboards)
Frank DiMino (vocals)
Barry Brandt (drums)
Punky Meadows (guitar)
Mickey Jones (bass)

1 Tower 6:56
2 Long Time 7:01
3 Rock and Rollers 3:59
4 Broken Dreams 5:13
5 Mariner 4:20
6 Sunday Morning 4:10
7 On and On 4:18
8 Angel (Theme) 1:34

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ANGEL – HELLUVA BAND – 1976 (US) hard rock

2008-09-25T18:16:00.002+04:00

Despite their dated white polyester clothes and androgynous makeup, Angel had surprising talent and range for a group whose initial purpose was to be some sort of divine answer to Kiss. That being said, their sound was far from original and was highly derivative of other top acts of the time, including Kiss themselves. So on Helluva Band you get the Queen-like "Feelin' Right," the Emerson, Lake & Palmer-meets-acoustic-Yes of "The Fortune," and the dreadful Boston boogie of "Anyway You Want It." The rest is poppy and commercial rock, which was more accomplished than the gender-bending glam metal that would follow them in the '80s, yet not quite as good as the best material of their '70s peers. Helluva Band has some intriguing moments, especially from progressively minded keyboardist Gregg Giuffria, but most would be just as satisfied with Anthology.

Greg Giuffria (keyboards)
Frank DiMino (vocals)
Barry Brandt (drums)
Punky Meadows (guitar)
Mickey Jones (bass)

1 Feelin' Right 4:42
2 The Fortune 8:40
3 Anyway You Want It 2:31
4 Dr. Ice 5:23
5 Mirrors 4:28
6 Feelings 5:42
7 Pressure Point 5:26
8 Chicken Soup 4:46
9 Angel Theme 2:32

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ANGEL – WHITE HOT – 1977 (US) hard rock

2008-09-25T18:15:00.002+04:00

In the 1970s, Angel epitomized the type of commercial rockers who were hated by rock journalists but adored by their fans. When White Hot came out in 1977, critics wondered why anyone would spend money on Angel's ultra-slick, formulaic pop-metal, hard rock and arena rock when the punk and new wave explosions were giving us such challenging, cutting-edge risk-takers as the Clash, Elvis Costello and the Talking Heads. Truth be told, rock can and should accommodate a variety of approaches -- in 1977, there was room for those who challenged and provoked and those who, like Angel, simply entertained. White Hot, Angel's best selling album, isn't the least bit challenging, but then it isn't supposed to be. Angel was unapologetically commercial, and high-gloss numbers such as "Over and Over," "Stick Like Glue," and "Hold Me, Squeeze Me" point to the fact that the East Coast band was generally good at what it did. Also likable is Angel's cover of "Ain't Gonna Eat Out My Heart Anymore," which became a moderate hit. As far as pop-metal goes, Angel didn't quite have the hooks of Kiss, Sweet, or Cheap Trick; but while White Hot isn't fantastic, it's decent. If you want to hear one of the 1970s bands that helped pave the way for Bon Jovi, Winger, Warrant, and numerous other MTV-friendly hair bands that were huge in the 1980s, White Hot is worth a listen.

Greg Giuffria (keyboards)
Frank DiMino (vocals)
Barry Brandt (drums)
Punky Meadows (guitar)
Felix Robinson (bass)

1 Don't Leave Me Lonely 4:00
2 Ain't Gonna Eat Out My Heart Anymore 2:50
3 Hold Me, Squeeze Me 3:49
4 Over And Over 3:01
5 Under Suspicion 4:42
6 Got Love If You Want It 4:28
7 Stick Like Glue 2:38
8 Flying With Broken Wings (Without You) 3:32
9 You Could Lose Me 4:53
10 The Winter Song 3:44

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ANGEL – SINFUL – 1979 (US) hard rock

2008-09-25T18:14:00.002+04:00

Angel's candy-coated Sinful, originally called Bad Publicity, was the last installment in their five album run of the mid-late '70s. Though a step down from the hit-or-miss White Hot and On Earth As It Is in Heaven, and a major step down from the hard rock/pomp classics Helluva Band and Angel, it's not completely without it's charms for fans of the band. Essentially an amusing series of chart-minded, fairly simple poppy rockers, including high school rebellion power pop gem "Wild and Hot", "Bad Time", "Don't Take Your Love" and "Waited a Long Time".

Greg Giuffria (keyboards)
Frank DiMino (vocals)
Barry Brandt (drums)
Punky Meadows (guitar)
Felix Robinson (bass)

1 Don't Take Your Love 3:32
2 L.A. Lady 3:45
3 Just Can't Take It 3:44
4 You Can't Buy Love 3:38
5 Bad Time 3:42
6 Waited a Long Time 3:15
7 I'll Bring the Whole World To Your Door 2:55
8 I'll Never Fall in Love Again 3:33
9 Wild and Hot 3:01
10 Lovers Live On 3:04

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THE AMBOY DUKES – THE AMBOY DUKES – 1967 (US) hard rock

2008-09-25T18:13:00.002+04:00

The debut album by the Amboy Dukes should be high on collectors' lists. Fusing the psychedelia of the early Blues Magoos with Hendrix riffs and British pop, the band which launched the legend of Ted Nugent has surprises galore in these lost grooves. More experimental than Ambrose Slade's Ballzy -- could you conceive of the Cat Scratch Fever guy performing on Peter Townshend's "It's Not True" and Joe Williams' classic "Baby Please Don't Go"? The latter tune was the flip side of the group Them's single "Gloria," but Ted Nugent and the boys totally twist it to their point-of-view, even tossing a complete Jimi Hendrix nick into the mix. The Amboy Dukes issued this as the single backed with their sitar-laden and heady "Psalms of Aftermath." "Baby Please Don't Go" is extraordinary, but isn't the hit single that "Journey to the Center of the Mind" would be from their follow-up LP titled after that radio-friendly gem. Producer Bob Shad's work with Vic Damone, Dinah Washington, and Sarah Vaughan wasn't what prepared him for the psychedelic hard rock of "Colors," a song with some of the experimentation Nugent would take further on the Survival of the Fittest, Live and Marriage on the Rocks/Rock Bottom albums further down the road. Those latter-day Dukes projects took themselves too seriously and got a bit too out there. The fun that is the Amboy Dukes take on the Ashford/Simpson/Armstead standard "Let's Go Get Stoned"; it's the kind of thing that could have stripped away the pretension of the post-Mainstream discs. The dancing piano runs and Ted Nugent confined to a pop-blues structure certainly got the benefit of Shad's record making experience, and it is a treat. Of the 11 tunes, seven are band originals. Taking on a faithful version of Cream's "I Feel Free" is interesting, and like Slade's first disc, they inject enough cover material to make the product interesting for those who had never heard of this group. "Down on Philips Escalator" could be early Syd Barrett Pink Floyd, and that's what makes this album so very inviting. As essential to the Amboy Dukes' catalog as the non-hit material on Psychedelic Lollipop was to the Blues Magoos, the first album from the Amboy Dukes is a real find and fun listening experience. "The Lovely Lady" almost sounds like the Velvet Underground meets the Small Faces by way of Peanut Butter Conspiracy. This is a far cry from Cat Scratch Fever, and that's why fans of psychedelia and '60s music should cherish this early diamond.

