Saturday, 26 September 2009

Solaris -Nostradamus Book of Prophecies (1999)

The band Solaris was formed in 1980 by some university and college students: István Cziglán (guitars), Róbert Erdész (keyboards), Attila Kollár (flute), Attila Seres (bass), Vilmos Tóth (drums). This formation has only one recording, the song "Solaris" which appeared on Rockhullám (I don't if this is a single, album or a Hungarian rock collection) and later on the Marsbéli krónikák. In the next year Attila Seres and Vilmos Tóth left the band and they were replaced by Gábor Kisszabó on bass and Ferenc Raus on drums and came another guitarist, Csaba Bogdán. This new formation released another single and had about 10 radio recordings. Then came some other changes in membership the band remained: István Cziglán on guitars, Róbert Erdész on keyboards, László Gömör on drums, Tamás Pócs on bass and Attila Kollár on flute. This formation recorded and released The Martian Chronicles, had a lot of concerts and was broken up because the one and only Hungarian recording company wasn't interested in progressive rock. Some of the members formed the popular group Napoleon Boulevard (or Napoleon Bld.), a popular band which played pop music, not a very bad one, but pop. Seeing their succes (over 1 million LP-s sold in three years) THE recording company invited them to make another Solaris LP. A part of the contract was the releasing of the old materials. This was Solaris 1990, a double LP which appeared later on a single CD without the B side of the second disc. Later, the whole material appeared on a double CD with two bonus tracks included. Then came another long silence, the band's existence practically came to an end, the members joined other formations, when they received an invitation to the Progfest in L.A. The material of this concert appeared in their Live in Los Angeles album. This concert was followed by another at the Rio Art Rock Festival, The Martian Chronicles was released in Japan and these gave the band the courage to make a new album: Nostradamus (without László Cziglán who died meanwhile).
Solaris' music is a bit "lumpy" with an instrumentation what remindes me to the early heavy metal bands. Something like Barclay James Harvest, but more aggressive guitar and drum playing. The band uses many instruments, but not in an orchestra-like way. Every instrument is accentuated, has it's own "personality", without suppressing each other, altogether the music sounds good. It has an electric sound, like ELP or Tangerine Dream. The drums give a strong rhythmical base, with a low-key bass what the guitar, keyboards and flute are doing their job on, with much fantasy. Overall, it's a good music with a powerful and quite unique sound. -- Bálint Ákos

Book of Prophecies part 1 — 2:45
Book of Prophecies part 2 — 13:11
Book of Prophecies part 3 — 4:33
The Duel — 7:18
The Lion's Empire — 6:39
Wings of the Phoenix — 4:52
Ship of Darkness — 5:51
Wargames — 4:27
The Moment of Truth part 1 — 5:00
The Moment of Truth part 2 — 1:53
Book of Prophecies radio edit — 3:26

- Casaba Bogdan / guitar- Robert Erdesz / Waldorf wave, Akai S6000, Moog prodigy, Emu protheus XR-2, Doepfer MS-404, Korg Mi, Yamaha TX 802- Laszlo Gomor / Sonor drums, Zildjian cymbals- Gabor Kisszabo / Washburn & Fernandes jazz-bass- Attila Kollar / flute, vocals- Tamas Pocs / Warwick fortress bass, Rickenbacker-4001

Ullmann Zsuzsa - vocals
Demeter Gyorgy - vocals
Gerdesits Ferenc - tenor vocals
Bator Tamas - bass vocals
Varga Janos - guitar
Vamos Zsolt - guitar
Muck Ferenc - saxophone

Review by Marcelo (Marcelo Matusevich) PROG REVIEWER from excellent album, very intense and symphonic. Solid flute lead work (Kollar Attila is one of the greatest flute players), lots of majestic chorus interventions (singers of Hungarian State Opera) and the strong participation of drums, bass, guitar and -specially- the electronic keyboards, makes "Nostradamus" a must. SOLARIS is one of the few bands where, despite the prominent flute role, the listener doesn't think about JETHRO TULL, because the sound is pretty much symphonic and pompous. This conceptual album about the prophecies of Nostradamus goes on through some dark atmospheres and emotive landscapes, mixtured with powerful and, at the same time, delicated melodies. All tracks are simply highlights, confirming once more the full-quality line and the unique original sound of this superb Hungarian band.

