09 July 2009

Dan Ar Braz - Douar Nevez [French progressive folk/1977/mp3/256 kbps/69 mb]


Born in Quimper, France on January 15, 1949, guitarist Dan Ar Braz is one of Brittany's most influential and internationally successful recording artists. While his musical lineage is decidedly celtic, during his long career he has fused the tradition with a variety of contemporary styles and even diverged into other territories such as jazz and acoustic folk, while retaining an unerring melodic gift and sense of place.

At the age of 18 he encountered the legendary Breton harpist ALAN STIVELL who provided him with a solid grounding in modern vs ancient music but also with a career boost, and Ar Braz eventually played guitar on no less than 7 Stivell albums in the 70s, including many of his most venerable recordings such as "Renaissance de la Harpe Celtique" and "Concert a L'Olympia". In 1976 he briefly joined FAIRPORT CONVENTION although he did not record with them. In 1977 he embarked on his solo career already a seasoned veteran, and produced a stunning instrumental progressive folk epic "Douar Nevez" to kickstart this new phase.

The 80s were a darker period for the folk rock revival, but Ar Braz kept busy and self-produced a number of quality efforts showcasing his prowess with all manner of guitar including "Acoustic" and "Septembre Bleu". In the 90s he assembled a cast of hundreds for a serious of smash successes under the banner of "Heritage Des Celtes" which occupied the man and many a bean counter for most of that decade. He has since returned to more intimate solo work, and he continues to record regularly and make live appearances including at FAIRPORT's Cropredy Festival. (http://www.progarchives.com/)

Tracks Listing:
1. Intro (1:01)
2. Retour de Guerre (2:51)
3. Naissance de Dahud (1:44)
4. Mort et Immersion de Malguen/Fin du Voyage (5:47)
5. Naissance de La Ville (4:37)
6. Morvac'h (Cheval de Mer) (2:47)
7. Orgies Nocturnes (3:13)
8. L' Ennui du Roi (2:44)
9. Les Forces du Mal (2:47)
10. L' Appel du Sage (7:29)
11. Submersion de La Ville (2:57)
12. Douar Nevez (terre Nouvelle) (1:44)

Total Time 39:41

Line-up / Musicians:
Dan Ar Braz : Acoustic and electric guitars
Patrig Molard : Flutes, Uillean Pipes, Biniou Braz (great highland bagpipe)
Benoit Widemann : electrique and acoustic pianos, Synthethizers, Hammond organ, Eminent (organ)
Dave Pegg : Bass
Michel Santangeli : Drums
Marc Chantereau : Percussion
Emmanuelle Parrenin : Hurdy gurdy

Artwork Included
LINK

Re-Up by Request: Sirius [German symphonic progressive rock]





For etvipane.
Enjoy!


NEW LINK

Original Post...














NEW LINK

Original Post...

By Request: Octopus - An Ocean Of Rocks [German progressive rock/1977/mp3/256 kbps/78 mb]


Songs / Tracks Listing:
1. Start the music
2. On my mind
3. Son of Sorrow
4. The delayable rise of Glib Part 2
5. The entrance
6. The shifting of space and time
7. Octopus - The survivor of Atlantis
8. Queen of rocks

Line-up / Musicians:
- Seppi Niedermeyer / drums, percussion
- Jennifer Hensel / vocals
- Claus D. Kniemeyer / bass
- Pit Hensel / guitars
- Werner Littau / keyboards

Artwork Included
LINK

Octopus - The Boat Of Thoughts [German progressive rock/1976/mp3/192 kbps/51 mb]


Fronted by highly assertive female vocals, this Frankfurt quintet was formed in 1973 by guitarist Pit Hensel and bassist Claus Kniemeyer; musically, they followed in the tradition of FRUMPY, RUPHUS, EARTH & FIRE. Between 1976 and 1981, they released four albums of which the first two, "The Boat of Thoughts" (76) and "An Ocean of Rocks" (78), are by far considered their best. The subsequent "Rubber Angel" (79) and in particular "Hart Am Rand" (81) which features a male singer, are unfortunately not on par with the first two.

Perhaps leaning more towards rock than prog, their music crosses over various musical lines, mixing classic prog elements such as multiple rhythm changes, and straight-ahread rock with a little bit of blues thrown in. Searing guitars dominate the mix but you'll also hear plenty of synthesizer and some fine keyboard solos. As for Jennifer Hensel's gritty alto voice, it suits the band's hard-edged approach rather well -- for comparison's sake, imagine a cross between Janis Joplin (without the grit) and Jennie Hahn from BABE RUTH.

If you're into early ELOY or like some of the bands above, you may want to check out OCTOPUS' first two albums, starting with "The Boat of Thoughts". (http://www.progarchives.com)

Songs / Tracks Listing:
1. The First Flight Of The Owl
2. Kill Your Murderer
3. If You Ask Me
4. The Dejelable Rise Of Glib
5. We Are Loosing Touch
6. The Boat Of Thoughts

Line-up / Musicians:
- Pit Hensel / guitars
- Werner Littau / keyboards
- Jennifer Hensel / vocals
- Frank Eule / drums
- Claus D. Kniemeyer / bass

Artwork Included
LINK

07 July 2009

Chocolate Watchband - Get Away [US rock/2000/mp3/256 kbps/91 mb]