Ted Nugent (bass, guitar, percussion, vocals)
Steve Farmer (rhythm guitar)
Rick Lober (keyboards)
Bill White (bass)
John Drake (vocals)
David Palmer (drums)

1 Baby Please Don't Go 5:39
2 I Feel Free 3:45
3 Young Love 2:49
4 Psalms of Aftermath 3:24
5 Colors 3:27
6 Let's Go Get Stoned 4:29
7 Down on Philips Escalator 3:05
8 The Lovely Lady 3:03
9 Night Time 3:16
10 It's Not True 2:44
11 Gimme Love 2:51
12 J.B. Special [Alt. Version] 2:23

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THE AMBOY DUKES – MIGRATION – 1969 (US) hard rock

2008-09-25T18:12:00.002+04:00

The most prominent feature of Migration (the Amboy Dukes' third recording, originally released on Mainstream records) is the lack of a spaced-out follow-up to the group's biggest hit, "Journey to the Center of Your Mind." Perhaps "terrible" Ted Nugent was starting to win the drug war that was beginning to wage within the band, a war that would ultimately claim more than a few key lineup casualties. No matter the reason, Migration -- with it's less opaque drug references and general grooviness -- was given a cool reception at record stores as listeners perhaps became slightly confused about the Michigan band's intentions while pondering Nugent's relatively eclectic musical approach. Case in point: the spot-on version of Frankie Lymon and the Teenagers' "I'm Not a Juvenile Delinquent." Besides this bizarre but affective cover, other highlights include the instrumental opener "Migration" and one of Nugent's all-time favorite songs, "Good Natured Emma." More ambitious than the group's huge-selling effort from the year before, "Migration" might be the better of the two discs, if not the best of the Amboy Dukes' career.

Ted Nugent (bass, guitar, percussion, vocals)
Greg Arama (bass)
Rusty Day (vocals)
Steve Farmer (rhythm guitar)

1 Migration 6:06
2 Prodigal Man 5:48
3 For His Namesake 4:26
4 I'm Not a Juvenile Delinquent 1:53
5 Good Natured Emma 4:37
6 Inside the Outside 3:22
7 Shades of Green and Grey 3:05
8 Curb Your Elephant 3:49
9 Loaded for Bear 3:05
10 J. B. Special 2:32
11 Sobbin' in My Mug of Beer 2:20

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RARE EARTH – MA – 1973 (US) heavy psych

2008-09-25T18:11:00.002+04:00

Rare Earth's most satisfying LP, Norman Whitfield wrote and produced all five songs. "Ma," the title track, had been done by Temptations and Undisputed Truth but nobody rocked the sucker like Rare Earth; they jam for 17:17 on the funkiest mama song ever. "Hum Along and Dance," first appeared on the Temptations' Psychedelic Shack; Rare Earth gives the groover and update, a rolling organ sets it off. Lead, Gil Bridges brags about his musical ability on the loud, horn dominated stomper "Big John In My Name."A haunting arrangement of "Smiling Faces Sometimes" will make you shiver. And you don't get much more sensual than the soft and lush "Come With Me," where a female simulates an orgasm that puts Donna Summers' exhibition on "Love to Love You Baby" to shame; it's the only new song on the LP, but who's quibbling, MA is da bomb!

1 Ma 17:17
2 Big John Is My Name 4:21
3 Smiling Faces Sometimes 6:00
4 Hum Along and Dance 5:14
5 Come With Me 4:46

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GENESIS – GENESIS – 1972 (Uruguay) heavy psych

2008-09-25T18:09:00.003+04:00

Very good Uruguayan band: a mixture of psychedelic, jazz and candombe (typical Uruguayan sound with African roots).

Eduardo Patrón (vocals, percussion)
Ruben Laborde (guitars, vocals)
Jorge Silva (guitar, vocals)
Carlos Souza (bass)
Yamandú Pérez (drums, percussion)
Héctor Mosquera (bass)
Nery Cáceres (vocals, keyboards)
César Arbón (bass)
Daniel Levy (drums, percussion)

1 Canción de un tiempo 1:51
2 Lógrame 2:35
3 Mañana 2:29
4 Nosotros hoy 3:53
5 Ya 2:08
6 Solo voy despertando 6:26
7 Reflexión 2 4:17
8 Tenía una vez 4:18
9 Despiertas 3:12
10 Cuerpo 6:34
Músicas extras
11 Nebulosa 2:15
12 Cuerpo 2:36
13 La búsqueda 2:41
14 Los pesos 2:44
15 La plaza 4:38
16 María mañana 4:27
17 De mi cerro 2:56
18 En la ventana de un bar 2:58

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PAN – PAN – 1970 (Denmark) heavy psych

2008-09-25T18:07:00.002+04:00

The Scandinavian continent may not be recognized for its '70s psychedelic scene, but this self-titled obscurity from Pan champions a Groundhogs-style hard rock with inventive progressive leanings. Some great moments of classic '70s distortion bliss and muscular boogie in the vein of Kalevala, Human Instinct, and Spacefarm. In keeping with Little Wing's exquisite design aesthetic, this comes packaged rather mysteriously but with a beautiful embossed card cover.

Robert Lelievre (vocals, guitars)
Thomas Puggaard-Müller (lead guitar)
Henning Verner (piano, organ, vibes)
Arne Würgler (bass, cello)
Michael Puggaard-Müller (drums)

1 Tristess 5:07
2 To Get Along Alone 5:52
3 We Must Try Something Before the End of the Day 3:27
4 Lady of the Sand 6:49
5 My Time (Instrumental) 0:37
6 If 4:07
7 Song to France 2:16
8 I Don't Want to Know 3:44
9 They Make Money With the Stars (Instrumental) 1:17
10 Il n'y a pas si longtemps de ca 5:27
11 So Many Songs Have Been Lost 1:49
Bonus Tracks
12 In a Simple Way 3:48
13 Ride Across My Bed 5:53

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RENAISSANCE – RENAISSANCE – 1972 (MEX) heavy psych

2008-09-25T18:06:00.002+04:00

Reissue of rare early 70s stoned Mexican hippy rock album with acid guitar.

1. Listen To Me People
2. Strange Dream
3. Life/Down In Mexico
4. Love The One
5. A Dome Of Love
6. I'm Dying
7. Buried Alive
8.The Gift/A New Man Is Born In Me

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WHISTLER – HO HUM – 1971 (UK) progressive folk rock

2008-09-25T18:05:00.002+04:00

Soft and delicate, yet melodic, confident and self-assured, this Deram act's only album resides somewhere between period UK country rock (Cochise, Quicksand, Southern Comfort, Quiver) and singer-songwriterdom (Mike Maran, Pete Atkin, Tony Hazzard) with plenty of light and shade thrown in from both sides.
Featuring crème de la crème of Britain's studio scene and aided by a sympathetic and lush production, this band manages to produce twelve superbly orchestrated tracks full of energy, effervescence, vigour, character, rich flavour and originality. It also features no less than three lead vocalists and - count them! - five guitarists, including none other than Southern Comfort's Gordon Huntley.
Was Eric Bell the same guy who played in Thin Lizzy, on Mk I line-up's biggest hits, "Whiskey In The Jar" and "The Rocker"?
Clem Cattini is featured in our other PICKs: Hungry Wolf, Ugly Custard, John Schroeder and Fancy.
Jimmy Hastings, of course, needs no introduction, being a long-standing member of Canterbury prog legend Caravan.