Wednesday, 23 September 2009

Eroc -Eroc (1975)

Typical nuts experimental electronic tomfoolery from Mr. Eroc. I love him!

Eroc (Joachim Heinz Ehrig) started his solo career in 1975 while he was currently the drummer of Grobschnitt. His self titled album can be considered as a cross between Gorbschnitt’s typical symphonic amazing music and electronic/ synthscapes dominated by numerous original sound manipulations. Despite that he was originally recognised as a drummer, here Eroc is the man behind the machines, controlling solid essays in synth experimentations and electronic collages. His first album is an absolute must in Kraut/ electronic genre, very abstract, emotional and a mix of different moods. This album is an opponent worthy of Klaus Schulze’s first realisations in space/ “kosmische” electronic music." - Philippe Blache-ProgArchives- Eroc (Joachim Heinz Ehrig) / keyboards, electronics, guitar, drums


1 - Kleine Eva (11:57)
2 - Des Zauberers Traum (5:22)
3 - Toni Moff Mollo (0:48)
4 - Die Musik Vom O¨lberg (1:28)
5 - Norderland (6:35)
6 - Horrorgoll (6:36) 7 - Sternchen (3:37)

8 - BegrüBung (1:39)
9 - Chaotic Reaction (3:48)
10 - Teenage Love '69 (5:23)
11 - Abendfrieden (2:18)
12 - Ostergloingg (2:56)
13 - Andromeda (2:21)

Tuesday, 22 September 2009

Kissing the Pink -Naked

Kissing the Pink was formed in 1980 at the Royal College of Music in London, England. All of the members lived together in the same house in North London. Comprised of Nick Whitecross (vocals guitars), Jon Kingsley Hall (keyboards, vocals), Peter Barnett (bass violin, vocals), Simon Aldridge (guitars, vocals), Stephen Cusack (drums, vocals), George Stewart (keyboards, vocals), and Josephine Wells (saxophone, vocals). Their first single was "Don't Hide in the Shadows", made with Martin Hannett, but it wasn't until they signed with Magnet Records that they began to get any airplay. They recorded their first album in AIR studios with producer Colin Thurston, Kissing the Pink had wanted Brian Eno to produce the album but Magnet thought Thurston would make a more commercial impact. Kissing the Pink released their first album, Naked, in 1983. recorded their first album in AIR studios with producer Colin Thurston, Kissing the Pink had wanted Brian Eno to produce the album but Magnet thought Thurston would make a more commercial mpact. Kissing the Pink released their first album, Naked, in 1983 The album, Naked, didn't sell a lot of copies but was a favourite with the college crowd, the sheer variety of songs on the album made the album too hard to classify, and thus it was largely ignored.


1.The Last Film (3:23)
2.Frightened in France (3:22)
3.Watching Their Eyes (3:13)
4.Love Lasts Forever(5:32
5.All For You (4:01)
6.The Last Film (Hymn Version) (3:14)
7.Big Man Restless (3:45)
8.Desert Song (3:24)
9.Broken Body (2:47)
10.Maybe This Day (3:38)
11.In Awe of Industry (2:15)
12.Mr. Blunt (2:56)


Thursday, 17 September 2009

Gracious - Same/This is... Gracious! - 1970 (HIGHLY RECOMMENDED OBSCURITY!)


