Group 1850 is an interesting, if sometimes exasperating, late-'60s Dutch band who ranks among the most accomplished and original Continental rock acts of the era, though they made little impression in English-speaking territories. Starting as a more or less conventional beat band in the mid-'60s, they had taken a turn for the more psychedelic and bizarre by 1967. Determined to drive into the heart of the psychedelic beast, their songs (performed in English) are quite eclectic for the era, shifting from doom-laden tempos with growling vocals to sunny, utopian passages with breezy harmonies.
"Agemo's Trip to Mother Earth" was one of the most ambitious psychedelic albums to emerge from continental Europe in the late '60s. The LP's nominal concept was, like many early such endeavors, obscure, involving something like the journey of Agemo from a paradise-like planet to the more chaotic imperfection of Earth.
Musically, the record owes a lot to late-'60s British psychedelia (particularly of the Pink Floyd school), with hints of the onset of progressive rock in its less-conventional passages. Although plenty of melodic shifts, celestial organ, wiggling distorted guitar, harmony vocals, Gregorian chant-like singing, Mothers of Invention-like horns, beatific respites (on "Reborn"), and general freakiness entertainingly convey the exploration of new psychic territory, it ultimately lacks the lyrical and musical cogency of, say, late-'60s Pink Floyd. At times the bold weirdness gets self-indulgent, throwing in phased drum soloing, solemnly intoned spoken female romantic exclamations, and multilingual murmuring.
01 Steel Sings
02 Little Fly
03 I Put My Hands On Your Shoulder
04 You Did It Too Hard
05 A Point In This Life
08 I Know (Bonus Track)
09 I Want More (Bonus Track)
10 Mother No Head (Bonus Track)
11 Ever Ever Green (Bonus Track)
12 Zero (Bonus Track)
13 Frozen Mind (Bonus Track)
14 We Love Life (Bonus Track)
15 Mother No Head (French Version) (Bonus Track)
16 Mother No Head (Instrumental) (Bonus Track)
Peter Sjardin - guitar, flute, keyboards
Daniël Van Bergen - guitar
Ruud Van Buren - bass
Beer Klaasse - drums
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Monday, 30 November 2009
The stylistic explorations pursued by the Beatles in 1966-1967, and the commercial success the group continued to enjoy, inspired other popular musicians to be similarly ambitious and persuaded record companies to take chances on more daring music. Earth Opera is a good example.
The Boston-based group's self-titled debut LP featured a heady mixture of pop, rock, folk, jazz, and classical elements in involved arrangements played on such unusual instruments as mandocello and harpsichord.
Less a rock band than a highly eclectic chamber orchestra, Earth Opera played in an arty style that suited singer/songwriter/guitarist Peter Rowan's songs, with their complicated structures and highly poetic lyrics.
Rowan sang those lyrics, which dealt here and there with anti-war and more generalized sentiments of social dissatisfaction, in a distanced, somewhat artificial tone of voice, using an accent that sounded vaguely British, even when he was mentioning the Red Sox.
But he was rarely so specific, more often concerning himself with "the stage inside my mind" or "the picket fenceposts of your mind," internal landscapes in which wordplay and allusions substituted for specific meaning.
It was a psychedelic language matched by the music, which hurried and slowed, making room for sudden solos and unexpected juxtapositions of instruments.
The result ultimately may have been too ornate and inaccessible for a pop recording, even in 1968, but Earth Opera was very much of its time (review by William Ruhlmann - AMG).
01.Red Sox Are Winning, The
02.As It Is Before
04.To Care at All
05.Home of the Brave
06.Child Bride, The
07.Close Your Eyes and Shut the Door
08.Time & Again
09.When You Were Full of Wonder
10.Death by Fire
David Grisman - mandolin, mandocello
Peter Rowan - vocals, guitar
John Nagy - bass
Bill Stevenson - piano, harpsichord, organ, vibraphone
Paul Dillon - drums
Warren Smith - drums, percussion
Billy Mundi - drums, percussion
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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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Posted by psychelatte at 06:07
Sunday, 22 November 2009
01. Life Without Pain (3:50)
02. Rosalie, Part 1 (6:00)
03. Otium (4:22)
04. Rosalie, Part 2 (4:14)
05. Indian Rope Man (3:19)
06. Morning (3:24)
07. Floating, Part 1 (7:39)
08. Baroque (7:36)
09. Floating, Part 2 (1:25)
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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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-More 80's synthy than the folky "Hoelderlin's Traum", but still very warm and dreamy and slightly Pink-Floyd-esque in balladic sound.
01. Häktik Intergaläktik (8:33)
02. Sky-lift (4:17)
03. Before you lay down rough and thorny (7:25.
04. Rare bird (7:45)
05. Necronomicon (6:15)
06. Sun rays (8:55)
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Faust's second album moves closer to actual song structure than their debut, but it still remains experimental. Songs progress and evolve instead of abruptly stopping or cutting into other tracks. The opening song "It's a Rainy Day, Sunshine Girl" begins as a repetitive 4/4 beat played on toms and piano with the title sung over the top. But for seven minutes the song adds instruments, including a lush analog synth line, and ends in a memorable sax riff. Faust's lyrical side appears on the acoustic "Picnic on a Frozen River" and "On the Way to Adamäe," whereas its abrasive side pops up on "Me Lack Space." "So Far," a jam shared by guitar, horns, and tweedy keyboard, rolls along with a funky hypnotic beat and wailing processed synths. And on "No Harm," the crazed delivery of such lines as "Daddy, take the banana, tomorrow's Sunday" makes one want to believe something profound is going down. In terms of scope and the wealth of ideas, this is probably the most balanced of their first four albums.
All tracks written by Faust, except where noted
"It's a Rainy Day, Sunshine Girl" (Sosna) – 7:31
"On the Way to Abamäe" – 2:46
"No Harm" (Péron) – 10:22
"So Far" – 6:20
"Mamie Is Blue" (Sosna) – 6:05
"I've Got My Car and My TV" (Sosna) – 3:51
"Picnic on a Frozen River" – 0:43
"Me Lack Space..." – 0:41
"...In the Spirit" – 2:16
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01. Silver Wings (4:11)
02. Mind Quake (7:40)
03. Backs (6:40)
04. Gut und richtig (7:33)
05. Wintrup (5:21)
06. Jack Steam (5:52)
07. Fat Mr. Rich (5:43) (demo 1971, previous title: Jack Steam)
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Tuesday, 17 November 2009
"Fly" -Epitaph. (Stop,Look and Listen) -surprising variety of styles on this great rocking album!
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4 of 5 people found the following review helpful: Andy Votel Songs In The Key Of Death, 18 May 2005 By "reviewsbyfaz" -Andy Votel long time Fat City collaborator and label boss of Twisted Nerve which brought Badly Drawn Boy to our attention. Serves up the best offering so far of his eccentric vinyl obsessive genius and it's a blinder! This is essentially a 60 minute mash up mix of spoken word samples and no less than 100 obscure funk records and from all over the globe, which even has the time to include bizarre karaoke covers of The Beatles. This is all held together by a frenetic pace which keeps you hooked from start to finish, and is extremely difficult not to enjoy.