Eric Bell (guitar)
Tony Carr (percussion)
Clem Cattini Ork (drums)
John Chuter (vocals, guitar, bass)
Ant Grouth-Smith (guitar, bass, sax, vocals)
Jimmy Hastings (flute)
George Howe (vocals, guitar, keyboards)
Gordon Huntley (steel guitar)
Barry Morgan (drums)
Douglas Wright (drums)

1. Help Me
2. Hello Lady
3. I Can't Believe My Eyes
4. City Boy
5. Blind Leading The Blind
6. Machine Side 2 1. See The Wheels Are Turning
2. Whenever
3. Do It for Mother
4. Blind Man
5. Nothing At All
6. See What The future Brings"

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JUSTINE – JUSTINE – 1970 (US) psuchedelic/folk rock

2008-09-25T18:03:00.001+04:00

Though this obscure 1970 LP falls into the general folk-psych-rock category, its focus is so all-over-the-place that it's hard to get a read on it. The group are British, but at times the record seems very influenced by the poppiest side of American folk-rock, particularly in the blends of male and female vocal harmonies, which are extremely reminiscent of the Mamas & the Papas' approach in places. Yet there are also songs that have a more specifically British, gentle reserved acoustic quality; a character portrait of "Mr. Jones" with a whimsical British feel; and occasional off-the-wall burning fuzzy psychedelic guitar. At its most mature, it's slightly similar to, if an obscure reference point is allowed, the folk-prog-rock recordings that Giles, Giles & Fripp made as they were morphing into King Crimson (though not nearly as inspired). At its sappiest and most cooing, it could almost pass for a Californian sunshine pop recording. What the songs lack, however, are memorable choruses, or much cohesion between the parts, although the individual parts (especially the female vocalists' contributions) are often pretty. File under the section with the many stylistically confused rock bands of the period who had some talent and tried hard to say something important, but didn't quite have the goods.

1 Flying/Love You More Than Is Good for Me To/Nostrils 7:25
2 She Brings the Morning with Her 3:18
3 Back to Boulder 5:07
4 Traveller 2:46
5 See Saw 2:31
6 Mini Splurge/Mr. Jones/Is That Good. That's Nice 10:54
7 Clocks/Hey I Used to Know You 5:02
8 Unknown Journey 7:07
9 Leave Me Be 3:54
10 Clown 2:39

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CARSON – ON THE AIR + BLOWN – 1971/1972 (Australia) progressive rock

2008-09-25T18:02:00.002+04:00

A popular Melbourne band who functioned between 1971-73. They were known earlier as Carson County Band. Their work was wide-ranging, but can best be described as boogie rock.
The “Travelling South” 45 saw the band extend beyond their earlier strictly-blues format on the A-side which was notable for a dual-guitar lead riff that leads into a passage of superb slide guitar playing. The flip side was a strong blues song with lots of riffs and superb slide.
Their debut album, ‘Blown’, was a solid effort full of wild bluesy hard rock. It's notable for Sleepy Greg Lawrie's slick slide guitar work and sported a cover with striking (but simple) sci-fi imagery. It contained a version of ‘Boogie’, which differed considerably from the single. The material ranged from powerful numbers like this to laid-back blues evidenced in ‘Up In Queensland’ and ‘Sunday In The City’ with a rock'n'jazz offering in ‘Rock And Roll Game’ and an instrumental, ‘Banana Power’, providing further diversity.
By 1973, they'd lost their sense of direction, as evidenced on ‘On The Air’. If you're into blues though, there's still a lot of relaxed playing to be heard here. There are some good guitar licks on Elmore James' ‘Dust My Broom’ and another version of ‘Boogie’, whilst ‘Dingo’ and ‘Laid-back Feel’ were good mood pieces. The album is a document of their performance at the 1973 Sunbury Rock Festival.

Ian Ferguson - Bass
Greg Lawrie - Guitar
Tony Lunt - Drums
Broderick Smith - Vocals, Harmonica
Ian Winter - Guitar
Barry Sullivan - Bass
Garry Clarke - Bass
Mal Logan - Keyboards
Mal Capewell – Sax

1. Dingo not rated 7:21
2. Laid-Back Feel not rated 6:47
3. Dust My Broom not rated 5:01
4. Boogie not rated 7:21
5. Sunberry Jam not rated 10:15
6. Rock And Roll Game not rated 3:40
7. Better Times Will Come About not rated 3:16
8. Sunday In The City not rated 4:56
9. Banana Power not rated 5:25
10. Boogie not rated 6:34
11. Let Me Sleep not rated 6:55
12. Up In Queensland not rated 1:59

thanx to Chris

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PARRISH & GURVITZ – PARRISH & GURVITZ – 1971 (UK) folk rock

2008-09-25T18:01:00.002+04:00

Parrish & Gurvitz's one-off album, mostly of west-coasty material and interesting slow tracks. This is a rarity deserving another go. Parrish later went on to a solo career while Gurvitz unleashed his guitar prowess on GUN & BAKER-GURVITZ albums. Kellie, formerly joined SPOOKY TOOTH.

Paul Gurvitz (guitar, vocals)
Brian Parrish (guitar, vocals)
Mike Kellie (drums)

1 Another Time, Another Day / Take What You Want
2 It's A Shame
3 Libra
4 I've Got Time
5 Janine
6 Dozy Gwen
7 Why
8 As If I Were Blind
9 More Than Life
10 Loving You

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STACKRIDGE – STACKRIDGE – 1971 (UK) progressive rock

2008-09-25T18:00:00.002+04:00

The debut album from Stackridge consists of nine curiously light folk-tinged tracks, with elements of progressive rock cropping up here and there in the friendly Canterbury style. Their music takes on the classic storytelling route, but is bolstered and heightened by instruments like violins, flutes, cellos, trumpets, and the distinct sound of the harmonium played by Andrew Creswell-Davis. Both James Warren and Creswell-Davis take turns at singing such merry lyrical excerpts as "40 missing floorboards, 50 frantic far-out mice below," sounding attractively waggish and peculiarly quaint in doing so. Without coming off as overly Celtic or far too English, Stackridge culminates the humor and the essence of figurative devices and lays them out within the field of woodwind and stringed instruments. With barely any percussion, songs like "Percy the Penguin" and "The Three Legged Table" carry out their jovial entendres to the eloquence of hand-plucked piano strings and a trio of trumpets. Their refined singing style helps each song render its own character and eccentricity when added to the numerous instruments. The albums that followed such as Friendliness and The Man in the Bowler Hat housed the same poetic components as their first release with the music sounding more progressive and slightly commercial.