One would think that recording this album would have taken a lot of thought on the part of the members of the Chocolate Watchband. After all, coming off of a 32-year layoff from music, do you try to sound like who you were, which is to say, as people remember you, or who you are? (And if you do the latter, will anyone care?) The Watchband worked out a compromise, apparently deciding to build on their past without mimicking their old sound, and the resulting CD is not a bad one, though it's also hardly groundbreaking, either. One must first allow that this is, in essence, the first real album ever recorded by the classic Chocolate Watchband -- they were lucky to get three songs intact on the two official LPs, No Way Out and The Inner Mystique, that they put out way back when, and even most of those weren't originals. David Aguilar no longer sounds like Mick Jagger so much as Tom Waits, but he's still a powerful, charismatic singer, and bassist Bill Flores and drummer Gary Andrijasevich are still a very tight rhythm section; guitarist Tim Abbott (who was a second-generation Watchband member in 1967-1968) and guitarist Michael Reese are good players, with a surprisingly melodic approach to their instruments but lots of attitude in their playing. And there is just enough defiance and rage in their performances here to keep things intense and entertaining, if not exactly cutting edge like their old singles "I'm Not Like Everybody Else" and "Are You Gonna Be There (At the Love-In)." There might be a little too much of David Gilmour's influence on the overall sound, but there's enough raw passion and invention in the melodies and the songs so that you can't anticipate where they're going, but you're still pleased when they get there -- only the penultimate track, the topical "Hope," which seems to be a renunciation of youthful defiance and idealism, may prove problematic, too serious for its (or the band's) own good. The finale is a bit weak, but the title song ripples with echoes of the passions stirred by their old work, still near enough to the surface to make audiences take notice, and much of the rest is worth hearing. (by Bruce Eder, http://www.allmusic.com)

Tracks:
1. Strike the Match
2. Don't Lie About Love
3. So Screwed Up
4. I Miss Love
5. You're the One
6. Get Away
7. I'm On Fire
8. I Want You
9. When I See You
10. Hope
11. Right Coast Girl

Musicians:
Tim Abbott: Bass, Guitar, Vocals
David Aguilar: Harmonica, Keyboards, Vocals
Gary Andrijasevich: Drums, Vocals
Bill Flores: Bass
Alec Palao: Bass
Michael Reese: Guitar

Only Front Cover
LINK

Loadstone - s/t [US rock/psychedelic rock/1969/mp3/256 kbps/63 mb]


This album is of interest for Flower Pot, a long fifteen minute psychedelic suite which takes up the whole of Side Two. Complete with sound effects, phasing, screams, echo loops and bird noises, the track was recorded in one take, with the voices overdubbed later.

The group formed in Las Vegas, NV. Devers, Abernathy and Phillips were backing Bobby Darin at the time when he went on his hiatus to find himself, leaving them looking for a gig. Ryan, Douglas, Sterling and Cernuto were freelance musicians in Vegas looking for work. Thanks to a guitar player by the name of Mike Richards, who originally was in the group, they got together and formed a cover band to make some cash. The band worked a club in Vegas called 'The Pussycat A Go Go' where Andy Williams used to hang out. He signed the band to his label, Barnaby Records, because of the big following the band attracted to its live performances. Andy also got Dave Grusin to produce the album as well as play piano on one track, Dayshine. The album was recorded in a two week period in the Summer of 1969 and other than record promotion concerts and a few club gigs in L.A., the band never toured.

The albums lack of sales caused the group to slowly dissolve to working lounge gigs in Vegas. When that was over the band members went on to other groups. Today, all the members are still working as musicians in one capacity or another except for Douglas, who passed on in 1991.

The groups energy in live performance could never really be captured on record. The horn sound created by the Trumpet, Trombone and Sax with the funky rhythm section was truly incredible.

Barnaby Records still owns the masters, with a few tracks never released. Dave Grusin is mostly known as a jazzman and soundtrack composer. (Vernon Joynson / Stephane Rebeschini w/thanks to Sam Cernuto)

Tracks:
01. See the Light
02. Keep on Burning
03. Dayshine
04. Time
05. It Couldn't Be Bad
06. Flower Pot

Musicians:
BARRY ABERNATHY: bass
SAM CERNUTO: trombone
LARRY DEVERS: drums
STEVE DOUGLAS (aka HUSCZKA): trumpet, fluegel horn
JOHN PHILLIPS: tenor sax, flutes, oboe, bassoon
TERRY RYAN: keyboards
JOHN STERLING: guitar

Artwork Included
LINK

28 June 2009

Aquelarre - s/t [Argentinian psychedelic rock/1972/mp3/256 kbps/73 mb]


AQUELARRE (meaning witches nocturnal meeting with the devil) was formed after the dissolution of the band ALMENDRA in 1970, as its bass player Emilio del Güercio and drummer Rodolfo Garcia joined up with guitar player Héctor Stark and keyboard player Hugo González Neira joined up. They performed in B.A.Rock II festival 1971, and their first studio album "Aquelarre" was released in 1972. It's cover was drawn by the band's bass player, who became graphic designer later. Their music is sophisticated psychedelic rock'n'roll with very impressionistic moments, artistic arrangements, surrealistic themes and they have a jazzy rhythm section. During next years they released three more albums, "Candiles" in 1973, and it's cover is a painting of Goya, which name is the same as the bands name! Third and their most popular album "Brumas" was released in 1974. After this the band moved to Spain, and they released the album "Siesta" in 1975. After this they had a tour in Spain, but they didn't get the success they searched, and in 1977 they had their goodbye concert in Argentina without González Neira, who stayed in Spain. After their dissolution Rodolfo Garcia joined TANTOR, and Emilio del Güergcio went to have a solo career. (http://www.progarchives.com/)

Tracks Listing:
1. Canto
2. Yo Seré El Animal, Vos Serás Mi Dueño
3. Aventura En El Árbol
4. Jugador, Campos Para Luchar
5. Cantemos Tu Nombre
6. Movimiento

Line-up / Musicians:
- Emilio del Güercio / bass, vocals
- Héctor Stark / guitar, vocals
- Hugo González Neira / keyboards, vocals
- Rodolfo Garcia / drums, vocals

Artwork Included
LINK

26 June 2009

Rainy Season - The Grasses Album [Russian psychedelic rock/1993/mp3/256 kbps/95 mb]


The band was formed by Boris Bardash (keyboards, guitars, voices), Andrei Lavrinenko (bass, percussion) and Alexei Petrov (drums, percussion) in St. Petersburg in 1979. The "space-rock" aesthetics was adapted to their music much later, somewhere in 1986 with the appearance of a new member, Maxim Pshenichny (guitars, keyboards, flutes, percussion). In this format the band recorded one (unpublished) studio album and played a number of excellent concerts, combining long instrumental suites with the light show and some theatrical elements.

