Coupla Prog from Baden-Baden/Germany is known for a melange of kraut and heavy bluesrock, full of suspense, theatrical in parts, with a derivative sense of professionality. The new band name results from a shortened version of "A Couple Of Progs".Though they were active between 1969-1975; the band's complete material is live played, pure, without reworking and overdubbing, the result of sessions recorded at studio U1 of Radio Südwestfunk between 1970 and 1972. Heavy blues rock, blues, electronic music, free style, occassional classical music references and echoes of post Syd Barrett-era Pink Floyd, Vanilla Fudge but also Procol Harum distinguished the sound of the band.
The music is extremely varied, never commercially oriented, but always homogenous and exciting music, which occasionally diverge from the well travelled tracks of kraut and prog rock. Talented craftsmen, the band captures the zeitgeist of the era.The group played not only in relevant clubs and youth centres but also to large audiences at open-air concerts in Karlsruhe and Heidelberg.Although the group never managed to secure a record company deal they did, thanks to SWF, leave behind an extensive and musically valuable legacy for underground and progressive rock fans. Highly addictive.
"Sprite" contains 7 tracks that were recorded on 26.02.1970 and 16.04.1971.
- from progarchives.com -
- Rolf Peters / guitar, vocals
- Reiner Niketta / bass, piano
- Wolfgang Schindhelm / organ, piano, trumpet, vocals
- Hubert Donauer / drums
Track List :
01. I Wanna Be Free (5:10)
02. Goodbye, Guns, Be By Gones (11:45)
03. The Queen Is Selling Out (9:30)
04. Die Wut Über Den Verlorenen Groschen - The Anger Of The Lost Penny (4:35)
05. Ode To The Vanilla Fudge (7:00)
06. Auf Dass Er Sich Im Grabe Umdrehe - He Would Turn In His Grave (12:00)
07. Dies Irae - De Mortuis (5:00)
Tuesday, 24 November 2009
(Review from progarchives.com)
This archive album is of a high interest if you enjoyed the sole "Fuchsia" album.
The first three tracks are demos that were recorded for their second album (they were looking for another label) and if the sound quality is acceptable for an archives album, they certainly have a finished songwriting feel and are closely related to the debut album, with the same line-up for the first two of them, the third being a pre-debut acetate. All three tracks still have that upfront string section reminiscent of pre-classical music and the very early ELO feel. Even if "Ragtime Brahms" might indicate a much later period, we are talking of folk in the popular tradition here. But unfortunately Fuchsia was not able to record again and folded.
The group saw a second incarnation in 1975 under the name Mahagonny, but in a fairly different line-up (only leader Durant and drummer Gregory are left) and slightly different instrumentation (added a keyboard), but spiritually this session was very close to the Fuchsia realm. Those five tracks make-up a small opera or conceptual suite based on the "Rise And Fall Of The City Of Mahagonny" (a bit in the style of an updated "S. F. Sorrow" from "Pretty Things") and the suite is rather a happy and funny affair even if the events in the storyline are not always so. Again the spirit is very folkish and sounds between "Eleanor Rigby", early-ELO and somehow a bit like Queen also. These tracks actually did not get an issue at its time and remained dormant for over 30 years.
The next two tracks are pre-debut album, back in the college/university days, where Durant was mostly playing with his buddy Robert Chudley (they were also playing with future Henry Cow’s Chris Cutler at the time) and although not recorded under or attributed to the Fuchsia banner, these two tracks (with the original trio of Durant, Day and Gregory is present) are also very worthy, even if the late-60’s feeling is present on these two but they are also strongly related to the group. "Mary Used To.." is a hilarious piece.
This release is almost (if not more) as essential as the only official album. This obscure group deserved much better back then and even today.