- Andy Creswell-Davis / guitar, keyboards, vocals, bass
- Michael “Mutter” Slater / flute, vocals
- Mike Evans / violin, cello
- Billy “Sparkle” Brent / drums
- James Warren / vocals, guitar

1 Grande Piano 3:23
2 Percy the Penguin 3:42
3 The Three Legged Table 6:49
4 Dora the Female Explorer 3:48
5 Essence of Porphyry 8:06
6 Marigold Conjunction 5:00
7 32 West Mall 2:27
8 Marzo Plod 3:08
9 Slark 14:07

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JASPER – LIBERATION – 1969 (UK) blues/psych

2008-09-25T17:58:00.002+04:00

PACIFIC GAS AND ELECTRIC – ARE YOU READY/PACIFIC GAS AND ELECTRIC – 1969/1970 (US) progressive rock

2008-09-25T17:56:00.002+04:00

Pacific Gas & Electric's second and third albums, 1969's Pacific Gas & Electric and 1970's Are You Ready, were their two most popular LPs, and are reissued together as a two-CD package with historical liner notes (in English) on this German release. On most of Pacific Gas & Electric, they play soul-rock with some dash and verve, though the songwriting isn't up to the level of musicianship or Charlie Allen's genuinely soulful vocals. Pacific Gas & Electric are really a band that would be better served by a selective compilation than any of their individual LPs, and strong candidates for such an anthology would include "Death Row #172" and "Bluesbuster," which are a little like early Blood, Sweat & Tears with more blues-rock and less bluster. Some of the other songs are closer to average period blues-rock workouts, like "Miss Lucy" and the live cover of John Lee Hooker's "She's Long and She's Tall," though the group original "My Women" finds them getting into a slow blues-funk groove with graceful style. The four-part, 17-minute "PG&E Suite" is typical of the highs and lows of many such psychedelic rock experiments of the late '60s, starting off promisingly with the cinematic jazz-rock instrumental "The Young Rabbits." But it runs off the rails with too much drum soloing, and the momentum utterly drains when the suite peters out into poor white-boy blues that's obviously trying to be drolly humorous, yet ends up being painfully lame. The closing blues-soul-rock stomper "Redneck" restores the energy level somewhat, but it's an erratic record on the whole, as would be its follow-up, 1970's Are You Ready. Anchored by their sole hit, "Are You Ready?," it treads a thin line between eclecticism and confusion, and is actually weaker on the whole than its predecessor. Certainly the ominous yet inspirational gospel-funk-psychedelia of "Are You Ready?" was the strongest track, and to this day the only one that most casual rock fans remember. Yet other cuts on the album indicated they couldn't decide whether to be a heavy blues-rock group ("Hawg for You"), a more soul-dipped version of the Band ("Staggolee"), a swampy soul-rock outfit (a cover of the Isley Brothers' "The Blackberry"), or, least convincingly, cry-in-your-beer honky tonk balladeers ("Mother, Why Don't You Cry?"). This wouldn't have been such a handicap if the material wasn't as mediocre as it was, and any song titled "Love, Love, Love, Love, Love" is a warning that lyrical imagination wasn't in abundance on the day it was composed. They do play the James Brown-psychedelic rock fusion card with some gusto on "Elvira," and Charlie Allen's vocals are pretty soulful, though it's only on a cover of Percy Sledge's "When a Man Loves a Woman" that they come to the fore in a no-nonsense manner.

Charlie Allen (vocals)
Tom Marshall (guitar)
Brent Block (guitar, bass)
Frank Cook (drums)
Glenn Schwartz (guitar)
Ken Utterback (guitar)
Frank Petricca (bass)
Ron Woods (drums)

1 Are You Ready? 5:46
2 Hawg for You 4:42
3 Staggolee 3:49
4 The Blackberry 5:31
5 Love, Love, Love, Love, Love 3:51
6 Mother, Why Don't You Cry? 5:06
7 Elvira 1:58
8 Screamin' 4:27
9 When a Man Loves a Woman 4:31
10 Bluesbuster 2:55
11 Death Row #172 3:55
12 Miss Lucy 2:28
13 My Women 5:35
14 She's Long and She's Tall 6:18
15 Pacific Gas & Electric Suite Medley: The Young Rabbits/Constitutional S 16:41
16 Redneck 3:30

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KREIS – ALLE MANN AN DECK – 1977 (DDR) rock

2008-09-25T17:54:00.003+04:00

http://www.ostbeat.de/Kreis.htm

Arnold Fritzsch
Eva Fritzsch
Gerhard Witte
Hellmut Sickel
Uwe Perschk

A1 Sie Ist Immer Noch Allein (3:30)
A2 Ich Will Ihr Mann Sein (3:15)
A3 Du Hast Mein Wort (4:10)
A4 Gib Dich Nie Auf (3:45)
A5 Alle Mann An Deck (4:35)
B1 Fremder Mann (4:25)
B2 Rock'n Roll Madonna (3:35)
B3 Ich War Der 5. Beatle (4:10)
B4 Wir Spielten Mann Und Frau (4:30)
B5 Nachtvogel, Flieg (4:30)

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KREIS – KREIS – 1976 (DDR) rock

2008-09-25T17:52:00.003+04:00

A1 Philly's Tanz (3:47)
A2 Ich Will Dich (3:35)
A3 Denn Ich Liebe (4:40)
A4 Wirst Du Da Sein (3:35)
A5 Du Machst Mich Müd' (3:45)
A6 Leg Dich Hin (2:22)
B1 Doch Ich Wollt' Es Wissen (4:34)
B2 Ein Tropfen Nur Auf Einen Heißen Stein (3:05)
B3 Ich Muß Dich Sehn (3:15)
B4 Bleib Doch Hier (4:45)
B5 Und Wir Gingen Auf Uns Zu (4:52)

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ВИСОКОСНОЕ ЛЕТО (Visokosnoe Leto) - THE STORE OF WONDERS: 1972-1979 (USSR) progressive rock

2008-09-01T16:31:00.003+04:00

VISOKOSNOE LETO was formed in the summer of 1972 (hence the name of the band, which means “The Leap Summer”). After having started playing Led Zeppelin and Deep Purple covers, the musicians (Alexander Sitkovetsky – vocals and guitar, Kris Kelmi – kybds, Yuriy Titov (then Anatoly Abramov and later Valery Efremov) - drums) turned to composing their own music – an original mixture of Art and Hard Rock (close to early Uriah Heep/Kansas stuff).
Reinforced by MASHINA VREMENI’s (a legendary Russian rock-band) bassist and vocalist Alexander Kutikov, who was obsessed with the idea of creating a national rock music culture, VISOKOSNOE LETO began its triumphal performing activity in the Soviet underground (rock music was still prohibited in that time). They were one of the first groups in the USSR who experimented with stage scenery, using disguises and theatrical elements during their shows. In 1978 they recorded an amateur tape version of their legendary prog-rock opera, “Prometheus the Imprisoned”(sadly never re-released on CD), and a number of other songs and epics. A few months later they disbanded, at the very peak of their popularity.
Kutikov and Efremov returned to MASHINA, with whom they’re still playing, while Sitkovetsky and Kelmi formed AVTOGRAF, another legendary Art-Rock band from the Soviet Union, more popular and professional, though sadly no longer active.
In 1995 some tape recordings (featuring such classics as “The Slumberthief” and “The Store ,of Wonders”) and tracks from the rock opera were released on CD as “The Store of Wonders: 1972-1979”. Almost out-of-print now, it gives you a unique chance to experience the music of one of the earliest Art-Rock bands from USSR. Enjoy the classics!
See also Russian band AUTOGRAF, for an additional understanding of what had been done in the former USSR, in terms of prog-rock.