In 1989 Bardash and Lavrinenko unexpectedly left the band to form a new group (their Ole Lukkøye is highly recommended to all fans of Ozric Tentacles or Korai Öröm!) The following three years were, perhaps, the most interesting in the history of the band; Pshenichny and Petrov were joined by Alexei Zubarev (guitars, keyboards, flutes, percussion). The most of the music of that period was built around the interplay between Pshenichny and Zubarev, supported by percussionist and other invited musicians. The Return album was recorded in 1992 in Vilnius (Lithuania) and produced on LP. This is a very solid conceptual work with many compositional elements to be developed on their next album, The Album of Herbs.

By that release Zubarev had left the band, and Pshenichny had to do the most of the music alone. He was accompanied by Alexei Petrov (percussion) and guest musicians - Dmitry Gusakov (bass), Oleg Degtyarev (acoustic guitar), and Alexei Ratzen (programming). I would say that with the departure of Zubarev the music has lost its intensity and complexity, though acquired very personal dramatic taste ... In fact, it was the first solo-album by Maxim Pshenichny. In 1997 he left for Sweden (I know nothing about his second solo, perhaps it was issued abroad).

Nostalgia, published independently by SoLyd Records label in 1997, is a retrospective collection of tracks recorded live in the period of 1988-1989. Very interesting release from the best times of Sezon Dojdei, unfortunately the quality of recording is rather poor. (by Igor Gorely, http://www.gepr.net/rafram.html)


Tracks Listing:
01. Dances On The Roofs
02. Breathing Of Water
03. The Return
04. On The Other Side Of The Hill
05. Light Grasses
06. Upwards

Line-up / Musicians:
- Maxim Pshenichny / lead guitar, bass, keyboards, voice
- Alexis Petrov / drums & percussion, wood-box
- Alexis Zubarev / rhythm guitar
- Maxim Kuznetsov / free guitar

Only Front Cover
LINK

Rainy Season - Return [Russian psychedelic rock/1992/mp3/256 kbps/94 mb]