FORGOTTEN SOUNDS, 23 Nov 2005 By Mr. C. D. Mabbutt "cdmabbutt" (Derby) -It was always going to be hard for Mr.Votel to follow up the intense and mesmeristic 'Music To Watch Girls Cry' and he nearly does it with this second installment of crashed and mashed (I Watch Girls Cry' and he nearly does it with this second installment of crashed and mashed (I mean that in a potato way) comp. The first couple of tracks on 'Songs in...' as outstanding and allow one's jaw to simply, if not completely, drop. BUT it is not long until Mr.Votel begins to drop in the duds. There are not many but they do grate a little. drop in the duds. There are not many but they do grate a little. Andy Votel does a fine job of taking both known and unknown sounds and creating an audio montage out of em, similar to DJ Shadow in some respects but with less ego and a more ironic sense of humour. In no way do I regret purchasing this album, for it a splendid thing. But I would recommend both its prequel and the more recent Vertigo Mixed above it.
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**Psychelatte says: This is the great Psych-pop comp from which I discovered The Rokes and Gun, whose albums/collections are posted elsewhere on my pages.**
"23 pop & psych gems picked by Dave Thubron the editor of e-line magazine 'Sweet Floral Albion' - the bible for everything UK Psych.
Most of this stuff has been uncomped (on cd) or is darn near impossible to track down. Okay theres a few duffers (or fillers) but greatness pervades and theres always something to surprise you. A few mentions then.
In '67 Sir Henry & His Butlers, ostensibly a beat group from Denmark, found a sitar and in `Pretty Style' created a track so mad that even Pebbles had to comp it.
Australia's premier beat band The Easy Beats cover `Peculiar Hole In The Sky' - originally by fellow countrymen The Valentines, it is considered a choice moment in Australian Psych.
The Uglys' 'Mary Cilento' is a fab, slab of pop with a hook they seem to have pinched from the Kinks' "David Watts". Still a great song all the same. (NOTE from Psychelatte: The complete Ugly's Anthology is included on this blog, check it out, I think they're great.)
Nirvana's `Oh! What A Performance' is is simply put great pop. The genuine surprise award goes to (the unintentionally hillarious) Brothers Gibb and their whacked out helium, sitar driven (demo) 'Deeply, Deeply, Deeply Me' which Mr. Thubron so aptly describes as 'Peter Sellers on mescalin'.
The whimsical 'Tea & Toast Mr Watson' (Dennis Couldry & Smile) shows more than a passing nod to early Pink Floyd. `It's Lonely Out There' by The (pre-glam) Sweet distinguishes itself with some brief stinging guitar.
Pasha's 'Pussy Willow Dragon' puts me in mind of Fifth Dimension's `Up, Up & Away.' Noel Redding's `Fat Mattress' do a spot of whistling while `Walking Through A Garden' - highly recommended for an afternoon spent down at the allotment.
Fruit Machine's 'Cuddly Toy' which to some ears will be gorgeous swelling pop and to others' (mine included) ugly, sinking pap. The Rokes (from London & superstars in Italy) produce this comps' highlight `When The Wind Arises' - for the anorak whose life is in the detail, the track was originally titled `Il Vento' and sung by Lucio Battisti and imho is just as great The Rokes' cover.
The final track, weighing in at an impressive 11 minutes, will appease noise fans who'll no doubt appreciate Ilford's The Gun.
They literally 'Take Off' anything not securely fastened by cement as they cruise mercilessly torwards the outlands known as 'Prog.' All in all a choice buy for those who appreciate the ethos behind `Past & Present' & `Psychic Circle' "(by DLJ Man).
01.The Universals - Green Veined Orchid ('67)
02.Made In Sheffield - Amelia Jane ('67)
03.Sir Henry & His Butlers - Pretty Style ('67)
04.Zoot - Little Roland Lost ('69)
05.The Easybeats - Peculiar Hole In The Sky ('69)
06.Nirvana (UK) - Oh! What A Performance ('69)
07.The Uglys - Mary Cilento ('69)
08.Normie Rowe - Sunshine Secret ('67)
09.Simpe Image - Spinning, Spinning, Spinning ('68)
10.Kevin Ayers - The Clarietta Rag ('69)
11.Pentad - Don't Throw It All Away ('65)
12.The Eyes Of Blue - Never Care ('69)
13.The Bee Gees - Deeply, Deeply, Deeply Me (Demo) ('67)
14.Denis Couldry & Smile - Tea And Toast, Mr. Watson ('68)
15.The Sweet - Mr. McGallagher ('68)
16.The Sweet - It's Lonely Out There ('70)
17.Pasha - Pussy Willow Dragon ('69)
18.The Dave Clark Five - Lost In His Dreams ('68)
19.Fat Mattress - Walking Through A Garden ('69)
20.The Fruit Machine - Cuddly Toy ('68)
21.The Rokes - Hold My Hand ('67)
22.The Rokes - When The Wind Arises ('68)
23.Gun - Take Off ('69)
The Universals, Made In Sheffield, Sir Henry & His Butlers, Zoot, The Easybeats, Nirvana (UK), The Uglys, Normie Rowe, Simpe Image, Kevin Ayers, Pentad, The Eyes Of Blue, The Bee Gees, Denis Couldry & Smile, The Sweet, Pasha, The Dave Clark Five, Fat Mattress, The Fruit Machine, The Rokes, Gun.
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Working within the dynamics of a typical power rock trio, the early-'70s Krautrock band Silberbart take the genre much further into creative realms on their only album. It's got all the aspects of any good heavy metal band, screaming guitar solos and bone-shredding rhythms, as well as screamed high-pitched vocals, but they throw in a lot more improvisation and some curve balls as well, maybe coming off like a heavier version of the three-piece Guru Guru of that same era. The improvisational chops give Silberbart a jazzy limberness that one doesn't find in your typical plodding heavy metal dinosaur, even as they turn up the psychedelic quotient into overdrive. On the longest track, "Brain Brain," the group begins with a slow gloomy riff and falsetto vocals until about three minutes in when abruptly everything explodes violently as the drugs suddenly kick in. Then it's an intense roller coaster ride through heavy psychedelic noise blasts and abstract free-form soundscapes of scraping guitar and clattering rhythm. The other three tracks are only slightly less intense and unusual on this dark hard rock masterpiece.
Hajo Teschner (guitar, vocals)
Werner Klug (bass),
Peter Behrens (drums)
1 Chub Chub Cherry 4:23
2 Brain Brain 16:16
3 God 10:07
4 Head Tear of the Drunken Sun 12:00
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Friday, 13 November 2009
The legendary German krautrockers first album and definitely one of their best.
This is splendid jazz/rock fusion with excellent guitar/bass and sax which could be psychedelic/ prog one minute and then rock with east/west variations the next.