The material itself is wonderful. BTW, check the Russian Prog Thread and Free Legal Prog Music Downloads thread as well - you can listen to these songs if you LEGALLY download them from the proposed links.
To give an impression, imagine a mixture of DEEP PURPLE, URIAH HEEP and ELP - band's keyboardist Kris Kelmi deeply shared guitarist's (Alexander Sitkovetsky - later he'll form AUTOGRAF, another Russian Prog legend) views on composing and performing their material. Being one of the first Prog-Rock bands in USSR, VISOKOSNOE LETO composed hard-rock songs supplying them with fiery keyboard passages and complex signatures.Their magnum opus , "PROMETHEUS THE IMRISONED" ,never saw the light as a CD (despite the fact that it is avalaible on some half-legal sites...oops, I'm silent!)...Sadly, now nobody from the former members has no interest to their past activity (though Sitkovetsky did a self-cover of "Satan's Hop" for his recent solo-album). I wish "PROMETHEUS ..." will be released someday as a CD - I even could wrote a story for inlay booklet...
OK, down to the music. Boxset opens with "Overture" - instrumental composition in a manner of "ELP's Toccata meets KANSAS".Astonishing one, and a frequent live number. The following one is probably one of the most known works band ever did - "The Slumberthief" (Pokhetitel Snov),a 8-minute opus about the magic person who steals dreams and slumbers. It begans with a nervous solo, and only on 4th minute Alexander starts singing. Haunting and even frightening track, that represents LETO's best (IMHO). Another hit follows - "The Store of Wonders" (Lavka Tchudes)! Imagine BLACK SABBATH mixed with PINK FLOYD - heavy verse changes into dreamy chorus with background voices...The mid-part reminds of DEEP PURPLE's most mature works with legendary Blackmore/Lord interplays... "Mona Lisa" is a simply and enjoyable pop-rock-song, very memorable and catchy. "Rondo outside the Tone"(Rondo vne tonalnosti) is again a dark and heavy instrumental, confirming band's reputation as one of the best in USSR in 70s. "Mirrors" (Zerkala) is a short and unusual acoustic song, leding to another public's favourite - "The Song about the Rioter" (Pesnya o Buntare), very good lyrically and musically...ironic and even cynical view on rioter's life . "Paradox" is the same way paradoxical (excusance for calambour) - "Hail to the enemies - they're sometimes more frankly than friends"(and the whole lyrical concept of the song is based on related sayings). "The World of Trees" is actually a part of "PROMETHEUS..." opera ,not the best one, but the most melodical and ballad-like. Closing "Satan's Hop" is again nervous and complex instrumental track in best LETO's traditions. progarchives.com

Alexander Sitkovetsky - vocals, guitar
Kris Kelmi - keyboards
Alexander Kutikov - bass, vocals
Valery Efremov – drums
1. Увертюра/Overture 5.25
2. Похититель снов/The Slumberthief 8.05
3. Лавка чудес/The Store of Wonders 5.32
4. Мона Лиза/Mona Lisa 3.30
5. Рондо вне тональности/Rondo Outside the Tone 7.23
6. Зеркала/Mirrors 1.12
7. Песня о бунтаре/The Song About the Rioter 6.18
8. Парадокс/Paradox 4.05
9. Мир деревьев/The World of Trees 4.25
10. Сатанинские пляски/Satan’s Hop 5.50

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TRIUMVIRAT – SPARTACUS – 1975 (GER) progressive rock

2008-09-01T16:30:00.000+04:00

This album is faultless! That's deep! They could not have done better! All the songs are excellent. Reminds me EMERSON LAKE & PALMER, with a better sound. The instruments are less in the background and the songs are more melodic: so the album is very dynamic: actually, quite more dynamic than ELP! Thi record is one of the most dynamic albums ever listened!! You understand it when you turn up the volume!! I also like the fact that all the instruments are very well played and no one looks like ordinary or irrelevant. The second part of "Spartacus" reach the quintescence. The keyboards are the main force of this album, but the drums and bass must not be neglected. Even the classical guitar parts are essential!! The album also has a couples of smooth songs, which are really well made; they give you a feeling of hope, strength and pride. The keyboards performance is absolutely outstanding and it's even sometimes quite jazzy! progarchives.com

- Jürgen Fritz / piano, synthesizers
- Helmut Köllen / bass, acoustic guitars, vocals
- Hans Bathelt / drums and percussion
1. The Capital Of Power (3:13)
2. The School Of Instant Pain (6:22)
- a. Proclamation
- b. The Gladiator's Song
- c. Roman Entertainment
- d. The Battle
3. The Walls Of Doom (3:56)
4. The Deadly Dream Of Freedom (3:54)
5. The Hazy Shades Of Dawn (3:09)
6. The Burning Sword Of Capua (2:41)
7. The Sweetest Sound Of Liberty (2:35)
8. The March To The Eternal City (8:46)
- a. Dusty Road
- b. Italian Improvisation
- c. First Success
9. Spartacus (7:38)
- a. The Superior Force of Rome
- b. A Broken Dream
- c. The Finale
10. The Capital Of Power (live) (3:16)
11. Showstopper (previously unreleased) (3:37)

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TRIUMVIRAT – A LA CARTE – 1978 (GER) progressive rock

2008-09-01T16:25:00.001+04:00

Very bizarre change of direction for this once good German trio. From a pure ELP sound they switched to a pop sound a la Supertramp. One of the problems, is that they are only the shadow of a sub-par Supertramp. What you'll find here is rather poor music, overwhelmed with orchestrations (viloins, cellos, trumpets and lots of choirs). Not really my cup of tea.
We'll travel from poor to worse here. The latter being "For You", by no doubt. An insipid and syrupous ballad (on par with the closing number "Good Bye". Truely awful and difficult to imagine how low "Triumvirate" has evolved. In this aspect "I Don't Even Know Your Name" just looses by an inch the highest step of the podium.
The least boring numbers being the ones that will sound the most to the Tramp : "Waterfall" and "Late Again". But don't expect too much. But of course, compared with "A Bavarian..." and the funky-oriented "Original Soundtrack...", they sound like masterpieces.
"Darlin' " is also a good joke. But a bad song with stupid chorus and trumpets.
It is really a poor album and I can only recommend to stay away from this "work". One star of course and nothing prog to be found. progarchives.com/

- Jürgen Fritz / keyboards
- Matthias Holtmann / drums
- Werner Kopal / bass
- David Hanselmann / vocals
- Richard Hurwitz / trumpet
- Bill Lamb / trumpet
- Mark Isham / trumpet
- Vinnie Fannele / trombone
- Randy Alcroft / trombone
- Marie Robinson / French horn
- Allen Robinson / French horn
- Tommy Johnson / tuba
- Bob Hardaway / tuba
- Jene Cipriano / tuba
- Jules Chaikin / contractor
- Rob Stevens, Jon Osbrink, Jerry Whitman, Stan Farber, Walt Harrah, Larry Kenton, Fred Frank, Bill Brown, Gene Moredro, Gene Merlino, Allan Davies, Diana Lee, Sally Stevens, Terry Stilwell, Gloria G. Prosper, Linda Harmon, Susie McCyne, Darice Richman, Jackie Ward, Sue Allen, Peggy Clark, Myrna Matthews, Jan Gassman, Karen Kenton / singers
- Bill Cole / contractor
- Gordon Marton / conductor violins
- Israel Baker, Michelle Grab, Ken Yerke, Robert Lipsett, Brian Leonard, Robert Dubow, Spiro Stamof, Peter Kent, Mari Tsumura, John Wittenberg, Bonnie Douglas, Linda Rose / concert master
- Sam Bogossian, Denise Buffom, Linda Lipsett, Dan Neufels / violas
- Fred Seykora, Glenn Grab, Juliana Buffom, Gloria Strassner / cellos
- Steve Edelman, Buell Neiblinger / basses
1. Waterfall (4:58)
2. (Oh I'm) Late Again (6:48)
3. Jo Ann Walker (4:46)
4. For You (5:53)
5. I Don't Even Know Your Name (4:47)
6. A Bavarian In New York (5:38)
7. Original Soundtrack From The Movie (3:48)
8. Darlin' (3:46)
9. Good Bye (4:28)
Bonus tracks
10. Waterfall [Single Edit]
11. Jo Ann Walker [Single Edit]