Gracious (or Gracious!) were a British quintet who operated during the early 1970s, when they released two albums, 'Gracious!' (released 1970 on Vertigo) and 'This Is... Gracious(posthumously released in 1972 on the Philips International label). The band was formed in the mid-Sixties in Esher, a well-to-do spot south of London in Surrey's stockbroker belt, by guitarist Alan Cowderoy and drummer/vocalist Paul 'Sandy' Davis, who were at schoo together. This was prior to them adopting the name under which they recorded - they were first called Satan's Disciples (many years before punk/metal bands began using similarly first called Satan's Disciples (many years before punk/metal bands began using similarly lurid names), according to Cowderoy: "It was a Catholic school, so we thought this was the most contentious name we could come up with, and we played a couple of school concerts. It was an out and out pop group - we were just doing other people's songs, and then gradually we started putting in our own tunes. It was all covers in the first school concert - 'Sweets For My Sweet', all the popular hits of the day - and we went down fantastically well. That was probably in 1964 or '65". Schooldays over and several personnel changes later, keyboard player Martin Kitcat (his real name, apparently) joined first on piano and later, as eventual bass player Tim Wheatley recalled, a Hohner pianet, a trendy type of electric piano Next, Davis was asked to concentrate on singing and give up drumming (few have mastered such a double act!), and Robert Lipson was invited to join from a rival Esher band. Tim Wheatley first joined the band as road manager, but when original bass player Mark Laird decided to leave Gracious, Wheatley graduated to playing bass. The line-up when they decided to leave Gracious, Wheatley graduated to playing bass. The line-up when they recorded was thus Sandy Davis (vocals), Martin Kitcat (keyboards), Alan Cowderoy (guitar),Tim Wheatley (bass) and Robert Lipson (drums) By then, the group had been using the name Gracious, which was conceived by their manager, David Booth, for some time. Cowderoy recalled: "I think he dreamt up the name and sold it to a couple of guys in the band, who liked the double meaning of it - it was either an exclamation or an adjective. I hated it, and I'm embarrassed by it to this day, but it stuck, and I was outvoted by the majority - people said if I didn't like it, I should think of something better, and I couldn't". It was, feels Wheatley, "quite a good name, a name with hippy connotations, although at that stage, we were still very much a pop band doing three minute pop songs" There was a sixth member for a while, Keith Ireland, a back-up and harmony vocalist who also played percussion and was in the band when they went on tour in Germany earlier in 1968. Wheatley, at the time still I a roadie, recalls: "We went out there for six weeks, and we were so green, we knew nothing, just teenagers. Hamburg, The Star Club, the Reeperbahn we just couldn't believe what was going on". Gracious did record before making their two albums, although the results hardly appeared at the time."Legendary British progressive band, and their classic debut-album explains why. The first side of the album seems to have a concept about heaven and hell, and the lifestyles which will lead to one of those places (if you believe that bullshit!). The music is good old English progressive with loads of mellotron and harpsichord. The highlight is the beautifu"Heaven". With its floating mellotron theme and symphonic sound, this track lives up to its name. "Hell" is, as you may suggest, a much more uglier and heavier track with some very name. "Hell" is, as you may suggest, a much more uglier and heavier track with some very distorted organ creating a perfect hell-atmosphere. You can almost smell the sulphur"Fugue in 'D' Minor" is a pure baroque piece played on guitar and harpsichord. The 16-minute "The Dream" features a load of time changes and different moods. From symphonic and beautiful, to disharmonious and energetic. This is a impressive and truly progressive rock album that every 70's progressive rock fan should own."

Gracious! -This is Gracious!!

"Another early Vertigo release, known as "the two exclamation marks album" (!!). If you're hearing it for the first time don't panic - there's nothing wrong with your stereo system, it's just the intro to the "Supernova" suite! In four parts - "Arrival of the Traveller" ("space" just the intro to the "Supernova" suite! In four parts - "Arrival of the Traveller" ("space" noises galore, Hawkwind and Floyd comparisons would not go amiss here, but I'm being naughty!), "Blood Red Sun", very catchy organ riff, great Purple-esque groove, "Say Goodbye to Love", a slow, strummy ballad, very nice indeed, and "Prepare to Meet Thy Maker" which brings us back into the Twilight Zone - etherial chorus and swirling other- worldly keyboards, the song develops into a slow dreamy arrangement, rounding off the suite rather nicely, though comparisons with early Genesis abound! keyboards, the song develops into a slow dreamy arrangement, rounding off the suite rather nicely, though comparisons with early Genesis abound"C.B.S." is an almost Rooster/Purple (there i go again!) style groove, a somewhat sixties style pop song but which comes as something of a breather after the preceding suite, some nice keyboard and guitar solos, a very fine track indeed. "What's Come to Be" follows this, a slow, beautifully arranged song awash with vocal harmonies and Mellotrons, a lovely track though comparisons with the Moodies are not unfounded! An uptempo intro to the romantic song "Blue Skies and Alibis", which contains good guitar solos, in places this track reminded me of Purple's "I'm Alone". The last track "Hold Me Down" is another melodic pop song though not the most outstanding track on an overall great follow-up to "Gracious! (1)" , a very enjoyable listen and highly recommended as a worthy addition to any early Prog collection.