Every track is great and one of the highlights is "Kraan Arabia" which has an arabian sound with the wonderfully unique sax playing of "Johannes Pappert" whilst as ever the brilliant rhythm guitar of "Peter Wolfbrandt" and the ever tight drums/ percussives and bass work weave their magic.
One of the best bands to come out of Germany, and this there debut is a masterwork.
Songs / Tracks Listing
1. Saras Ritt Durch Schwarzwald (6:23)
2. M.C.Escher (6:14)
3. Kraan Arabia (9:45)
4. Head (18:36)
5. Sara auf der Gansewies (2:01)
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Tages (pronounced “tah-guess”) are universally known as the best sixties pop band from Sweden. They struck it big early, hitting the Swedish #1 with “Sleep Little Girl” in 1964! Their efforts in the psychedelic era would be their last.
Studio should sit comfortably next to masterpieces of the year, a few notches closer to Odessey & Oracle than Sgt. Pepper and not very far at all from the following year’s Birthday Party. Thanks to the tape cuts, orchestration, harmonies, and studio tricks, it even sounds like they got their hands on a copy of Brian Wilson’s unreleased Smile tapes. Certainly, anybody willing to spend enough time exploring all the rabbit holes in the Beatles catalog owes themselves a trip through this marvelous record.
The album opener, Have You Seen Your Brother Lately, proves how apt the name “Studio” is for such a creatively produced statement. Few won’t be sold within the first few seconds, hearing a looping string quartet surrender to a commanding rhythm highlighted by pounding drums and boxy plucked bass lines.
Delicate touches of grand piano and kazoo bust open the door to an album rife with auditory treats and excellent craftmanship. Vocals are good, reminding me of an edgier Colin Blunstone, with plenty of fine backup parts.
But Studio is a diverse affair, It’s My Life, the 2nd track growls out dark guitar distortions straight from the Move arsenal under workout vocal leads.
The drums stand out, consistently providing ahead-of-their-time and vicious beats. Tunes are often loaded with orchestration, like the soft ballad, People Without Faces, and bouncier brass marches like What’s The Time and She’s Having A Baby Now.
Tasteful psychedelic treatments abound in backwards guitar leads, weird stomp boxes, and sound effects sprinkled throughout the record.
Songs are short pop winners, maybe missing some of the excellent songwriting of their contemporaries, but the entrancing production really makes up for the lack of a better bridge or two.
An album like Studio should have propelled them to top 500 lists worldwide, rather than remain a Swedish rocknroll footnote.
Members of the Tages would form Blond in 1969 but disband by 1970 (review by Brendan from therisingstorm.net)
01.Have You Seen Your Brother Lately (2:14)
02.It's My Life (2:37)
03.Like A Woman (2:24)
04.People Without Faces (1:59)
05.I Left My Shoes At Home (1:39)
06.She Is A Man (2:37)
07.Seeing With Love (3:34)
08.Created By You (2:42)
09.What’s The Time (2:12)
10.It's In A Dream (2:42)
11.She's Having A Baby Now (2:06)
12.The Old Man Wafwer (4:14)
13.There's A Blind Man Playin' Fiddle In The Street (Bonus Track) (1:59)
14.Fantasy Island (Bonus Track) (2:29)
15.To Be Free (Bonus Track) (3:00)
16.I Read You Like An Open Book (Bonus Track) (2:42)
17.Halcyon Days (Bonus Track) (2:16)
*Tommy Blom (vocals)
*Göran Lagerberg (bass)
*Danne Larsson (guitar)
*Anders Töpel (guitar)
*Lasse Svensson (drums, 1967-68)
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Thursday, 12 November 2009
***Psychelatte says: if you like this you should also like/love "Adonis" by Anyone's Daughter.***
-Another of the greatest prog albums of all time. Hear Phil Collins at his best!
Great lyrics, awesome music, cheerful, funny, again with those essential Medieval touches and references to a bygone age..."See the Green Shields Stamp(s) and shout!"
"Often overshadowed by its immediate successor--The Lamb Lies Down on Broadway--this 1974 album features Genesis concert favorites such as the baroque "Firth of Fifth" and the epic "Cinema Show." It yields the group's first British hit, "I Know What I Like (In Your Wardrobe)." Singer Peter Gabriel's heady mixture of dark drama and cryptic commentary is tied to some of the band's most stunning arrangements: Steve Hackett's violin-like guitar melodies on "Firth of Fifth," Tony Banks's synth arpeggios on "The Battle of Epping Forest," and crisp, tight drumming throughout from Phil Collins. Collins makes his Genesis lead vocal debut on the acoustic "More Fool Me." The complex structures and poetic risks taken here may throw fans of later Genesis hits such as the cute "Abacab," but it's well worth coming along for the ride." --James Rotondi
1. Dancing With The Moonlit Knight
2. I Know What I Like (In Your Wardrobe)
3. Firth Of Fifth
4. More Fool Me
5. The Battle Of Epping Forest
6. After The Ordeal
7. The Cinema Show
8. Aisle Of Plenty
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Although on The Big Romance Dublin's alt-folk artist David Kitt audibly upholds many of the key traditions associated with bedsit lands' introspective singer/songwriter muse (softly spoken, self-analytical, bonded brotherly to the sort of kindergarten acoustic guitar filigree's of Trumpton and Camberwick Green), he's a wild card, a textural experimentalist adding the exotic spices of electronica and self-assembly percussion to a genre which has been left to stew in it's own juices for far too long. The Big Romance, his first full-length offering, expands upon the half-sketched themes of his earlier DIY mini-album Small Moments by adding further tangential freshness. "Pale Blue Light", for example, is as contemporaneous as anything on Radiohead's Amnesiac; where layers of rainbow harmony, errant woodwind and Brian Eno synths intertwine over an awkwardly jazzy time-signature. Better still, there's the broodingly repetitious doom-rock mantra of "What I Ask", what Ian Curtis may have sounded like if he'd grown-up listing to Nick Drake rather than Iggy Pop. In his own, unarguably idiosyncratic and folk idiomatic way, David Kitt is creating music as pioneering as Bob Dylan's Blonde On Blonde. --Kevin Maidment
1. Song From Hope St (Brooklyn NY)
2. You Know What I Want To Know
3. Step Outside In The Morning Light
4. Private Dance
5. Pale Blue Light
6. What I Ask
7. Strange Light In The Evening
8. Whispers Return The Sun Rest The Moon
9. You And The City
10. Into The Breeze
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The history of GROUP 1850 (aka GROEP 1850) starts from year 1964 from the band called THE KLITS.
There were several changes in the line-up’s during the the decade their career lasted, only Peter Sjardin remained as the permanent member of the band.
Their first public performance with the name GROUP 1850 was in the Scheveiningen Casion in March 1966. Their gigs gave them attention in the underground scene, and some single releases and radio airplay in Holland followed.