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ZODIAC – DISCO ALLIENCE/MUSIC IN THE UNIVERSE – 1980/1983 (USSR) space electro

2008-09-01T16:23:00.005+04:00

It was rather difficult to imagine any serious "vinyl” collection without this record in the eighties of the last century. People were buying "Disko-alliance" record of Zodiac by exchange, by stealing; moreover, "Disko-alliance" was as a payment of a debt sometimes. This record was played all over the former one-sixth part of a land by the miraculous native production as "Accord" record player. An instrumental record of Zodiac - « Disko Alliance » was like “a sacred cow” of the Russian electronic music. It was successfully sold together with the second one, named - «Music in the Universe". The total run was more than 20 000 000 copies. There are not so much artists, who have a similar success: a huge profit out the two albums as well as out the all discography. Today - quarter of the century later - « Disko Alliance » is not perceived as an archaism.
It is interesting, that the participants of the first cast: Janis Lusens, Andris Silis, Zane Griva, Andris Reinis and Ainars Ashmanis weren’t conceiving so big success of the first album. The students from the different departments and courses of Latvian Conservatory were peacefully and diligently studying, going to become the newly-made young experts in the field of the academic music. « We were not thinking about some kind of musical innovation," - says Janis Lusens, - We were living a usual student life, playing absolutely different music in different groups. It was as Jazz as Dixieland. We were interested in electronics, were fond of various records exchanging such as Tangerine Dream, Kraftwerk, Jean Michel Zharr. I was trying to write down at home something like that ».
The experimental cassette of the 21-years old student from the conservatory - Janis Lusens (the participant of the " Arka " group under the direction of Juris Kulakovs), was brought to the producer Alexander Griva - one of the best sound producers of USSR. He was working with serious music and was a deputy director of the Riga department of the firm «Melody” at that moment. Lusens and Co was not the pioneer in the electronic music. There was a great simplicity in Lusen's music in comparison with Edward Artemyev's creativity that was demanding a certain preparation. Millions guys and girls of USSR were subjugated due to this great simplicity. Alexander Griva was a strong sound-producer. He was approximately fifteen years elder than other participants of the group and was a strict leader. At the same time A. Griva knew, that in spite of the harmless instrumental genre, excessively using the studio time for the working with the young non-professional musicians can't be appreciated by the government. Perhaps, « Disco Alliance » was also the first album that was designed in a new, absolutely unusual style. There was a futuristic painting on the cover, made by the familiar artists of Riga. Their skills in this kind of art were very poor at the time. They were working for the most part instinctively. The record with the futuristic painting cover was standing out among the other records with the ordinary illustrations such as Russian eminences and photos of the brushed soviet crooners with the sour smile. « Disco Alliance » record was striking due to the bright photos of the young musicians. Moreover, all the instruments that were played by the musicians were mentioned on the backside of the cover. Lusens was a fortunate owner of «ARP Omni» complete and an «ARP Odyssey " synthesizer.
The impossibility of the ideological captious objections was the main advantage of the record « Disco Alliance ». There was only an instrumental music recorded, and it could be easily played on the disco parties like any other music of the Soviet Baltic republic musicians. The envious people started a rumour. They asserted that all participants of Zodiac had been the children of the Central Committee party's members, in spite of the fact that all participants of "Zodiac" had arrived to Riga from the small Latvian towns for studying. Zodiac was taken by the enlightened music fans as a poor parody of the French group Space but not by the majority of the youth. « Disco Alliance » was considered to be an explosion and the first change in all-Union firm «Melody» for the young people.
All of the « Disco Alliance » album members are anyhow engaged in music now. The album « Disco Alliance » appeared in all countries of the East Europe, in Finland, Austria and Japan. A leitmotif from the album's play was used in a popular dancing track of the Russian team PPK "Reload". That was one of the most appreciable references to the team's creativity for the last 10-15 years.
We are nourishing the hope now, that the opportunity to see the revival of the initial Zodiac will be occurred. Janis Lusens has a 21 years old son, who is also a composer and is writing the music for advertising. He is of the age, when his father with the friends made a sound-recording of « Disco Alliance » - the most popular record of the country that is not present on a map any more.

Jānis Lūsēns - ARP Omni, ARP Odyssey, celesta, production
Zane Grīva - piano, ARP Omni, vocals
Andris Sīlis - guitar
Ainārs Ašmanis - bass guitar
Andris Reinis – drums

Disco Alliance 1980:
1 Zodiac (Zodiaks / Зодиак) 5:12
2 Pacific (Pacific / Пасифик) 3:52
3 Provincial Disco (Procinciāls disko / Провинциальное диско) 4:18
4 Polo (Polo / Поло) 3:17
5 Mirage (Mirāža / Мираж) 4:02
6 Rock on the Ice (Roks uz ledus / Рок на льду) 2:42
7 Alliance (Alianse / Альянс) 3:41
Music In The Universe 1983:
8 Таинственная галактика (The Mysterious Galaxy) 4:45
9 Лазерная иллюминация (Laser Illumination) 4:11
10 Серебряная мечта (Silver Dream) 3:32
11 Фотофиниш (Photo Finish) 4:43
12 Обратная сторона неба (The Other Side Of Heaven) 5:17
13 В свете Сатурна (In The Light Of Saturn) 3:47
14 Полет над Эльдорадо (Light Over El Dorado) 5:07

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ZODIAC – Music From the Films – 1982 (USSR) space electro

2008-09-01T16:21:00.003+04:00

Very funny, electronic psychedelic überkitsch. Sounds a bit like kraftwerk, but in a much more Soviet way. Cool to have for electroweirdo's

Jānis Lūsēns (keyboards, synthesizer)
1 Пришельцы (Strangers) (2:57)
2 В Таинственном Квадрате (In A Mysterious Square) (3:09)
3 Зеленые Чудовища (Green Monsters) (4:47)
4 Поединок (Duel) (3:38)
5 Мирное Небо (Peaceful Sky) (3:22)
6 Огненные Дороги (Fiery Roads) (2:42)
7 Девичьи Грезы (Maiden's Dreams) (4:31)
8 Волшебная Ночь (Magic Night) (3:46)
9 Идущие Впереди (Going In Advance) (5:17)
10 Сердце Стучит (The Heart's Beating) (3:15)

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ZODIAC - IN MEMORIAM – 1989 (USSR) space electro

2008-09-01T16:16:00.002+04:00

Zodiac was formed by Jānis Lūsēns, then studying composition at the Latvian State Conservatory in Riga. The other four members of the group were also students of various faculties of the same conservatory.
Zodiac's first vinyl record Disco Alliance (Russian: Диско альянс, Latvian: Disko alianse) was released in 1980 on the monipolist Melodiya label, during the band members' studentship. A significant part of the group's success was that the album was produced by Aleksandrs Grīva, one of the best sound engineers of the country,[who?] also the father of band member Zane Grīva. The music featured a lot of then-unusual synthesized sounds and effects together with more conventional disco elements while in whole remaining very melodic, atmospheric and easy to understand.
The second album Music in the Universe (Russian: Музыка во Вселенной) released two years later was much inspired by a meeting with cosmonauts in the Star City, Moscow and their tales about space flights. The music of the album featured many rock tones and parts, became even more atmospheric and somewhat less conventional.