Tuesday, 15 September 2009

the Aliens -Astronomy For Dogs

Engrossing and mad modern Psychedelia from ex Beta Band members. Very Beatlesque and with Echoes of Pink Floyd.
Lots of fun!

1 Setting Sun (5:12)
2 Robot Man (3:52)
3 I Am The Unknown (5:28)
4 Tomorrow (5:47)
5 Rox (6:15)
6 Only Waiting (5:24)
7 She Dont Love Me No More (7:13)
8 Glover (8:22)
9 Honest Again (4:15)
10 The Happy Song (3:57)
11 Caravan (16:21)

Friday, 11 September 2009

Zao - Z=7L

Zao was the very first offshoot band of Magma. Founded by former members Francois Cahen (keyboards) and Yochk'o Seffer (woodwinds) who both played on 1001 Degrees Centigrade, their debut was recorded in August 1973. Z=7L obviously has much in common with Magma's sound(though a bit lighter and jazzier) especially with the addition of an equally deranged vocalist, Mauricia Platon. Mauricia sounded like an opera singer from another planet, and on this one she certainly gave Zao that unique punch. Sadly, she didn't end up sticking around after this, and the band's subsequent output wasn't quite as distinctive as it is here. The songs themselves are expertly played fusion. "Marochsek," the moody opener, gives you a pretty good summary of what you can expect. My favorite track is the Cahen-composed "Atart," a whirling tornado of jazz-rock in 9/8 with a ferocious, seductive Fender Rhodes riff. Z=7L is a great purchase for lovers of the Zeuhl movement who wish to explore outside of Magma, and also for fusion fans. review by Joe McGlinchey — undated


1 Marochse
2 Atatur
3 Ronach
4 Atar
5 La Soupe
6 Satanyi

ZAO 1973 - Z=7L.rar

Thursday, 10 September 2009

Modern English -After The Snow (1982)

(1982) In a strange paradox, I feel like, most of the time, this album is underrated or forgotten about because of its one huge song Forgotten because of popularity and perhaps a bit of over saturation. Of course, 'I Melt With You' is the definition of classic One of those perfect pop singles that defined an era and, through its universally articulate lyrics, simultaneously transcended that era for generations to come. Wonderful stuff. And one of those rare moments where a song is so good it feels, in retrospect, like a poetic victory for truly creative and genuine music.