In September 1967 they warmed up MOTHERS OF INVENTION at the Amsterdam Concertgebouw, and their first longplayer "Agemo's Trip to Mother Earth" (1968) has been stated as the first Dutch concept LP.
Acid rock elements are clearly present in their first albums from the end of 1960’s, and PINK FLOYD’s “Saucerful of Secrets” album has surely been an innovator for them, like to so many other spaced out groups.
Their music isn’t an exact copy of their innovator’s sound though, as there is a wide spectrum of different styles merged to the band’s music in custom of psychedelia’s artistic freedom.
The overall feeling of the band’s early music is nonrelaxed but not very aggressive, probably pleasing the fans of music describings a cosmic journey within one’s mind.
The career of the band continued with both inactive and active periods and with continuous changes in the personnel.
Musically maybe the most important event was release of the album “Polyandri” in year 1974. Their mostly instrumental music grew to a larger scope containing strong musical elements.
Now elements from progressive jazz-rock had flown in, most audibly on "Russian Gossip" and "Avant Les Pericles" (most beautiful!), with contributions from the well-known sax player Hans Dulfer.
There are only vocals on three of the eleven tracks, if one ignores the crazy Russian gossip!
With this brightened, freaky jazz-mood, Group 1850 suddenly sound similar to Daevid Allen's Gong (Review by Scented Gardens Of The Mind, D. E. Asbjørnsen)
01. Jojo (P. Sjardin) [1:34]
02. Between eighty and fifty: part 1850 (P. Sjardin) [2:57]
03. Flower garden (P. Sjardin) [0:32]
04. Thousand years before (P. Sjardin) [4:35]
05. Starfighter (P. Sjardin) [2:29]
06. Silver earring (P. Sjardin) [4:10]
07. Patience (P. Sjardin) [2:48]
08. USSR gossip (P. Sjardin) [5:03]
09. Cages (P. Sjardin) [5:23]
10. Avant les pericles (P. Sjardin) [6:19]
11. Pumping up the rubber trees (P. Sjardin) [3:11]
*Peter Sjardin: Organiser, piano, vocals, flute
*Dolf Geldof: Bass guitar
*Dave Duba: Guitar (on [2, 3, 4, 8])
*Martin van Duinhoven: Drums and percussion (except on [1, 5, 11])
*Paul van Wageningen: Drums (on [1, 5, 11])
*Leo Benninck: Guitar (on [1, 5, 11])
*Barry Hay: Flute (on )
*Hans Dulfer: Saxophone (on [8, 10])
*Marc Boon: Solo guitar (on )
*Frank van de Kloot: Guitar (on )
*Maarten Lucas Troost: Piano and voice (on )
*Neppy Noya: Congas (on )
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666 (The Apocalypse of John, 13/18) is a double album by PSYCHEDELIC/PROGRESSIVE ART ROCK group Aphrodite's Child. It is one of the early cult albums in rock history, and is still popular among fans today. It was published in 1972, and was the primary vehicle/effort for this Vangelis project. It had a minor Album Oriented Radio hit in "The Four Horsemen," and a nearly pop hit with "Break." The album was ostensibly an adaptation of Biblical passages from the book of the same name, but was also very experimental in lyrics and composition, including a curious piece of performance art in which Irene Papas is struggling to chant a mantra while coming to climax." - Wikipedia
- Anargyros "Silver" Koulouris / guitars, percussion
- Evengelio Odyssey Papathanassiou (VANGELIS) / keyboards, flute, percussion, vibes, backing vocals
- Artemios Ventouris Roussos (Demis Roussos) / bass, lead & backing vocals
- Lucas Sideras / drums, lead & backing vocals
- Harris Chalkitis / bass, tenor saxophone, congas, backing vocals
- Irene Papas / vocals (2:5)
- Michel Ripoche / trombone, tenor saxophone (1:2 & 2:6)
- Yannis Tsarouchis / Greek text
- John Forst / narration
1. "System" - 00:23
2. "Babylon" - 2:47
3. "Loud, Loud, Loud" - 2:42
4. "The Four Horsemen" - 5:53
5. "The Lamb" - 4:34
6. "The Seventh Seal" - 1:30
7. "Aegian Sea" - 5:22
8. "Seven Bowls" - 1:28
9. "The Wakening Beast" - 1:11
10. "Lament" - 2:45
11. "The Marching Beast" - 2:00
12. "The Battle Of The Locusts" - 00:56
13. "Do It" - 1:44
14. "Tribulation" - 00:32
15. "The Beast" - 2:26
16. "Ofis" - 00:14
1. "Seven Trumpets" - 00:35
2. "Altamont" - 4:33
3. "The Wedding of the Lamb" - 3:38
4. "The Capture of the Beast" - 2:17
5. "∞" - 5:15
6. "Hic and Nunc" - 2:55
7. "All the Seats Were Occupied" - 19:21
8. "Break" - 2:59
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"I'm Asking You"- The Untamed. Great Beat band. At least 10 tracks very Beatlesque!!
Untamed made just five singles in 1964-1966 and never approached hit status, but those 45s are well respected by aficionados of rare British Invasion music. The group were in the somewhat raw R&B/rock crossover mold favored by many U.K. mod bands in the mid-'60s, but placed equal or greater emphasis upon the organ, as opposed to the more frequently utilized guitar. There was also a cool jazz-blues feel to much of their material, although this was not as pronounced as it was, say, in the recordings of Georgie Fame. In their best singles, they unleashed some unpredictable melodic shifts and key leaps, further helping to distinguish them from the dozens and possibly hundreds of similar struggling British mod groups that managed to cut a disc or three during the era. The Untamed brushed coats with some notable names. Jimmy Page, then a session man, played guitar on their cover of James Brown's "I'll Be Crazy," which is probably their most well-known recording, due to its inclusion on the prime British R&B/mod compilation, Demention of Sound. For a time the band were produced by Shel Talmy, famous for his work with the Who, Kinks, and Creation, and recorded for his Planet label. They also covered a relatively obscure Pete Townshend song, "It's Not True" (which had been on the Who's first LP), for one of their singles. It didn't help them make the charts, and nor did a name alteration, to Lindsay Muir's Untamed, used on their final single in 1966. The group did keep on going throughout the rest of the 1960s, and a collection of previously unreleased demos and BBC tracks, It's All True, appeared at the end of the 1990s. Most of the Untamed's singles, as well as a wealth of unreleased 1965-1966material, are on the 2001 RPM compilation Gimme Gimme. Although that disc is missing their first single, those two songs are on the various artists compilation Untamed & Innocent, which also has three live Untamed tracks from a 1966 TV broadcast, as well as rarities by several other obscure British mid-'60s bands (the Sorrows, the Loot, and the Thoughts).