During that time the band also performed the music of Viktor Vlasov for the films Zhenskiye radosti i pechali (Woman's Joys and Sorrows, 1982) and Ekipazh mashiny boevoy (The Tank Crew, 1983), the soundtracks for the both films were released on a vinyl record Music from the Films (Russian: Музыка из кинофильмов) in 1985. The music of the group was also used in the documentary film about the cosmonaut artist Aleksei Leonov Zvyozdnaya palitra (Star Palette, 1982).
The last album In memoriam was composed and produced by Jānis Lūsēns alone and released in 1989. The album was dedicated to the ancient and modern cultural and natural heritage of Latvia. The sounding of the album turned from disco to light techno/synth pop while gaining a lot of fine classical music features that gave it a very unusual Baroque/Romantic taste, together with some ambient influences of Jean Michel Jarre.

Jānis Lūsēns - synthesizers, piano, production
Zigfrīds Muktupāvels - vocals, DDD-1, violin
Dzintars Sāgens - computer, guitar
Guntis Zvirgzdiņš - synthesizer
Maija Lūsēna - vocals on track 4
Normunds Šnē - oboe on track 3
Aivars Gudrais - guitar on track 5
Ivars Piļka - sound engineering
1 In Memoriam/Kurzeme (9:06)
2 Moriscala (3:53)
3 Brivdabaz Muzeja (5:16)
4 Rundales Pils (3:50)
5 Vecricas Nami (4:32)
6 Pastorale (3:31)
7 Zila Kalna (5:20)

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SPACE ART – ONYX – 1976 (FRA) space electro

2008-09-01T15:05:00.002+04:00

Space Art is a French band that was formed by two friends in Paris in 1977. The group consisted of Dominique Perrier on keyboards and Roger Rizzitelli on drums. Their first (self-titled) of three albums was released in the same year as Jean-Michel Jarre’s, “Oxygene.” Knowledgeable Jarre fans will recognize the names, because both went along on the 1981 China tour. Dominique Perrier has since played keyboards on most Jarre albums and live performances and is sometimes credited with artistic collaboration - small wonder, as their styles are very much compatible. But as this and the other albums show, Space Art is not a mere clone and has a distinctive style of its own. This is due in large part to the heavy drums very well employed by Roger Rizzitelli (highly inspired by bands such as Pink Floyd, Led Zeppelin, Soft Machine, etc). It was all about experimenting with new sounds on new machines. They specialize in a certain set of highly tragic/dramatic chords which appear on all their best tracks, a perfect example being the title-track. Apart from ‘Onyx’, the other tracks that really stand out are ‘Axus’ (an astonishing sonic explosion), and ‘Laser En Novembre’ (the most experimental track). A 3 CD box set will be released in ’08 including SPACE ART (1977), TRIP IN THE HEAD CENTER (1978) and PLAY BACK (1980).

Dominique Perrier (keyboards)
Roger Rizzitelli (percussion)
1 Onyx
2 Naissance de Cassiopee
3 Interlune
4 Axius
5 Aquarella
6 Ode a Clavius
7 Laser en Novembre

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SPACE ART – TRIP IN THE CENTER HEAD – 1977 (FRA) space electro

2008-09-01T15:04:00.002+04:00

" Trip in the Center Head " is a typical end-seventies french space synth music in its depressing aspect and sense of drama screenplay, that doesn't really push me up or excite me. Just a curioisity of the sci-fi sadness of the time.

Dominique Perrier (keyboards)
Roger Rizzitelli (percussion)
1 Speedway 2:53
2 Odyssey 4:00
3 Eyes Shade 6:47
4 Watch It 3:00
5 L'obsession d'Archibald 5:30
6 Hollywood Flanger 3:50
7 Psychosomatique 10:52

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SPACE - MAGIC FLY – 1977 (FRA) space electro

2008-09-01T15:02:00.002+04:00

The single, track 5 i.e., is the stand out. And it's great frog-rock - synth heavy though. A very memorable melody, which you'll probably recognise and think 'oh, ok, so that's what *that* is.' The rest of the LP is ok, but pretty much wallpaper. Albeit '70s futuristic wallpaper.

Didier Marouani [aka "Ecama"] (synthesizers)
Roland Romanelli (synthesizers)
Joe Hammer (drums, percussion)
1 Fasten Seat Belt 5:58
2 Ballad For Space Lovers 2:16
3 Tango In Space 4:27
4 Flying Nightmare 3:25
5 Magic Fly 4:17
6 Velvet Rape 4:26
7 Carry On Turn Me On 7:11

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SPACE – DELIVERANCE – 1977 (FRA) space electro

2008-09-01T15:01:00.002+04:00

One of the most ambitious Euro-electro acts of the late 1970s was Space, which shouldn't be confused with the alternative rock band that recorded Spiders in 1996. By the time that Space was formed in the 1990s, the Euro-electro act heard on Deliverance had long since called it quits. Recorded in London and Paris in 1978, this conceptual, mostly instrumental LP employs a lot of futuristic sci-fi imagery and is quite high-tech for its time. Synthesizer-dominated instrumentals like "Air Force" and "Running in the City" give the impression that Jean-Philippe Iliesco, the album's producer, had been paying close attention to German innovators like Kraftwerk and Giorgio Moroder-and yet, Deliverance has a high-tech energy of its own. In the U.S., this record was ignored by radio programmers, but European dance clubs found that the album's faster material was great for moving bodies. At times, Deliverance ends up sounding like European movie music and fades into the background. But when Space hits its mark, Deliverance is both interesting and infectious.

Didier Marouani [aka "Ecama"] (synthesizers)
Roland Romanelli (synthesizers)
Joe Hammer (drums, percussion)
1 Prison [feat. Madeline Bell] 6:25
2 Let Me Know the Wonder 7:10
3 Running in the City 4:17
4 Air Force 4:30
5 Baby's Paradise 5:38
6 Deliverance [feat. Madeline Bell] 6:45

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SPACE – DEEPER ZONE – 1980 (FRA) space electro

2008-09-01T14:56:00.002+04:00

Fourth studio album for the band, but without Didier Marouani as he left the ship. Those french guys that mix a special blend of funk and disco with predominant synthesizers, sometimes à-la-Jean Michel Jarre made here another interesting album. "Inner Voices" is an especially good track, very modern I think, with a slow metronomic two notes bassline/beat that lead a catchy cycling piano/synth melodic phrase; almost hip-hop, was largely sampled by Fingathing on the excellent "Spacecrumbs" featured on Superhero Music. I knew that version before the original which was more a sort of a re-edit, and pratically was required because like other good tracks on this album, they are just too long and often make the listening quite irritating. There's many good ideas, structures and fresh new grooves on this record but also it gives an impression of heavyness in juxtaposing dramatic climate, and tend going megalomaniac; A characteristic of that band actually. Although some seventies cosmic-music freaks could find it too easy-cheesy, the best stuff of Space that you can pick on all of their 3 albums, is truly innovative, unusual and accessible.