RAINY SEASON's "Return" was their crowning moment and represents a wonderful mix of space, ambient and electronic progressive rock. This album consists of three long cuts. The first two were obviously Side 1 of the original LP, and the third was a side-long cut on Side 2. The first two cuts I would describe as GONG meets PINK FLOYD with some KLAUS SCHULZE tossed in for effects. The guitar work is slowly soloed over a heavy dark tapestry of space vibes. The total effect is something like a slowed down version of "Shine On You Crazy Diamond" without the drums and vocals. The third track focuses much more on an electronic texture aka TANGERINE DREAM with a nice long exploratory 20 mins song. The atmosphere created is dark and forboding very representative of the bands dark album cover and title "Rainy Season". In many ways this last track actually runs along like horror movie soundtrack. Overall "Return" is a well recorded album with some nice deep tones and self reflexive melodies. (http://www.progarchives.com)
~~~~~~~~~~~~~~~~~~~~~~~~
Return consists of three long cuts. The first two were obviously Side 1 of the original LP, and the third was a side-long cut on Side 2. The first two cuts might be described as Pink Floyd's Dave Gilmour playing lead guitar with Daevid Allen doing spacey background chords using his "glissandoz guitar" technique and Pierre Moerlin playing percussive (marimba?) ostinatos. So it sounds a bit like Pink Floyd meets Gong. There's also a crazed guitar-synth solo on the first cut which doesn't sound like anything I've heard before ... very cool.

The third 20-minute long cut is far more electronic in its sound. Moody dark synths burble away as a backdrop to improvs over the top of both guitar and synth (or maybe that's an organ, though not a Hammond). It's mostly pretty hypnotic/melodic, though it does sometimes break up into atonal cacaphonies which slowly crystallize into melodies again. Very nicely done. (by Fred Trafton, http://www.gepr.net/rafram.html)

Tracks Listing:
1. Scentsof a Forest (7:00)
2. Towards a Clear Water (14:20)
3. Red Night (20:00)

Total Time: 41:20

Line-up / Musicians:
- Maxim Pshenichny / lead guitar, bass, keyboards, voice
- Alexis Petrov / drums & percussion, wood-box
With:
- Alexis Zubarev / rhythm guitar (all tracks), slide guitar (2), flute (1)
- Maxim Kuznetsov / free guitar (3), Rinalda - voice (3)

Only Front Cover
LINK

23 June 2009

The Poppy Family [Canadian psychedelic pop/1969/mp3/192 kbps/47 mb]


Biography:
The Poppy Family was a late 1960s and early 1970s Canadian pop music group, based in Vancouver, British Columbia.

"In the late summer of 1969 the Canadian record buying public chose to endorse The Poppy Family by establishing "Which Way You Goin' Billy?" as the biggest Canadian hit ever. 'Billy' successfully climbed to the No.1 spot on all radio stations across Canada. Having watched The Poppy Family from Vancouver, British Columbia, evolve as a recording group has been a satisfying and rewarding experience. The constant creative growth, both musically and lyrically, within the group is evident in the album Which Way You Goin' Billy?. The versatility of the group, from Terry Jacks' meaningful writing, to his wife Susan's beautiful and emotion-packed voice allow them to explore avenues of musical expression hitherto uncharted. All the while The Poppy Family retain their own sound so unique to themselves". (Fraser Jamieson, President London Records, Canada - November 17 1969).[citation needed]

Managed and produced by Terry Jacks, with featured vocalist Susan Jacks (tambourine/bean pod) and musicians Craig McCaw (guitar/sitar) and Satwant Singh (tablas/drums), the group recorded two albums, from which came their best known song "Which Way You Goin' Billy?" (No. 1 in Canada and No. 2 on the U.S. Billboard Hot 100 charts); and their other charted hits "That's Where I Went Wrong" (1970)(#9), 'Where Evil Grows' (1971) (#6), and `Good Friends?' (1972) (#10), all written by Terry Jacks. In the U.S., "Which Way You Goin' Billy?" and "That's Where I Went Wrong" were both Top10 Adult Contemporary chart hits as well. Other charted songs in Canada include "Beyond the Clouds" (#75 1968), "What Can The Matter Be?" (#53 1969), "I Was Wondering" (US #100, 1971) and "No Good To Cry" (#8 1972).

At their career peak, Terry and Susan Jacks performed "Which Way You Goin' Billy?" on Bobby Darin's 1970 television variety special, The Darin Invasion. The special also featured a young Linda Ronstadt performing her first solo hit, "Long Long Time". They also appeared on numerous other variety shows including Rollin' On The River with Kenny Rogers, the Bobby Vinton Show and The George Kirby Special.

The "Which Way You Goin' Billy?" single earned the group a combined total of four 1970 Gold Leaf (Juno) Awards for best performance, best production, most popular song and most sales for a single. The Juno Award is Canada's equivalent of the Grammy Award. The single version of "Which Way You Goin' Billy" was a certified Gold 45 (for sales of more than 1 million U.S. copies) and went on to sell a total of more than 3½ million worldwide.

The Poppy Family disbanded in 1973 when Susan ended their five and a half year marriage, the same year their solo albums were released - Terry's Seasons in the Sun and Susan's I Thought of You Again. Terry Jacks scored an international No. 1 hit with Jacques Brel's "Seasons in the Sun". which earned him Juno awards for Male Vocalist of the year 1973 and 1974 and top selling single in 1973 and 1974. It still remains the best selling single ever released by a Canadian artist with sales of over 13 million worldwide. He was also charted with the singles "If You Go Away" (#45 1974) (another Brel cover, previously a minor hit for Damita Jo), "Concrete Sea" (#16 1972), "Christina" (#9 1975), "Rock'N Roll (I Gave You The Best Years Of My Life)" (#22 1975) (a bigger American hit by Mac Davis), and the Buddy Holly cover "I'm Gonna Love You Too" (#7 1973). He has since faded from the recording scene.