1. Once Upon A Time
2. I'm Asking You
3. I'm Miserable
4. I'll Go Crazy
5. My Baby Is Gone
9. Young Girl Of Sixteen
10. It's Not True
11. Gimme Gimme Some
12. Daddy Longlegs
13. Trust Yourself A Bit
14. When Sonny Gets Blue
15. Hey Baby
16. Way You Look Tonight
17. Everything Happens To Me
18. Kids Take Over
19. Mayfair 4321
20. I'm Going Out Tonight
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Wednesday, 11 November 2009
The Truth" is one of the big private press classics, reissued enough times that most people should know it by now. Covers all the bases in an impressive manner, the songwriting, his awesome voice, the elaborate psych-rock soundscape, even the lyrics are excellent.
The thematic range is truly mind-boggling, going from ambivalent drug songs into pastoral hymns and ending up in fullblown Jesus praise.
The noisy, fuzzy elements are particularly effective, and surprisingly intricate in their arrangement and recording. 'Forge Your Own Chains' takes this to an extreme, expertly deploying advanced loungey jazz figures with an onslaught of brass.
A good LP to play for your non-collector friends, although it's not without detractors among mainstream psych heads, who probably can't handle the ego-mania and lounge moves that are part of what makes these 70s albums so great.
This all sounds far more ambitious and accomplished than the vast majority of private press releases that tend to emerge, and there's certainly a strong case to be made for this record being one of those precious few curiosities from the private press movement to feel like more than a kitsch comic aside.
With a voice that almost sounds like a cross between Lou Reed & Rod Argent (maybe even a hint of Iggy attitude), excellent psychedelic arrangements & soundscapes, far out lyrics, and still, the most striking thing about "The Truth" is the undeniably solid songwriting.
Recorded in 1974 but not released until '79, "Armageddon" retains much of the greatness with some minor UK progrock moves added, but not enough so to damage the trip. There was also a cassette-only release ("Rain On The Moon") from the 1980s which again contains some good tracks (review by Patrick Lundborg from The Acid Archives).
01. The Sea
02. Fall In Love
03. A Stranger's Smile
04. Weather Girl
05. This Thing
06. Forge Your Own Chains
07. I'm Leaving You
08. The Truth
09. The Bible
10. Falling Asleep
Bonus: (From the album "Armageddon" 1979):
15.A Tornamented Heart
"The Truth" Personnel
*D.R. Hooker - Vocals, Guitar
*Vincent de Paul Linus Pasternack - Guitar
*George Sheck - Bass
*Nick Oliva - Keyboards
*Rick Sanders - Syntheziser
*Art Ryerson - Drums, Electric Piano, Background Vocals
*Haywood Sheck - Drums
*Ken Lovelett - Percussion, Vibes
*Dave Mason, Buddy Santori - Background Vocals
*D.R. Hooker - Lead Vocals, Rhythm Guitar
*Carroll Yanni - Lead Guitar
*Bert McDevitt - Drums
*Bob Reardon - Keyboards
*Steve Malkan - Bass
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"Mad Lydia's Waltz" -Earth Opera -The Great American Eagle Tragedy. Fabulous folky fare!
If Earth Opera's self-titled debut album reflected the eclectic, ambitious pop styles of the Flower Power, Sgt. Pepper era of 1967, the group's follow-up, The Great American Eagle Tragedy, took into consideration the changed musical climate of 1968, when arrangements became more stripped down and hard rocking, with country-rock beginning to make inroads. The departure of bandmember Bill Stevenson, along with his harpsichord and vibraphone, may have hastened the group's transition to a simpler sound, too. But from the first note, the second album was very different from the first. Earth Opera sounded like it had been made by a studio band that had never played out, but the country-rock opener of The Great American Eagle Tragedy, "Home to You," paced by the pedal steel guitar of guest Bill Keith, was a road song in subject matter and feel, played by a band that sounded like it had spent some time before paying customers. "Mad Lydia's Waltz," the second track, sounded more like the group that had made Earth Opera, but the sound was still more rooted in stringed instruments and steady beats than it had been before, and following the throwaway written by the drummer came a real rocker, "Sanctuary From the Law." But the album's big number, the ten-and-a-half-minute title song, brought the earlier and later parts of Earth Opera together, combining a driving rock chorus, complete with screaming electric guitar solo, with slow, contemplative verse sections in which singer/songwriter Peter Rowan wove a transparent allegory about a royal court in crisis that was really about the state of the U.S. in the late '60s, particularly the quagmire of the Vietnam War. The track attracted the attention of free-form FM radio, and the album made the charts for several weeks. But Earth Opera folded soon after.
1. Home To You
2. Mad Lydia's Waltz
3. Alfie Finney
4. Sanctuary From The Law
5. All Winter Long
6. The Great American Eagle Tragedy
7. Roast Beef Love
8. It's Love
Languorous atmospheres, lovely vocals, iridescent melodies, and shimmering solos combine on Bröselmaschine's self-titled 1971 debut album, the apotheosis of the German folk-prog scene. The quintet took their cue from England's Canterbury scene and even a traditional folk song, "Lassie," from that green and pleasant land. The band's signature sound was derived from Jenni Schucker's delicate and at times ethereal vocals in harmony with Willi Kissmer's stronger tenor, and that sound took on a Teutonic tinge when the pair switched from English to German lyrics. But it was the group's extraordinary use of acoustic and electric guitars that cemented its reputation. On "The Old Man's Song," one of four vocal cuts on the set, Kissmer's wah-wah guitar wafts and winds around Peter Bursch's acoustic strums. On "Gitarrenstück," the electric leads smolder like embers around the fiery acoustic rhythm guitar, while Schucker's wordless vocals float hauntingly above. It's the flute that soars overhead on "Gedanken," counterpointed by the moody Spanish-styled guitar, which itself is offset by the excitement of Kissmer's electric lead. Lutz Ringer's bassline adds an almost funky flair to "Lassie," and is also crucial to the album's two instrumentals, "Schmetterling" and the wittily titled "Nossa Bova." The former is a showcase for the band's percussionist, Mike Hellbach, who fills the number with tablas, instantly taking the sound into Eastern climes, a sighting enhanced by Bursch's sitar, even as a pastoral flute delicately dances above and the acoustic guitar shimmers in an ecstasy of chiming strums below. "Nossa Bova" also utilizes tablas, but its setting shivers between the Spanish plains and England's rolling rural hills. The music is gorgeous, but it's the relaxed atmospheres that truly entrance; there's not a forced note or extravagant moment within, with the music easily ebbing and flowing like water downhill. So self-confident were the bandmembers that they had no need for flashy musicianship, preferring instead to impress by the very understatement of their solos. The ambience is exquisite, casting a spell that isn't broken until the final note fades. A masterful album from start to finish. ~ Jo-Ann Greene, All Music Guide
Songs / Tracks Listing
1. Gedanken (5:06)
2. Lassie (traditional) (5:06)
3. Gitarrenstuck (2:03)
4. The Old Man's Song (5:26)
5. Schmetterling (9:31)
6. Nossa Boba (8:06)
Total Time: 35:18
Line-up / Musicians
- Jenni Schucker / vocals, flute, shells
- Willi Kismer / vocals, guitars, zither
- Lutz Ringer / metallophon, bass
- Mike Hellbach / congas, tabla, spoons, mellotron
- Peter Bursch / vocals, acoustic guitar, sitar, flute
Colosseum's debut album is a powerful one, unleashing each member's instrumental prowess at one point while consolidating each talent to form an explosive outpouring of progressive jazz/rock the next. Those Who Are About to Die Salute You is coated with the volatile saxophone playing of Dick Heckstall-Smith, the thunderous keyboard assault of Dave Greenslade, and the bewildering guitar craft of James Litherland. Together, Colosseum skitters and glides through brisk musical spectrums of freestyle jazz and British blues, sometimes held tightly in place by Greenslade's Hammond organ, while other times let loose by the brilliancy of the horn and string interplay. Each song sparks its own personality and its very own energy level, giving the band instant notoriety upon the album's release in 1969. Not only did Colosseum sound different from other jazz fusion bands of the era, but they could easily take the unconventional elements of their style and churn them into palatable and highly significant musical thoroughfares. Some of the more compelling tracks include "Walking in the Park," led by its powerful trumpet segments, and "Pretty Hard Luck," which embarks on a stylish blues excursion with colorful keyboard sections on the periphery. "Beware the Ides of March" borrows a page out of J.S. Bach's notebook and turns his classical poignancy inside out, while "Mandarin" and "Backwater Blues" are created with the perfect jazz and blues friendship in mind, representing Colosseum's fused sound spotlessly. Best of all, the album never strays from its intensity or its creativity, the very foundation that the band is built on. Their next album, Valentyne Suite, mirrors the same instrumental congruity as Those Who Are About to Die, and is equally entertaining. ~ Mike DeGagne, All Music Guide
Walking in the Park
Plenty Hard Luck
Beware the Ides of March
The Road She Walked Before
Those About to Die
we salute you...