Roland Romanelli (synthesizers)
Cissy Stone (vocals)
Jannik Top [aka Yannick Top] (bass)
Patrice Tison (guitar)
1 Deeper Zone 7:16
2 Inner Voices 3:31
3 Space Media 3:27
4 Mixed Up 5:43
5 On the Air 3:28
6 Love Starring You and Me 5:26
7 Robbots [*] 3:38
8 Tender Force [*] 3:57

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DROIDS – STAR PEACE – 1978 (FRA) space electro

2008-08-20T15:45:00.001+04:00

French synth-disco from the late 1970s. Most of the tracks on Star Peace sound like a more dancefloor ready version of Kraftwerk with tight 4/4 beats (though acoustic and not voltage-controlled) and juicy analogue sounds. Other tracks on the album such as "Interspace," "Tchoung Fou" and "Renaissance De L'Amour" reminisce the works of Klaus Schulze and other early analogue experimenters. A definite classic and a must-own for lovers of cosmic sounds.

Yves Hayat
Fabrice Cuitad
1 (Do You Have) The Force, Part 1 4:17
2 (Do You Have) The Force, Part 2 3:17
3 Interspace 0:49
4 Tchoung Fou 2:23
5 Be Happy 6:10
6 Shanti Dance, Part 1 3:13
7 Shanti Dance, Part 2 3:15
8 Renaissance De L'amour 8:32

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ORGANISATION (Pre KRAFTWERK) – TONE FLOAT – 1969 (GER) krautrock

2008-08-20T15:43:00.001+04:00

Tone Float is a very unusual record for 1970. There is no blues-rock, no guitar solo, and no catchy single hit at all. Though it contains some familiar parts, it is not easy to classify. The organ suggests early Pink Floyd, perhaps from the Piper at the Gates of Dawn album. And there is some flute and violin, sometimes played in a jazzy way. But suddenly the music leads into a percussion inferno, where the drum set sounds like kettledrums, with heavy gongs echoing, bells tinkling, and instruments altered past recognition. There are no common song structures; the tracks develop slowly and this can last even 20 minutes. The music is partly free in rhythm, as a title like "Rhythm Salad" already suggests. Sometimes there is an indication of the sound that Ralf Hütter and Florian Schneider would develop later on the first Kraftwerk albums, but here there was no synthesizer.

- Basil Hammoudi / percussion, bongos, conga, gong, vocals
- Butch Hauf / bass, percussion, bells
- Ralf Hütter / organ
- Fred Monicks / percussion, bongos, drums, marimba, tambourine, bells
- Florian Schneider / flute, percussion, violin, flute (Alto), tambourine, triangle, bells, violin (electric)
1. Tone Float (20:46)
2. Milk Rock (5:24)
3. Silver Forest (3:19)
4. Rhythm Salad (4:04)
5. Noitasinagro (7:46)
6. Vor Dem Blauen Rock (Beat Club 5/71)

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EULENSPYGEL – EULENSPYGEL 2 – 1971 (GER) heavy krautrock

2008-08-20T15:42:00.001+04:00

Here is an absolutely killer 70’s German underground recording you must hear…..wow how come this album is so darn hard to hunt down? Eulenspygel were a wild bunch of music freaks who recorded a fantastic couple of albums with their second in review here. Eulenspygel carried that certain underground German 70’s vibe with homemade organ grinds, heavy bass and guitar overlays with heavier vocals, but wow is this album superb. With careful mix of jazz, fusion, prog and rock this album were pretty cleverly arranged and mixed with great imagination, color and tempo shifts. All vocals are sung in German and are done so with great conviction and I understand they are singing about anti-war themes. Fans of Krautrock will need to have this album in their collection….

- Matthias Thurow / guitars, violin
- Cornelius Hauptmann / flute
- Ronnie Libal / bass
- Detlev Nottrodt / guitars, vocals
- Günter Klinger / drums
- Rainer 'Mulo' Maulbetsch / vocals, harmonica
- Karl Heinz Grosshans / organ, vocals
1 Till 3:45
2 Son My (My Lay) 11:14
3 Konsumgewäsche 4:03
4 Staub auf Deinem Haar 7:58
5 Die Wunde bleibt 1:58
6 Das Lied vom Ende 10:15

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GURU GURU - ESSEN 1970 (GER) heavy krautrock

2008-08-20T15:41:00.002+04:00

Outstanding live from Guru Guru's first line up. The album features three long "stoned" heavy compositions taken from their two first "UFO" and "Hinten". Mostly instrumental with incredibly great rockin sections. The guitars are really powerful, heavy, sometimes bluesy but with an emphasis on distorted, deranged textures. This rather loudy jam session is punctuated by a few "archaic" electronic treatments and a great dose of "multi-guitar effects", providing a nice "cosmic" tendence to the ensemble. The heavy psychedelic improvisations can without reserve be compared with Agitation Free's most memorable live performances; an inventive and freak'n roll electro-shock that can reaches you into an other galaxy. The set starts with the kraut-slowing heavy hymn "Stone in", carries on "Der LSD march" and the humorous, strange & delirious "Bo Diddley". A ecclectic and electrip improvised musical session! good-going to an "acid" test.

- Ax Genrich / guitar
- Mani Neumeier / vocal, drums
- Uli Trepte / bass, vocal
1 Stone In 12:00
2 Der LSD-Marsch 14:22
3 Bo Diddley 11:27

Rip from CD 256@ (artwork included)
Download link
http://lix.in/-28c09f

LIENTAL – LIENTAL – 1978 (GER) krautrock

2008-08-20T15:40:00.002+04:00

Dieter Moebius side project with the prolific Conny Plank. "Liliental" is in the progression of kraut/electronic publications from Harmonia and Cluster late 70's. Consequently the music is a delicate hybridation between pure ambient synth-scapes and post-rocking arrangements. "Stresemannstrasse" delivers a beautiful, meditative little piece for minimal piano, guitar experimentations, rhythmical electronic. With long, monotonous bass lines, guitar effects and deep synth chords, "Adel" is a charming electronic experimentation that can remind some Cluster / Eno stuffs. The last minutes of synth chorus are deeply emotional, almost angelic! "Wattwurm" is a pop orientated composition in the genre of Kraftwerk, cheesy electronic textures with a discreet "exotic" vibe. "Vielharmonie" is an atmospheric psych ambient composition with floating sax parts. "Nachsaison" is an eclectic taste of proggy synth lines mixed with fantasist, melodic pop accents. A nice album but nothing essential. Highly recommended for fans of Cluster, Brian Eno and Harmonia's family tree.

- Dieter Moebius / keyboard, guitar, percussions
- Conny Plank / keyboard, guitar, manipulated voices
- Johannes Pappert / altosaxophon, bass, flute
- Helmutt Hattler / e-bass guitar
- Okko Bekker / keyboard, musical saw, percussions
- Armus Tietchens / keyboard, drums
1 Stresemannstraße 5:12
2 Adel 5:50
3 Wattwurm 4:08
4 Vielharmonie 7:41
5 Gebremster Schaum
6 Nachsaison 3:02

Rip from CD 256@ (artwork included)
Download link
http://lix.in/-2bce31