Susan Jacks went on to release three more solo albums and had a series of Juno nominated hits in Canada including "Anna Marie" (#20 1976), "All The Tea in China" (#93 1980), and "Tall Dark Stranger" as well as other hits such as "I Thought of You Again "(#7 1974), "You Don't Know What Love Is" (#3 1973) and "You're a Part of Me" (#41 1975) (later a Top 40 hit for Kim Carnes and Gene Cotton). In 1982, she moved to Nashville, Tennessee and, in addition to recording, became a staff songwriter for a Nashville publishing company. Several of her compositions have been recorded by Canadian artists, one of her songs being recorded on a Grammy nominated children's album. She recently returned to the Pacific Northwest and has resumed recording and live performances. (http://en.wikipedia.org/wiki/The_Poppy_Family)
Susan Pesklevits and Terry Jacks met in the band Powerline. They later married and formed the Poppy Family in 1968. With guitarist Craig McCaw and percussionist Satwan Singh, the duo's third single, "Which Way You Goin' Billy," became a hit in the U.S. and their native Canada, selling over two million copies. The group recorded three albums in the early '70s: That's Where I Went Wrong and Which Way You Goin' Billy in 1970 and Poppy Seeds in 1971. Terry and Susan were divorced by 1973, however, and both began solo careers. Susan released Dream (1976), Ghosts (1980) and Forever (1982), but Terry became more successful when his "Seasons in the Sun" single went platinum in Canada (more than 150,000 units). His albums include Seasons in the Sun (1974), Y'Don't Fight the Sea (1976), Pulse (1983) and Into the Past (1989). (by John Bush, http://www.allmusic.com)
Review:
While in recent years dozens of would-be hipsters have written about the dark undercurrents to be found in the music of the Carpenters, anyone looking for a truly great bummed-out soft rock experience needs to dig up the long out of print debut LP from Vancouver's Poppy Family. While producer, arranger, songwriter, and general straw boss Terry Jacks later found fame for his hit adaptation of Jacques Brel's "Seasons in the Sun," his greatest work was with his then-wife Susan Jacks and their group, the Poppy Family. Blending moody soft pop with light psychedelia, the group hit a rich vein of gorgeous melancholy that made sadness sound positively sensual (the album's token "upbeat" tune, "Happy Island," is significantly also one of the set's weakest moments). The album's two international hit singles, "Which Way You Goin' Billy?" and "That's Where I Went Wrong," are both tales of lovers on the run that sound as desperate as Del Shannon and as lonesome as Brian Wilson's worst nightmare, and such lost classics as "You Took My Moonlight Away" and "Beyond the Clouds" are every bit as strong, boasting clear but emotive vocals from Susan Jacks, brilliant if oddball Indian percussion from Satwan Singh, and melodramatic string arrangements from Graeme Hall. And the two side-closing "freakouts," "There's No Blood in Bone" and "Of Cities and Escapes," manage to be cheesy and powerfully effective at the same time. If the '70s were supposed to be about having a nice day, Which Way You Goin' Billy? shows the Poppy Family were one band waiting for a cloud to blot out all that annoying sunshine; at once kitschy and marvelously sincere, it's a great record worthy of rediscovery.(by Mark Deming, http://www.allmusic.com)
Track listing:
1. "That's Where I Went Wrong" – 2:28
2. "Free From The City" – 2:15
3. "Beyond The Clouds" – 2:30
4. "A Good Thing Lost" – 2:00
5. "You Took My Moonlight Away" – 2:40
6. "There's No Blood In Bone" – 2:55
7. "Happy Island" – 2:45
8. "Which Way You Goin' Billy?" - 3:18
9. "Shadows On My Wall" - 2:25
10. "What Can The Matter Be?" - 2:17
11. "For Running Wild" - 2:14
12. "Of Cities And Escapes" - 3:45

Musicians:
Susan Jacks: vocals, percussion
Terry Jacks: guitar
Craig McCaw: guitar, sitar
Satwant Singh: tablas, bongos, percussion

Artwork Included
LINK

17 June 2009

The Chantels - s/t [US Doo Wop/1958/mp3/192 kbps/42 mb]


Prog music is ok. But lets listen to some very nice doo wop music. The Chantels with Arlene Smith, one of the most beautiful female voice ever.


The Chantels were the first black female group to have nationwide success. The goup was established in the early 1950’s at St. Anthony of Padua school in the Bronx. The group constisted of Arlene Smith (lead), Sonia Goring, Rene Minus, Jackie Landry Jackson and Lois Harris. They got their name from a rival school, St. Frances de Chantal.

They were discovered by Richard Barrett, lead singer of the Valentines and eventually signed to End Records. Their first single was “He’s Gone” (Pop #71) in August 1957. In January 1958 they released their second single, “Maybe” (#15 Pop; #2 R&B). Several other singles were released on End, though none as successful as “Maybe.”

The group was dropped by End in 1959, and Arlene Smith decided to go solo. Lois left to pursue a college education. In 1960, Annette Smith (no relation) replaced Arlene and the group went to Carlton Records, where they had their second huge hit with “Look in My Eyes” (#14 pop, #6 R&B). Several other singles followed and the group switched labels several times. Personnel changed throughout the 60’s, with their final single released in 1970.

Arlene fronted a new group of Chantels in the 1970s for oldies shows and continues to perform. The remaining original Chantels reformed as well and hired Noemi (Ami) Ortiz as their new lead singer. Jackie Landry died in 1997.

The Chantels were inducted into The Vocal Group Hall of Fame in 2002. (http://www.last.fm/)

Tracks:
1. Maybe
2. Plea
3. Come My Little Baby
4. Congratulations
5. Prayee
6. He's Gone
7. I Love You So
8. Every Night (I Pray)
9. Whoever You Are
10. How Could You Call It Off?
11. Sure of Love
12. If You Try

Only Front Cover
LINK

16 June 2009

By Request: Mike Absalom - Hector and Other Pecadillos [UK psychedelic(?) rock/1972/mp3/256 kbps/64 mb]


Mike Absalom was a genuine oddity on the late-'60s/early-'70s U.K. scene, a singer/songwriter with a bent sense of humor that seemed to be driven as much by a heavy load of illicit pharmaceuticals as by a skewed worldview. Unlike the contemporary Syd Barrett, however, Absalom did not become an acid casualty. He recorded one album for Saydisc in 1969, a disc that escaped under the title of Save the Last Gherkin for Me, and he set out on a career of busking and living hand to mouth. Producer/A&R man Patrick Lyons (of Nirvana [U.K.] fame) found his attention engaged by Absalom's music when the singer/songwriter was playing for small change in a London Underground station, subsequently signing him to Vertigo Records.