While Affinity is instrumentally a masterpiece and Linda's voice perfectly fits into it (Affinity is heavy and more moody jazzy rock with the voice of Linda at its most heavy. Similar voices and energy can be heard in Jefferson Airplane, but even more in Julian's Treatment, Analogy, Delivery, but also Sandrose, Curved Air, Earth and Fire,Heart,... I like it very much, even "all along the Watchtower's" 12 minutes more freak out version I find it splendid), her solo album has a different approach and mood. It gives more attention to the singer, with various more soul driven songs, bluesrock, most of it very orchestrated. With songs from Nina Simone and Laura Nyro, it's clear that the area is different here. Never the less there has been (too) much studio work on the songs, making them more heavy and a bit more difficult to consume. The freak-out guitars and organ on the title track come somewhat unexpected. The album is varied, and time is needed to fully comprehend its full range / content. Participating are Chris Spedding and Soft Machine members John Marshall and Karl Jenkins. The album is fine but is more difficult to appreciate and understand immediately after having heard Affinity first. Therefore it's better to compare it with solo albums from other female singers from around these days / times
For My Darling
Pieces of Me
Hymn To Valerie Solanas
The Ballad Of Marty Mole
Morning For One
Barrel House Music
Tuesday, 10 November 2009
1. Hard Time
2. What a State I'm In
3. Suddenly Winter
4. Willow Tree
5. Let Your Hair Hang Down
6. (Call Me) Number One
7. Instant Whip
8. Gentlemen of Pleasure
10. Shake Hands (And Come Out Crying)
11. Be Mine
12. Norman Stanley James St. Claire
13. Girl from Nowhere
14. Come on Home
15. I Swear
16. As You Are
17. Boola Boola
18. On Love
19. Too Many Fish in the Sea
20. Jenny's Alright
21. Running Out
22. Now's the Time
23. Good Day Sunshine
"It was recorded in London and all the musicians who played on it, sang on it and wrote all the songs were British! Of course, Keith Forsey and Paul Vincent (who essentially WERE Hallelujah) did indeed make a living in Germany. Forsey eventually went on to become both an in-demand session drummer and hotshot producer to the stars based out of Munich.
I am actually surprised how much I like this. It’s basically sing-songy rock with slight progressive, psychedelic and folk touches, but it does it very well, with some nice vocals and very lovely melodies indeed. If you know what you’re in for, you could be in for a treat with this. I didn’t, and I was pleasantly surprised. Underrated!"(Progbear)
Signs of Strange
The Winter Song
Ode to a Little Knight
- wondered why it sounded so English!
Manfred Mann Chapter III was formed in England in 1969 after the break up of Manfred Mann famous for their chart topping pop hits throughout the 1960s. Manfred Mann’s Chapter III had a more Progressive appearance and moved away from their Pop roots. Chapter III was formed after the break up of the (Chapter II) line up of Manfred Mann in 1969 which featured singer Mike D'Abo, not forgetting the legendary (Chapter I) line up in the early 60s which featured singer Paul Jones.
Manfred Mann's Chapter III turned their backs on three minute Pop singles and light hearted songs to develop a more Jazz and Progressive sound often had lengthy tracks with solos.
Manfred Mann's Chapter III only recorded Mike Hugg or Manfred Mann compositions this was deliberate to avoid lead guitar. Sadly for Manfred Mann's Chapter 3 the band had unsuccessful record sales and paid the price for this and unfortunate for Manfred Mann's Chapter III they had disbanded late in 1970. This is their first album, recorded between June and October 1969 in the Old Kent Road. (Bio Written by Progman)
Craig Collinge (drums)
Bernie Living (saxophone)
Brian Hugg (guitar)
Mike Hugg (keyboards, vocals)
Manfred Mann )keyboards)
Steve York (bass)
01 - Travelling Lady
02 - Snakeskin Garter
03 - Konekuf
04 - Sometimes
05 - Devil Woman
06 - Time
07 - One Way Glass
08 - Mister You're A Better Man Than I
09 - Ain't It Sad
10 - A Study In Inaccuracy
11 - Where Am I Going
12 - Sometimes (Mono)
13 - Mother (Aka Travelling Lady-Mono)
14 - Devil Woman (Single)
15 - A Study In Inaccuracy (Alternative Version)
The unusual sound of Mann
Psychelatte says: ignore the crap cover, this is a brilliant chillout, ambient album.
"Well, the "supergroup" LILIENTAL will particularly interest those who like CLUSTER, NEU and HARMONIA. It's basically a CLUSTER side project with jazz krautorock band KRAAN members and the producer Conrad Plank, and it's very similar to CLUSTER / HARMONIA albums of the same era. It's sometimes naive early electronic music, sometimes space and nearly drone music, even if it's sometimes a little boring it's a very good and tasty album."
"Stresemannstrasse" -Liliental. LISTEN!!