Originally released in 1982 on the British 4AD label, it must have sounded like an epic masterpiece at that point. Foreshadowing where fellow post-punkers-turned-pop bands like the Cure and New Order would go in the near future, it can now be asserted as the most perfect mashup of arty post-punk dissonances and pop catchiness. Its closest contemporaries were probably similarly minded albums like the Sound's All Fall Down or Echo and the Bunnymen's Heaven Up Here (and this one makes the most sense because it was magnificently produced by Hugh Jones, who handles production duties on After the Snow just a year after his work with the Bunnymen) But we're a bit ahead of ourselves Allow me to indulge the Bunnymen comparison for just a bit more.. It's fitting that Hugh Jones worked with Echo on Heaven Up Here — perhaps the darkest and artiest album of their catalogue— in the same year that Modern English made their first album; itself a strange and drugged out affair that was certainly more goth than anyone would have guessed if they were working backwards through the band's discography I mean, just have a look at the cover. The music isn't excessively weird, it's just much more psychedelic and downright trippy than most people would imag
ine for what is essentially a new wave album. A single (which can now be appropriately viewed as somewhat of a proto-shoegaze tune) was released and promptly ignored. After the band released Mesh and Lace, they were dubbed competent Joy Division knockoffs and nothing more was thought of the issue A year or so later, in a turn of events nobody in the most astute of ogic would have foreseen, they re-emerged with 'I Melt With You and had a minor British hit Its accompanying album was a fantastic mish mash of uber-pop ushly layered arrangements, reflective melancholy and a toned down but still present experimental edge Seriously, as rock albums go, this one is as about as diverse as they come The albums starts off with the wonderful second single 'Someone's Calling' and its excellent opening simile: 'Turning round as if in flight.' That's a descriptive lyric for this album, as well. The whole thing has the feeling of changing direction, slowly and methodically as to not miss anything in the process From there, the rest of side one presents the band at their boundary-pushing best. If you just hear the songs on the surface there will be plenty to latch onto: hooky vocals, catchy riffs, a dynamite rhythm section. But if you really sit down with these songs, there are layers upon layers of things about them that wil reward repeated diligent listens. The best argument for that is that one-two punch of the stuttery and poignant 'Life in the Gladhouse which is followed by the big epic and album spiritual centerpiece'Face of Wood.' Sounding like the Cure before they even managed to get there, it's an absolutely beautiful song that finds a balance between the first album's artsy ambiance and the band's newly discovered sense of melody and songcraft.

Side two kicks off with 'I Melt With You' and, I'll just say it right now it's the poppiest thing on the album, by far. Anyone who bought After the Snow anticipating another seven or eight songs like 'I Melt With You' got ripped off, plain and simple. It's funny that they chose to start side two off with the mos accessible thing on the album because the rest of the songs are much more subdued and meditative. The title track and 'Carry Me Down' seem to mirror the initial sentiment of change that started with 'Someone's Calling.' Even the more paranoid and darker'Tables Turning' that closes the album retains a specific vibe started by the title track. It's amazing how much ground this album covers n just eight songs and that it does that so convincingly is even more impressive It took about a year for the album to be picked up for North American release on the Sire label. It was the band's first American release.

After the Snow is one of the best albums in the entire post-punk cannon. Easily one of my favorite albums ever, I still get a little annoyed when I bring up Modern English and all most people know s 'I Melt With You. Any self-respecting new wave fan should know this album front to back.

Wednesday, 9 September 2009

Cressida -Cressida (1970) (very Beautiful organ-driven album with exceptional songwriting and singing)

CRESSIDA had actually begun as ''The Dominators'' (later renamed to ''Charge''),when guitarist John Heyworth joined them,followed by thre charismatic vocalist Angus Cullen.After a 69' German tour talented organist Peter Jennings joined them to form CRESSIDA,who finally were signed by Vertigo Label and released their self-titled LP.A very good example of early 70's progressive rock,''Cressida'' lies somewhere between psychedelic/pop ala THE BEATLES with blues touches,classic rock echoes and strong symphonic parts.Actually,the opener and closer of the album are beautiful,delicate symph-rock pieces of music,while the other tracks range from classic rock in the vein of DEEP PURPLE to acoustic-led smooth passages and bluesy/psychedelic compositions.As a last note,''Cressida'' is much a vocal-led album with no long instrumenta parts,but Cullen's deep and clear vocals will reward you to the maximum.Not the strongest release of its age,but a very good album,showing a band with talent,potential and warm inspiration.Worth checking out Band info

1. To Play Your Little Game (3:15)
2. Winter is Coming Again (4:42)
3. Time For Bed (2:18)
4. Cressida (3:57)
5. Home And Where I Long To Be (4:04)
6. Depression (5:02)
7. One Of A Group (3:35)
8. Lights In My Mind (2:45)
9. The Only Earthman In Town (3:32)
10. Spring '69 (2:14)
11. Down Down (4:15)
12. Tomorrow Is A Whole New Day (5:19)


Their other album, 'Asylum'(1971) can be found here:

Vertigo Mixed -Andy Votel (Essential compilation for Progheads -many obscurities here! expand your world!)