Absalom toured throughout the U.K., playing the college circuit and small clubs throughout the early '70s. The Vertigo contract yielded a pair of albums, of which Mike Absalom (1971) seems hardly to have been noticed, despite a Roger Dean sleeve that doubled as a poster guide to Notting Hill Gate. 1973's Hector and Other Peccadillos garnered a little more attention, but not enough to prevent Absalom from vanishing from sight for some time.

Absalom eventually resurfaced in Canada, and currently lives in Maple Ridge, British Columbia. Over the years he has expanded his repertoire considerably, performing Celtic music under the name of Mike Absalom & the Squid Jiggers, as well as a variety of harp music. He has become popular in western Canada for both the variety of his music and his continuing strange humor. (by Steven McDonald, http://www.allmusic.com/)

Tracks:
1. Eccliastical Cheesecake Walk
2. Hector the Dope Sniffing Hound
3. Kara Du
4. Flasher Jack at the Cinema
5. The Saga of Flasher Jack and Annabelle at the Seaside in Scarborough
6. The Saga Of W.P.C. Sadie Stick, MacLagan and Bomber Dina
7. Royal Borough Blues
8. Tax for the Taxman
9. Finger Exercises
10. The Saga of the Ancient Briton
11. Kerry Gold

Credits:
Mike Absalom: Vocals and acoustic guitar.
Ray Fenwick (ex-Quiver): Electric, acoustic guitar and harp.
Eric Dillon: Drums
John Perry: Bass
Mike Weaver: Keyboards

Produced by Mike Lennox
Sound engineer: Peter Olliff

All lyrics written, composed and arranged by Mike Absalom.

Artwork Included
LINK

Happy Birthday Electric Flower


Electric Flower became 1 year-old.

Thanks everybody for visiting the blog and for the comments.

Alrune Rod - Tatuba Tapes [Danish psychedelic rock/1975/mp3/256 kbps/68 mb]


Alrune Rod is probably one of the most important Danish rock bands from the psychedelic era, and along with STEPPEULVENE, generally considered the epitome of Danish psychedelic rock and the Danish counterculture movement of the1960s and 1970s in general. Alrune Rod, colloquially referred to as 'Alrunen', were formed in 1968 by Leif Roden and are considered to be the pioneers in Danish psychedelic and artistically oriented rock music, along with acts like BURNIN' RED IVANHOE , STEPPEULVENE, CULPEPPER'S ORCHARD, BLUE SUN and ACHE. Alrune Rod debuted with the single 'T?l Aldrig I Morgen Med' in 1968 and the full length studio album 'Alrunes Rod' in 1969, followed by the highly acclaimed 'Hej Du' in 1970 and 'Alrune Rock' in 1971, which was released in a Danish language version and an English language version. The remaining three albums 'Spredt For Vinden' from 1972, '4-vejs' from 1974, and 'Tatuba Tapes' from 1975 are generally considered sub par compared to their earlier releases. Nonetheless, 'Tatuba Tapes' is notable for being recorded live in the studio. Their musical style is often described as a hybrid between THE GRATEFUL DEAD and early PINK FLOYD. They initially composed fairly long songs, typically of 10 to 13 minutes of length which blended the heaviness of the blues rock with the complexity of art rock, some of their compositions bordering on bein symphonic. 'Hej Du' is considered their masterpiece with compositions like hard rocking 'Du Taler Og Siger' and the almost twenty-two minutes long 'Perlesoen'. While their early efforts are characterized by a relatively dark atmosphere, their post-'Hej Du' albums contain shorter, livelier and more accessible tunes, which nonetheless retain several progressive elements. Lyrically, Alrune Rod dealt with complex topics like the human psyche as well as society and politics but were not above addressing more trivial topics like love and rock 'n' roll rebellion. While not having released any studio album since the mid 1970s, Alrune Rod still occasionally perform live shows at typically packed and sold out venues.


The last consert was in 1975 in Club Tatuba, Copenhagen. The hippie area ended, Tatuba closed, the music took another sharp turn towards the more commerciel style. Many musicians and record companies became upperclass and so it should be from then on... But Alrune Rod ended with style, and this 8 hours long concert was recorded (but only on 2 tracks - it could not be mixed) - but 35 minuttes found its way to this historical record.

Tracks:
01. Lad Os Sammen Finde Andre
02. Her I Solen
03. Narmest Blå
04. Du Må Andre Hvad Du Vil
05. Senere

Musicians:
- Leif Roden/bass,vocals
- Karsten Høst/Drums
- Ole Poulsen/guitar
- Mikael Miller/guitar, vocals
-Tom Torben Og Pastor/keyboards

Artwork Included
LINK

15 June 2009

Pythagoras - After The Silence [Dutch progressive rock/1981/mp3/192 kbps/57 mb]


The Dutch formation Pythagoras was rooted in a Dutch record shop named Moonlight Records in The Hague in the late Seventies. The owner was drummer Bob De Jong, he had played in bands like Key, Pine-Apple and he also was a studio-drummer for the Dutch label Phongram. One of the frequent visitors of Moonlight Records was keyboardplayer Rene De Haan who told enthousiasticly about his plans to make synthesizer music. His room in the house of his parents was loaded with musical equipment like the Korg MS 20 and Trilogy synthesizer, a digital Roland piano, a Solina string-ensemble and a Firstman 1024 digital sequencer. The ‘musical veteran’ Bob was positive about 19 year old Rene his ideas and this led to the release of the album Journey To The Vast Unknown in 1980, a private pressing of 500 copies. Bob send a few promo LP’s to some known DJ’s like Wim Van Putten (famous LP-Show, great for progrock freaks!), Skip Voogd and Frits Spits. Within a very short time Bob the post box in his record ship was flooded with letters from synthesizer freaks, hundreds from all over the country! They had reacted on the contact-adress that the DJ’s had mentioned in their radio programms. The album was re-released a few times and eventually it sold at about 5000 copies, an incredible result for a private pressing by an unknown Dutch duo playing synthesizer music!