- Tony Durant / guitars, lead vocals
- Michael Day / bass
- Michael Gregory / drums, percussion
- Janet Rogers / violin)
- Madeleine Bland / cello
- Vanessa Hall-Smith / viola
- Jan Pulsford / vocals
- Nic Pallett / vocals
- Tony Durant / guitar
- Robin Langridge / keyboards
- Keith Grant-Evans / bass
- Michael Gregory / drums
- Angela Pulsford / violin
- Philida Ahearn / cello
- Bob Chudley / vocals, guitar
- Tony Durant / backing vocals, guitar
- Michael Day / bass
- Michael Gregory / drums
- Andrew Wilson / keyboards
The Golden Medallion:
- John Tams / vocals, accordion
- Tony Durant / acoustic guitar
- Pete Bullock / piano
- Michael Gregory / percussion
Track List :
01. The Band - 3:21
02. Ragtime Brahms - 5:02
03. Ring Of Red Roses - 4:02
04. Prologue - 5:43
05. Pirate Jenny - 3:44
06. Mr Munch Interminable Lunch - 5:26
07. Drunken Meanderings - 4:22
08. Behind Innocent Eyes - 3:57
09. Absent Friends - 4:36
10. Mary Used to Play the Piano - 2:15
11. I'll Remember Her Face - 2:32
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Monday, 23 November 2009
01.Lucifer's Friend: Ride the Sky (02:55)
02.Birth Control: The Work is Done (06:02)
03.Cravinkel: Two Circles (02:39)
04.Os Mundi: Question of Decision (07:42)
05.Embryo: Radio Marrakesch (09:46)
06.Sperrmull: Pal Casey (03:15)
07.Lava: Tears are Goin' Home (04:22)
08.Jane: Hangman [Live] (12:00)
09.Professor Wolfff: Hans im Glück (07:44)
10.Scorpions: It All Depends (03:26)
11.Grobschnitt: Drummer's Dream (06:14)
12.Electric Sandwich: China (08:09)
13.Weed: Sweet Morning Light (05:31)
01.The Rattles: The Wich (02:57)
02.Frumpy: How the Gypsy was Born (08:50)
03.Gomorrha: I Turned to See Whose Voice it Was (07:45)
04.Grobschnitt: Jupp Vater Schmidts Wandertag (09:53)
05.Guru Guru: Samantha's Rabbit (02:57)
06.Kin Ping Meh: Fairy Tales (09:50)
07.Hölderlin: Requim Für Einen Wicht (06:37)
08.Jane: Daytime (08:09)
09.Weed: Lonely Ship (03:15)
10.Abacus: Song For Brunhilde (04:36)
11.Odin: Tribute to Frank (01:55)
12.Yatha Sidra: A Meditation Mass Pt. 3 (12:02)
01.Eloy: Castle in the Air (07:18)
02.Kraan: Nam Nam (05:50)
03.Atlantis: It's Getting Better! (04:52)
04.Klaus Schulze: Mental Door (22:58)
05.Cluster: Hollywood (04:47)
06.Faust: So Far (06:20)
07.Harmonia: Watussi (05:59)
08.Curly Curve: Queen of Spades (05:00)
09.Gomorrha: Dance on a Volcano (09:58)
10.Sperrmull: No Freak Out (06:44)
01. Wonderland: Moscow (02:52)
02. Frumpy: Take Care of Illusion (07:37)
03. Faust: Why Don't You eat Carrots? (17:27)
04. Epitaph: Fly (08:52)
05. Guru Guru: Der Elektrolurch (09:46)
06. Eroc: Nordeland (06:32)
07. Topas: Train to an Island (06:08)
08. Novalis: Impressionen (08:58)
09. Jane: Air and the End (10:53)
01. Randy Pie: Highway Driver (03:56)
02. Brith Control: Gamma Ray (09:44)
03. Can: Mother Sky (14:29)
04. Topas: Hurricane (04:17)
05. Guru Guru: Ooga Booga (11:10)
06. Altantis: Friends (08:43)
07. Grobschnitt: Traum Und Wirklichkeit (05:28)
08. Embryo: A place To Go (04:08)
09. Lucifer's Friend: Lucifer's Friend (06:11)
10. Novalis: Wer Schmetterlinge Lachen Hört (09:17)
01. Curly Curve: Hell and Booze (04:05)
02. Lucifer's Friend: Sorrow (11:36)
03. Lava: Holy Foot (05:16)
04. Grobschnitt: Anywhere (04:14)
05. La Düsseldorf: Rheinita (07:38)
06. Harmonia: Dino (03:30)
07. Randy Pie: Wintersong (05:49)
08. Jane: Windows (18:46)
09. Cravinkel: About Mother and Son (03:13)
10. Dull Knife: Tumberlin' Down (04:21)
11. Eroc: Wolkenreise (04:33)
12. Udo Linderberg: Alles Kalr Auf Andrea... (03:46)
13. Wallenstein: Charline (04:04)
*see Also Krautrock Vol 2 which is posted on my blog. Vol 3 to come!