Track 4 -Vertigo Mixed. (Andy Votel) -Vertigo! -Vertigo! -Vertigo!


Vertigo Mixed .... by Andy Votel
Andy Votel has produced a gem of a CD having somehow polished his beloved Vertigo collection of rough stones down producing a 60 minute mix CD featuring his pick of the bunch. Andy’s had an nfatuation with the Vertigo rock catalogue for 20 years and explains infatuation with the Vertigo rock catalogue for 20 years and explains on the sleeve the choice was tough, “As any symphonic-rock enthusiast will testify, prog rock tracks are not short.” 4 tracks alone could fill up this hour long album and It is testament to this DJ’s skil he has succeeded in arranging a CD grabbing your attention from start to finish, 52 superb tracks squeezed in to 68 minutes of classic progressive & psychedelic music. Don’t be put off if you don’t recognise many names on the back cover, your peers will think you truly Avant Garde and any self cover, your peers will think you truly Avant Garde and any self-respecting muso would give his right arm for this collection. Vertigo records have so many layers they are simultaneously rocky, funky, moody & generally kick ass. Highlight of the album is the mesmerising minute long drum solo towards the end inducing the kind of dizziness you’d expect with Vertigo. This a great record to warm up pre-gig with a few JD and coke, just don’t forget to go out!

1. Linda Hoyle – Morning for One
2. Lighthouse – Love of A Woman
3. Gracious – Introduction
4. Nirvana – Modus Operand
5. Aphrodite’s Child – Battle of The Locusts
6. Colosseum – The Kettle
7. Manfredd Mann – One Way Glass
8. Black Sabbath – Behind The Wall of Sleep
9. Assagai – Telephone Gir
10. Marsha Hunt’s 22 – The Beast Da
11. Affinity – Three Sisters
12. Juicy Lucy – Willie The Pimp
13. Gravy Train – Think of Life
14. Freedom – Toe Grabber
15. Flied Egg – Leave Me Woman
16. Frumpy – I’m Afraid Big Moon
17. Warhorse – Vulture Blood
18. Thin Lizzy – JTF Meets JTW
19. Uriah Heep – Walking In Your Shadow
20. Tea – Through Scarlet
21. Juicy Lucy – Train
22. Bob Downes – Piccadilly Circles
23. Juicy Lucy – She’s Min
24. Buffalo – Ballade of Irvin Fink
25. Atlantis – It’s Getting Better
26. Janne Schaffer – Air Mattress
27. Ian Carr – Hector’s House
28. Patto – Government Man
29. Atlantis – Living At The End of Time
30. Affinity – I Am You
31. Beggars Opera – Time Machine
32. Alan Stivell – An Dro Neve
33. Agitation Free – Rucksturrz
34. Zao – La Soupe
35. Catapilla – Embryonic Future
36. Brave New World – The End
37. Dr. Z – In A Token of Dispair
38. Atlantis – Let’s Get on The Road Again
39. Aphrodite’s Child – Do It
40. Black Sabbath – The Wizard
41. May Blitz – For Madmen Only
42. Baker Gurvitz Army – Memory Lane
43. May Blitz – In Part
44. Daddy Longlegs – Wheelin’ And Dealin'
45. Cressida – Lights In My Mind
46. Affinity – All Along The Watchtower
47. Trace – Galliard
48. Brave New World – The End
49. May Blitz – Snakes And Ladders
50. Nucleus – Root
51. Agitation Free – Haunted Island
52. Cressida – Let Them Come When They Will


The Plastic Cloud +The Plastic Cloud (1968)

Quite simply, one of the greatest psychedelic albums ever made. This 1968 Canadian release is one hip album, full of catchy melodies and hippie harmonies, as well as some of the most superb (and trippiest) fuzz guitar ever recorded This 4-piece act from somewhere in Eastern Ontario were a mysterious blend of psychedelia and Tolkien mythology. In the 30 years since the release of their only album -- 1968's self-titled effort, very little is known about this act except that they could be compared, stylistically, to Strawberry Alarm Clock, The Chocolate Watchband or any other psychedelic/ progressive act from the late sixties.