In 1981 Pythagoras released their second LP entitled After The Silence, the music is more close to symphonic prog, due to the use of a Mellotron by Rene and the contributions by a wide range of guest musicians Nick Blaser (violin), Martin Knaap (bass), Carolien Krul (flute) and especially Arjen Lucassen (known from Ayreon) on guitar/bass pedals and Michel van Wassem (from Dutch Genesis-inspired group Plackband) on the Novotron. The label WEA arranged the distribution and soon the 500 copies were sold out and WEA asked for an option to make a third Pythagoras LP. Unfortunately this never happened although Pythagoras performed a few times on stage, along with synthesizer player Pieter Koerts. The Pythagoras disbanded and Bob and Rene went their own way. Rene played with Cloud Nine and then went to the Art Academy, he succeeded to become painter and graphic designer (he designed the covers for Dutch band Sjako). Between 1991 and 1996 he joined the band The Blue Man Can.



The two albums by Pythagoras sound totally different and very tasteful: the first is cosmic oriented synthesizer music and their second is a wonderful blend of some spacey synthesizer - and classical music with bombastic symphonic rock featuring Arjen Lucassen (who later got fame with his Ayreon project) delivering a Gilmourian guitar solo and Michel Van Wassem (who recently plays in the new Plackband line-up) with some majestic Mellotron eruptions. Both albums are still not available on CD. [E. Neuteboom courtesy]

Track list:
01 1St Movement Introduction
02 2Nd Movement
03 3Rd Movement Endless Hymn
04 4Th Movement
05 5Th Movement
06 6Th Movement
07 7Th Movement Ground Finale

Line-up / Musicians:
- René de Haan / synthesizers, strings, Mellotron, church organ, choir arrangements
- Bob de Jong / drums, bass pedals, electric piano, Sony TCS 310

Guest musicians:
- Nick Blaser / violin
- Martin Knaap / bass
- Carolien Krul / flute
- Arjen Lucassen / guitar, bass pedals
- Michel van Wassem / Novotron (4a)

This one is not mine. A friend of the blog has upload the album and left a comment with the link. Thank you very much rastakrautpasta for sharing this excellent and very interesting album.

Artwork Included
LINK

Niagara - s/t [German progressive jazz rock fusion/krautrock/1971/mp3/256 kbps/73 mb]


The German Niagara were a group of funk percussionists formed existing between 1971-1973. Members included, on percussion: Klaus Weiss, Cotch Blackmon, Keith Forsey, Juan Romero, Udo Lindenberg, Danny Fichelscher, Joe Harris, George Green. Bass: Gary Unwin. Guitar: Paul Vincent. Horns: Ack van Royen. Sax & flute: Ferdinand Povel. Bass: Milan Pilar. Keyboard: Christian Schulze. They produced three albums: Niagara (1971), S.U.B. (1972) and Afire (1973). Since then Niagara: the Legendary Percussion Sessions has been released as a limited edition. It is extremely difficult to find more information on the project, even in the official biographies of Klaus Weiss and Udo Lindenberg. (http://www.last.fm/)

Tracklisting:
01. Sangandongo (19:07)
02. Malanga (20:42)

Musicians:
Cotch Blackmon - Congas, Percussion
Keith Forsey - Drums, Cymbales, Percussion
Klaus Weiss - Drums, Percussion
Udo Lindenberg - Drums, Percussion, Timbales
Juan Romero - Percussion
Joe Harris - Timbales, Congas, Percussion

Only Front Cover
LINK

31 May 2009

Pell Mell - From the New World [German symphonic progressive rock/1973/mp3/256 kbps/74 mb]


Not to be confused with a 1980s American band of the same name, Pell Mell was a symphonic band from Marburg, Germany (Marburg is also the name of the debut album). The band was formed in 1971 by keyboard player Otto Pusch, bass player Jorg Gotzfried, Rudolf Schon on vocals, recorder, and guitar, drummer Mitch Kniesmeijer, and Thomas Schmitt on violin, guitar, and vocals.

The first album is characterized by a rough edge, especially in the vocals. Subsequent albums would smooth out the edges. However, there are aspects reminiscent of Hawkwind, HP Lovecraft, The Nice, and even ELP. Mellotron and classical themes are abundant. It also should be pleasing to fans Krautrock.

Over the next releases they would explore the realm of Mike Oldfield, and then settle into keyboard dominated symphonic. The old psychedelic sounds completely gone. Much of the music is considered some of the best German symphonic ever recorded.

The usual lineup changes occurred over time, and the band began to disintegrate after 1978's "Only a Star." Thomas Schmitt formed the '80s style rock band Skyrider, with former band mate Otto Pusch. They released one self-titled album, and then took back the name Pell Mell. This incarnation released "Moldau" in 1981. However, the old magic was gone, and that is where the Pell Mell story ends. (http://www.progarchives.com/)


Tracks Listing:
1. From The New World (16:06)
2. Toccata (3:53)
3. Suite I (8:05)
4. Suite II (11:39)

Musicians:
- Jorg Gotzfried / bass, vocals
- Bruno Kniesmeijer / percussion, drums
- Dietrich Noll / keyboards
- Hans Otto Pusch / keyboards
- Thomas Schmitt / flute, violin, keyboards, vocals
- Rudolph Schon / percussion, vocals

Artwork Included
LINK

Ocean - Melody [German progressive rock/1981/mp3/256 kbps/77 mb]


Ocean were a deeply obscure outfit, nothing to do with the French metal crew (whose eponymous '81 debut looks like it was made by a bunch of 19 year-olds). The German version produced a mini-masterpiece in Melody; entirely instrumental, it's (funnily enough) intensely melodic, with slight ELP and Focus influences, with much piano, although they suddenly lurch into a jazz feel on Melody Bass, sounding slightly out of place. Their, er, 'theme song', Ocean, is an absolutely fabulous classically-inspired piece that'll have all you '70s prog fiends salivating like rabid dogs, and the rest of the album's almost as good. Why is this so bloody obscure?

Their Mellotron use (from Mike Hoffman) is slightly odd, as they seem to use synth strings, except for a high string melody line on Wild Pig. Otherwise, it's choirs (Katrin, Wild Pig and Slow & Chromatic) and flutes (7 To 8 Melody), with especially good use on Slow & Chromatic. Although the 'Tron use isn't its best feature (while not being at all bad), if you see a copy of this, BUY. Incidentally, mucho thanks to my long-time info-finder Joe Ellis for providing the pics. (http://www.planetmellotron.com/)