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Sunday, 22 November 2009
Friday, 20 November 2009
This is the only album by the obscure British folk/prog band Fuchsia. It was released in 1971 on the Pegasus label and it's one of the most unusual and precious gems of the genre. The band was a sextet led by guitarist and singer Tony Durant, bassist Michael Day and drummer Michael Gregory The other three members were female string players (two violins and cello), who also provided delightful backing vocals. This unusual and original lineup created a totally unique sound, mixing elements of prog folk-rock and chamber music.
1. Gone With the Mouse
2. A Tiny Book
3. Another Nai
4. Shoes and Ships
5. The Nothing Song
6. Me and My Kite
7. Just Anyone
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Thursday, 19 November 2009
Unlike The Ides of March, which hit it big out of the gate with "Vehicle" and then dropped out of sight, it took this 11-man Canadian group four albums to finally have a hit.
A far brighter and jazzier song than "Vehicle," "One Fine Morning" could have easily been mistaken for Chicago or BS&T. This was a huge band with a big sound -- an unmistakable electric rhythm guitar riff that any beginner could play, all kinds of horns, a string section, shaking tambourines, a funky bass over the extended drum bashing intro, and suitably jazzy electric piano solo.
Somehow, and you have to give them a lot of credit, they get this monstrosity moving in a fast-moving groove, building to a big blast of a climax. You have to love these 70's horn-driven singles that didn't fade out -- they ended in one colossal blasted chord.
Again, a good song that becomes great when heard in its full extended album version...(more)
****Subject Esq -Subject Esq (1972 Fantastic Kraut Jazz-Fusion, great songs, forerunner of 'Sahara' band****
"What is Love?" -Subject Esq. Great track from a *SUPERB* prog rock album-check it out!
SUBJECT ESQ. were a German band from the early 70s. The music is rather typical early 70s proto-prog with elements of JETHRO TULL (for the flute-guitar interplay), early YES, and the occasional saxophone riffs remind of early VAN DER GRAAF GENERATOR. There are some spacier and/or symphonic parts that recall NEKTAR, GENESIS (around "Trespass"), and maybe early ELOY. The band continued under the new name SAHARA after this album. Second album of German progressive, "For All The Clowns" is more straighter with an overdose of progressive influences, notably FOCUS / YES and CARAVAN and a potpourri styles.
Michael Hoffman, flutist, alto-saxophonist and lead(?) vocalist - his flute works do indeed create a solid Jethro Tull atmosphere (and it was, after all, a good period for anyone even pinching the moody stuff of the Tulls), plus intensify the best of the improvisation (though it seems an even work from the band, during each jam); the saxophone diem sound constantly brings the jazz energy, while as vocalist, Hoffman has an impact. Peter Stadler, with his keyboards, and the two guitarist of the show rival upon the heavy sound/rock moments, in an intensely cheerful, compact-drifting or (best of all) grouchy sentiment. Pittwohn's mouth-harp won't be pestilential for the sound of Subject Esq., but, true, you can't say great stuff about its role in the script.Wissnet and Rosekind, as bassist and drummer, do a "nicer" job.
Subject ESQ.'s style is generous, but somewhat minimal. Especially in "Alone" and "Giantania" (the second one stepping in as something precious), you get the feeling of easy and spontaneous themes, rock-like, with some expected full improvisations and peculiar drops and jumps of the sound. It gives a great on-going effect, but it makes the jam only practical and sensible. "What Is Love" is about the same, but it has a jazz light-pitch entire flavor. "5:13" is for the flute and mini keyboard-fusion, intense and mellow, creeling and hard-custard in the same time. "Mammon" is the big piece of the album, with a jazzy styled feeling, a heavy main jam forced to slow down into soft improvisations and dreamy vocals (with lyrics that aren't too unconvincing). "Durance is waiting" stands as a pretty and hard rock composition, with the guitars finally doing a big juice, and the vocal catch being animated.
1. Alone (5:22)
2. Giantania (6:42)
3. What Is Love (5:39)
4. 5:13 (4:31)
5. Mammon (12:40)
6. Durance Is Waiting (8:25)
- Michael Hofmann / flute, alto-saxophone, vocals- Peter Stadler / keyboards
- Stephan Wissnet / bass, vocals
- Alex Pittwohn / mouth-harp, 12-string-guitar, vocals
- Harry Rosenkind / drums
- Paul Vincent / guitars
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