1. All my friends (4:58)
2. Lady (3:38)
3. Rest of my life (4:42)
4. Expectation (5:32)
5. River (3:51)
6. Out in the rain (6:22)
7. Hangman (11:55)
8. Fire, Water, Earth & Air (4:00)
9. Another way (5:41)
10. Daytime (9:41)
11. Hightime for Crusaders (5:07)
1. Windows (19:20)
2. Lady (3:29)
3. Fire, Water, Earth & Air (3:37)
4. Another Way (5:07)
5. River (4:02)
6. Out In The Rain (5:46)
7. Hangman (14:06)
8. Windows (23:03)
Klaus Hess - lead guitar, vocals, Taurus bass pedals
Manfred Wieczorke - keyboards, vocals
Martin Hesse - bass, vocals
Peter Panka - drums, vocals
"Considered to be one of the great German spacerock bands of the 70's. JANE plays a Progressive rock navigating between a breathtaking guitar solos, powerful keyboards, polished and mighty arrangements and an almost constantly dragging tempo added up to the typical JANE's touch and were characteristic for a melodic hard rock that had no equal in Germany. Their music sometimes is close to PINK FLOYD works or close to groups like ELOY.
"Together" (underground hard rock) and "Between Heaven & Hell" (space rock) are their classic releases and the recommended purchase. "Fire, Water, Earth and Air" is quite a bit different, sounding more like PINK FLOYD (partly "Meddle", partly "Momentary Lapse of Reason") and ELOY. "Between Heaven And Hell" is the best album I've heard of them. "Here We Are" and "Age Of Madness" are supposed to be other good ones. "
ONE: Sensational stuff!
1 Oh Yeah
2 If You Don't Come Back
3 Smokestack Lightning
4 I'm Taking Her Home
5 River Deep, Mountain High
6 Mrs Gillespie's Refrigerator
7 Listen To The Sky
8 Weddings Make Me Cry
9 Green Tambourine
10 So You Wanna Be A Rock ''N Roll Star
12 Peacock Dress
13 Five White Horses
14 Far Away Mountain
15 Blueberry Blue
16 Love Minus Zero
17 I Need All The Friends I Can Get
19 Empty Highway
20 Look At The Sun
21 Drivin' Drivin' Drivin
22 Bring Back That Love Again
23 Hey,Hey, What Did You See
"Stop & Watch The Children Play." -The Rokes. How good is this! Everything else on this collection is of this same standard!
The Rokes were one of the more unusual British Invasion-era groups to come out of England, if only for the pattern and locale of their success. They never sold many records in England, or any in America, but they were a major act in Italy and also managed to make an extraordinary, albeit indirect, impact on the 1960s with a song that they originally premiered in Italian.
London-born Shel Shapiro (b. 1943) had broken into music as a guitarist and singer with Rob Storm & the Whispers (later the Rob Storme Group) and subsequently backed Gene Vincent during a tour of England. He played in Hamburg as a member of the Shel Carson Combo and then became a member of the band backing ... Read More...
The Rokes - Discografia
Let's Live For Today History
The Rokes - 'I grandi successi' 1998
Let's Live for Today
Formed in 1962, the Rokes were a better than average English pop group who found the competition for gigs was rather tough at home, so in 1963 they set their sights on Hamburg, where the Beatles had gotten their first break a few years earlier. While the German gigs didn't do much for their career, they did lead to an offer to tour Italy backing up U.K. vocalist Colin Hicks, and the Rokes became a major draw in Italy, scoring a number of hits with both original material and covers of popular American and British rock tunes translated into the native tongue. Rokes leader Norm Shapiro also wrote a number called "Passing Thru Grey" that became a major hit for the Grass Roots when the lyrics were changed to "Let's Live for Today."
However, the Rokes' European success and Shapiro's talent as a songwriter didn't translate into any chart success in America or Great Britain, even though the band recorded plenty of English-language material during their long stay in Italy. Let's Live for Today: The Rokes in English 1966-1968 collects 16 rare sides from the group, and the happy irony is how veddy British this stuff sounds, even though it was recorded in Rome and was barely heard outside of Italy. "No No No," "Put the Pen Down," and "Ride On" are classic British Invasion-era pop, "Regency Sue" and "The Works of Bartholomew" suggest the characteristically English whimsy of the Kinks (though Shapiro's melodic sense recalls Dave Davies rather than his brother Ray), "I Would Give the World" and "When You Are Gone" are fine exercises in Baroque pop, and "When the Wind Arises" is a splendid example of early psychedelic pop. The set also includes the Rokes' recording of "Let's Live for Today" as well as the unreleased original version, "Passing Thru Grey"; overall, this disc might seem like barrel-scraping to less educated fans of British beat-era stuff, but despite their obscurity, this collection shows the Rokes earned their success in Italy on their very real merits as musicians and songwriters, even if they didn't get the same respect at home. ~ Mark Deming, All Music Guide
1. Let's Live For Today
2. No No No
3. Telegram For Miss Marigold
4. Ride On
5. Put The Pen Down
6. The Works Of Bartholomew
7. Regency Sue
8. I Would Give The World
9. When The Wind Arises
10. Hold My Hand
11. A Thing Like That
12. Ripe Apples
13. Stop And Watch The Children Play
14. When You Are Gone
16. Passing Through Grey
The Rokes were Brits who went to Italy in 1963 and became one of the biggest bands in the land for the rest of the decade. They chalked up numerous Italian language hits and recorded four albums as well as becoming an enormous live draw and TV favorites. However, scattered across those albums were a number of English language songs that somehow came off sounding like a Euro-tinged blend of The Beatles, Hollies, Kinks and Pretty Things. In '67, The Rokes released the first English language version of 'Let's Live For Today', a song they'd already cut in Italian. It went on to become a huge US hit in the hands of The Grass Roots and was covered by scores of bands. Here, for the first time on CD, are perhaps the best of The Rokes' English language recordings from 1966 to 1968. 16 tracks. Rev-Ola.
The Rokes - Let's Live for Today The Rokes in English 1966-1968.rar
REPOST -Gheorghe Zamfir -Theme to Picnic at hanging rock (beautiful haunting panpipe music from the master, very rare)
"Doina" -Gheorghe Zamfir -Theme to picnic at hanging rock
1) (A Theme From) "Picnic at Hanging Rock" (Doina Lui Petru Unc) (Banat)
2) Cintec Din Ardeal (Transylvanie)
3) Doina Riului Olt (Traditional)
4) Cioirlia (Traditional)
5) Balada Sarpelui (Oltenie)
6) Miranda's Theme (From "Picnic at Hanging Rock") (Doina: Sus Pe Culmea Dealului) (Banat)
7) Sorocul Mare (Ardeleana/Banat)
8) Doina: Gheorghe Mina Boii Bine (Ardeal/Transylvanie)
9) Jocuri Din Banat (Banat)
10) Doina Din Bosca (Banat)
11) Nani, Nani Puisor (Arges/Muntenie)
(My first personal genuine post!! Easier than i thought to upload file! Whoo! You won't find this precious piece of music anywhere else!) (p.s it was recorded off a tape but I think the sound quality is very nice. Your comments! x
Saturday, 7 November 2009
Arguably this is in fact the last WCPAEB album, produced by Bob Markley and Michael Lloyd. All the tracks are composed by the above personel. Musically, it's not as good as the WCPAEB but contains some good tracks: Next Plane To the Sun, Sweet Lady Eleven and Magic Cat. Quite surprisingly, there are also several bubblegum influenced tracks (Zoom, Zoom, Zoom being the worst).