Tracklist:
01. Ocean
02. Katrin
03. 7 to 8 Melody
04. Wild Pig
05. Slow & Chromatic
06. Melody Bass
07. Bolero

Musicians:
- Mike Hoffmann: keyboards
- Thomas Pfeiffer: percussion
- Peter Kunz: keyboards

Artwork Included
LINK

Ruphus - New Born Day [Norwegian progressive rock/1973/mp3/320 kbps/132 mb]


RUPHUS is probably one of the most important 70's Norwegian hard rock band with progressive tendencies (there were a few of those back then: AUNT MARY, TITANIC, POPOL VUH / ACE etc..) but their music evolution would differ greatly from those groups. Their debut "A New Born Day" is certainly one of the best Norwegian albums with a very exciting sound and its extraordinarily communicative enthusiasm, even if a bit dated. But three members left after the album release and a new singer was found for their second album "Ranshart", a more progressive record looking towards YES and FOCUS, but it was not quite as exciting as the debut. Future jazz-rock legend Terje Rypdal produced their third album "Let Your Light Shine", a jazz-rock album that had much success in Germany, but again, personnel change struck at the worst of times, but their fourth album "Inner Voice" continued the formula, but further changes undermined the group, eventually folding at the end of the decade to general indifference. (http://www.progarchives.com/)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ruphus were one of the most varied Norwegian progressive rock bands in the sense that they often would change their style from album to album, but always within a progressive frame. They started out as a quite big heavy prog band, featuring no less than seven members. On their debut "New Born Day" they had two lead vocalists, male and female. Gudny Aspaas was one of the very best Norwegian female singers in the 70's, possessing a high pitched and flawless voice that had no peer in Norway at that time. The male singer Rune Sundby was unfortunately quite the opposite, delivering some embarrassingly weak English vocals that slightly weakens the otherwise good impression of a very solid album. The opener "Coloured Dreams" is rather straightforward hard rock, but things do get a lot more complex and progressive in "Scientific Ways". That track along with "Still Alive" and especially the title-track features some very slight influences from Gentle Giant, but still apparent enough to be detected (at least in my ears). "Trapped in A Game" is Aspaas' definitive moment on the album, a kind of a progressive and grandiose ballad that allows her to display her voice and range in all its impressive glory. Among the other musicians we find keyboardist Håkon Graf who had a quite powerful organ sound, and some very sparse use of synths (although that would change a lot later). Bassist Asle Nilsen also delivered some atmospheric flute on a few brief passages, the most noteworthy one probably at the end of "Scientific Ways". "The Man Who Started It All" is similar to what Uriah Heep did at the same time, but the closer "Day After Tomorrow" is the longest, most complex and progressive piece on the record, actually sounding a lot like Aunt Mary's "Janus" album from the same year. "New Born Day" is for many people a classic of Norwegian progressive rock. (http://www.vintageprog.com/)

Tracks Listing:
01. Coloured Dreams
02. Scientific Ways
03. Still Alive
04. The Man Who Started It All
05. Trapped in a Game
06. New Born Day
07. Day After Tomorrow
Bonus:
08. Flying Dutchman Fantasy
09. Opening Theme

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

Artwork Included
LINK

28 May 2009

Satin Whale - Whalecome [German progressive rock/1978/mp3/256 kbps/176 mb]


The German band 'Satin Whale' was founded around 1971 in the region of Cologne by Thomas Brück (bass, vocals), Gerard Dellmann (keyboards), Dieter Roesberg (guitar, sax ,flute, vocals) and Horst Schöffgen (drums). Their first record 'Desert Places' was released in 1974 on the green 'Brain' label, musically a typical example of German Seventies rock not unlike their stablemates 'Grobschnitt' and 'Jane' for the harder edge, with guitar and organ jams.

During a rock contest in 1974 ('Rocksound 74') 'Satin Whale' was elected the most popular German band. For the second release 'Lost Mankind' 1975 new drummer Wolfgang Hieronymi joined and the band changed to the 'Teldec' label, continuing musically in the same direction as their first record, with 'Jethro Tull' inspired flute-work. The band then went on tour as a support act for 'Barclay James Harvest'. This had a direct influence on their music and their third record 'As A Keepsake' was inspired by BJH, less rock and more symphonic influenced pop.

Their consequent tour served for the double live 'Whalecome', which showed the good musicianship of the band, giving room to extended improvisations, especially on the 17-minute long 'Hava Nagila. In the same year 'Satin Whale' released 'A Whale of Time', a good record especially the title track, an instrumental with a great string arrangement. In 1979 the band composed the soundtrack for the German movie 'Die Faust In Der Tasche' by director Max Willutzki. As the film was a popular and with their popularity rising the band released the same year 'On Tour'. In 1980 'Satin Whale' released 'Don't Stop The Show',their last and commercial record, together with Ex Triumvirat singer Barry Palmer and the band split up in 1981.

'Desert Places' ,' Lost Mankind' and 'Whalecome' are recommended (http://www.progarchives.com)

Tracks Listing:
1. No Time to Lose (5:26)
2. Song For Thesy (4:10)
3. Maree (4:53)
4. Desert Places (8:24)
5. Reverie (2:22)
6. Holidays (5:58)
7. A Bit Foolish - A Bit Wise (6:05)
8. Crossing The Line (9:56)
9. Reminiscent River (4:10)
10. Goin Back To Cologne (3:30)
11. Hava Nagila (17:40)
12. Perception (18:38)
13. Sweet Little Sixteen (5:40)

Line-up / Musicians:
- Thomas Bruck / bass, vocals
- Gerald Dellman / organ, piano, keyboards
- Wolfgang Hieronymi / percussion, drums
- Dieter Roesberg / guitar, wind, guitar (12 string), slide guitar

Notes:
This album was recorded live during the Satin Whale Tour in November 1977 at:
Sartory Saele Cologne, November 3rd
Kaiser Friedrich Halle Mönchengladbach, November 8th
Markthalle Hamburg, November 18th

Artwork Included
Part 1
Part 2