01. Epistle To Paradise - 3.36
02. Shadows Of Your Mind - 4.18
03. Art´s A Happy Man - 3.12
04. You Don't Care - 10.36
05. Bridge Under The Sky - 4.36
06. Face Behind The Sun - 4.50
07. Dainty General Rides - 4.14
08. Civilization Machine - 8.5

Tuesday, 8 September 2009

The Zodiac - Cosmic Sounds

The Zodiac - Cosmic Sounds(Elektra/Runt 2002, water102, originally released 1967 From Aural Innovations #21 (October 2002)

From Aural Innovations #21 (October 2002)"Four thousand dreams may decay into indigo dust that covers Aquarius, and still, the voice will"- from Aquarius, The Lover of Life

Ah yes, it was dawning of the Age of Aquarius, and anything was possible. The year was 1967, the Summer of Love, and this "collective concept album" put out by Electra Records perfectly encapsulates that heady incense scented time.

With its traditional rock instruments alongside early synths and electronics, exotic percussion, sitars harpsichords, bells and other effects, this is as gloriously an innocent psychedelic foray as you are likely to find The Zodiac is not really a band, per se, but a gathering of some of the hottest session musicians of the time. The music is all instrumental, but backs periodic, ever so serious poetic recitations by Cyrus Faryar, as he goes through each of the twelve signs of the zodiac, giving each one a character to represent it ( Aquarius, The Lover of Life; Gemini, The Cool Eye; Libra, The Flower Child, etc.) Water has faithfully reproduced the wildly colorful cover, including the purple lettered instruction on the back: Must Be Played In the Dark. I can just imagine a bunch of stoned hippies back in 1967, sitting around in the dark listening to this, deriving great meaning from Faryar's poetic musings. "Far out, man."

It's a fun album, if you listen to it in light of the times it was recorded in. Quite a bit of the music is actually very creative and trippy, utilizing unusual instruments that may sound familiar to some now, but were unheard of in rock music in 1967. The detailed liner notes explore the entire history of the album, how it came to be, and who the players were. Cosmic Sounds is a fascinating and entertaining glimpse into the past, into a time full of innocent hope and joyous experimentation.




The Zombies -Odessey and Oracle

1. Care of Cell 44
2. A Rose for Emily
3. Maybe After He's Gone
4. Beechwood Park
5. Brief Candles
6. Hung up on a Dream
7. Changes
8. I Want Her She Wants Me
9. This Will Be Our Year
10. Butcher's Tale (Western Front 1914)
11. Friends of Mine
12. Time of the Season

One of the best pop albums of all time. (Features Colin Blunstone, who was the lead singer. He became a solo artist in the 70's, and then sang on the wonderful. "What becomes of the broken hearted?" Classic 80's remake, along with Dave Stewart.) Anyway, I was bowled over when I heard this album. Wonderful breathy vocals and gorgeous harmonies. It's not as well-known, but it's every bit as good as Pet Sounds and Sgt. Pepper's when it comes to not-actually-that-psychedelic pop albums.
(Actually I hated Pet Sounds and took that back to the shop!)

Monday, 7 September 2009

Clear Light -Black Roses

Brilliant psychedelic album, it is said their sound is sort of in between The Doors and Love. I agree.
I really rate this band. check them out now!

01 Black Roses 2:09 02 Sand 2:38 03 A Child's Smile 1:37 04 Street Singer 3:17 05 The Ballad of Freddie & Larry 1:56 06 With All in Mind 2:58 07 She's Ready to Be Free [bonus track] 1:58 08 Mr. Blue 6:25 09 Think Again 1:37 10 They Who Have Nothing 2:34 11 How Many Days Have Passed 2:24 12 Night Sounds Loud