Reissue on CD of what was actually the 5th and final album by West Coast Pop Art Experimental Band. Singer/womaniser Bob markley thought it better to release it under his own name, as a showcase for his various dementia's. The album is chocked full of rich harmonies and delicate arrangements which show the abundant influence of Michael Lloyd, who co-produced the album with (mad) Bob . A surprisingly consistent and accomplished album for a band about to collapse under the collective weight of it's own insanity.
There are few groups as enigmatic, as mysterious as The West Coast Pop Art Experimental Band. The prime mover in the band was Bob Markley, born in Oklahoma and the son of an oil tycoon. He moved to Los Angeles early in the 1960's, and in late 1961 he began his recording career with "It Should've Be Me" / 'Summers Comin' On", released on Warner Bros. Both sides were pure teen doo-wop, giving little indication what would follow. Markley remained involved in music, and three years later he met up with two brothers, Shaun and Danny Harris, whose interest in music seemed inevitable as their father was a renowned classical composer and their mother a concert pianist. In 1964 Shaun and Danny formed a group The Snowmen, with two musicians who would go on to form The Sunrays and score 1967 hits with 'Andrea' and 'I Live For The Sun'. Later, with the group now split, Shaun and Danny were studying at the Hollywood Professional School where they met Michael Lloyd, leader of yet another local band, Laughing Wind, who had cut some tracks for Tower Records. With Bob Markley and John Ware, a friend of the family, they started a new group. In 1966 the line-up was Dan Harris (lead guitar), Shaun Harris (bass), Michael Lloyd (guitar), John Ware (drums), and Bob Markley who became the inspirator of the band. They band played around all the Sunset Strip clubs and "every freakout that ever happened at the Hollywood Palladium" (to quote Ware).
By 1966 the band had signed to Reprise and their debut album, 'Part One', included some daring cover versions of L.A. contemporaries as Van Dyke Parks, Frank Zappa and P.F.Sloan. The album opened with one of its strongest cuts, the marvelous 'Shifting Sands'. Here is all that was good about the early WCPAEB, that mixture of understatement and melody, with exceptional guitar work which flew over the top of the song, creating an atmosphere that was itself unique. It's the style that the group would expand on. The album-sleeve was a colored collage of anonymous photographs, with no personnel listed. It is not clear who actually played on the album, although Bob Markley is listed as the co-producer.
With the release of the group's second album 'Vol 2', Markley's hold on the group was obviously completed and the air of anonymity removed. The WCPAEB was clearly seen as a trio, with photographs on both the front and back sleeves. Alongside Markley were the Harris brothers. The album included some gems. "Smell of Incense" is particularly good with some strong instrumentation. Released as a single (in a cut-up and remix version), it was the hit the group never had; They were curiously beaten by a cover version by the Southwest F.O.B., who reached no.56 a few months later.
The third album 'A Child's Guide to Good and Evil' appeared in mid 1968 and was the group's most accomplished collection. Still operating as a trio the band now found themselves with a new depth of sound, better able to shape their ideas. This was fully explored in "Eighteen is Over The Hill", where by using layers of multi-track, there was now a fuller wash of harmonies and instruments to complement the often-complex material.
Another confused period followed after the group was dropped by Reprise, as their sales were falling. Bob Markley took out some time to work as producer on other projects.
The WCPAEB did, however, re-appear, and a further album 'Where's My Daddy' was released on Amos Records late in 1969, although not of the same class as the Reprise material. Once again the line-up was made up of the crucial three.
This album effectively ended the name of the West Coast Pop Art Experimental Band, although some time later the trio resurfaced together for one last project, a Bob Markley solo album.
'Markley, A Group' released on the obscure Forward label, was effectively the fifth Pop Art album; the personnel was the same and indeed, the music too was an extension of 'Where's My Daddy'. Once again it lacked the heady atmosphere of say "Smell Of Incense", but it was by no means indispensable.
'A Group' did, however, mark the end of the collaboration between Markley and the two Harrises and they each went their separate ways.
01 - Booker T & His Electric Shock 2:23
02 - Next Plane To The Sun 2:14
03 - Roger The Rocket Ship 2:45
04 - Elegant Ellen 2:19
05 - Little Ruby Rain 3:01
06 - Message For Miniature 0:27
07 - Sarah The Sad Spirit 2:36
08 - Truck Stop 3:20
09 - Zoom Zoom Zoom 2:12
10 - Sweet Lady Eleven 2:19
11 - The Magic Cat 2:59
12 - Outside - Inside 2:39
Friday, 6 November 2009
Led by brothers, Adrian and Paul Curtis nee Gurvitz, Gun was a shortlived hard rock trio in the vein of Cream and the Jimi Hendrix Experience. Comprised of guitarist/songwriter Adrian, bassist/lead vocalist Paul, and drummer Louis Farrell, Gun recorded only two albums in their short career-span of 1968-69.
Opening with the bands UK hit Race With The Devil the disc immediately lets the listener know that they are in for an all out assault on their auditory senses. Ranging from straight-out rock and roll to rather reserved ballads, and filled with plenty of psychedelic tinges, Guns recordings are never boring, and through the entire 75 minutes, Adrians guitar work remains crisp and interesting.
The highlight of the disc may well be Yellow Cab Man from the groups debut album, while the extended jam Take Off has lots of tasty bits from Adrian. The groups second album may be somewhat less inspired than the debut, but it still contains loads of interesting guitar work.
The Curtis brothers began using their birthname Gurvitz not long after the demise of Gun, and went on to record 3 albums as the Three Man Army and later an additional 3 lps with former Cream drummer Ginger Baker, as the Baker Gurvitz Army. While the Gun albums may not be the work of the most original band, the guitar work of Adrian Curtis (Gurvitz) alone makes for enough listening pleasure to make the purchase of this disc worthwhile.
This album's front cover was the first designed by Roger Dean. Musically, it was very much part of the first wave of British hard-rock (review by unlockaustin.com).
01.Race With the Devil - Adrian Curtis (3:36)
02.The Sad Saga of the Boy and the Bee - Adrian Curtis (4:51)
03.Rupert's Travels - Adrian Curtis (2:15)
04.Yellow Cab Man - Adrian Curtis, Jimmy Parsons (4:17)
05.It Won't Be Long (Heartbeat) - Adrian Curtis (4:29)
06.Sunshine - Adrian Curtis (4:27)
07.Rat Race - Adrian Curtis (3:58)
08.Take Off - Adrian Curtis (11:02)
*Adrian Curtiss-Gurvitz: Guitar/Vocals
*Paul Curtiss-Gurvitz: Bass
*Louis Farrell: Drums