Thursday, November 30, 2006

Lula Cortes & Jarbas Mariz - "Bom Shankar Bolenajh" {Brazil} (Psych Folk ) [1988] (@192)

Unfortunately, I couldn't find a review. This instrumental album mixes the occidental sound with the oriental sound through instruments of folk Brazilian with sitar. Perhaps it is better you to listen it and make up your own opinion.








01 - Balada Para Quem Nunca Morre (4:15)
02 - Orvalho na Paisagem (3:49)
03 - Shotsy (Síntese do Oriente e Ocidente) (2:42)
04 - Valeu a Pena (4:23)
05 - Forró Pro Mundo Inteiro (3:43)
06 - Eu Tentei (3:03)
07 - Maracatu Pesado (2:28)
08 - Inverno I e II (10:15)
09 - Tema Para Christina (2:07)

03 - Shotsy (Síntese do Oriente e Ocidente) .....
05 - Forró Pro Mundo Inteiro .......

Link for download "Lula Cortes & Jarbas Mariz - Bom Shankar Bolenajh" in comments ...

Tuesday, November 28, 2006

Din Delòn - "La Rosa E La Ramella" {Italy} [2002] (Folk)

Ciao! We all addicted to Italian Prog Bands & Pizza :) There are many great italian prog albums waits you to listen on awesome blogs. Today i want to introduce a folk band from Italy. well this album dedicated to my sweet friend Rooyah. Her biggest dream is oneday she want to open a flower store in Rome..Send some energy with your good wishes to her to make her dream come true :) I am addicted on Italian new scene. Many good works waits you to search for them. One of them for folk style is Din Delon. In the album there are 12 sweet songs my fav. one is Le tre sorelle. but everyone may find his/her favourite one in this album..anyways here is some copy/paste:

Since 1999, when Din delòn was born, based on reasearch on Italian dance songs done by the young musicians of the group, the project has continued to develop. With their second CD 'La rosa e la ramella' published by Folkclub Ethnosuoni from Casale Monferrato, as well as their participation in different festivals and events all over Italy, Switzerland, France, Austria, Spain, Belgium and Holland, it emerges that the sound of the group is now sailing towards new sonorities, without forgetting the tie which Din Delòn has with traditional italian music. In 2001 Din Delòn recorded a few live tracks for the Italian Swiss Radio. In 2003 FNAC published in Spain a CD compilation with Italian traditional music on which a track from 'La rosa e la ramella' is included.(taken from http://www.dindelon.it) happy listenings..

links in comments..

Le tRe SoReLLe..

Maybe you are searching for something different..then you may search for Void Generator. They made a new album with the name "We have found the space"

AstRaL mAnupiLAtioNs..

Methuselah - "Methuselah" {UK} [1969] (Psych Folk Pre Amazing Blondel) (@256)

This late 60s group made two albums for Elektra but only the one above, which inevitably is now quite rare and sought-after, was released. The band evolved out of The Dimples/Gospel Garden, with a new drummer Mick Bradley (ex-The Sorrows) and whiz kid guitar player Les Nicol (ex-ABC). The band inherited Gospel Garden's management deal with Steve Roland at Double-R management and scored a three-album deal with Elektra.

Label boss Jac Holzman drafted in songwriter Kenny Young (of “Under The Boardwalk” fame) to produce the first album of Gladwin originals. Inexplicably it was never released in the UK, and when nothing happened in the States, the band recorded the (unreleased) double album. However, by this time "proverbial" musical differences had split the band and the second album was cancelled. The various factions went their separate ways with Mick Bradley joining Steamhammer, Gladwin and Wincott signing with Island Records as Amazing Blondel and Craig Austin and Les Nicol together with (ex-Junior's Eyes drummer Steve Chapman) forming psychedelic trio Distant Jim and later Coast Road Drive.

Methuselah's released album has folk, R&B gospel and even pop influences in its melodies and vocals. The best tracks are ‘John’, with astonishing guitar leads from Les Nicol; the folky ‘High In The Tower Of Coombe’; the gospel-influenced ‘My Poor Image’ and ‘Fireball Woman’. The French children’s song ‘Frere Jaques’ is sung in French at the start and finish of the album, the second time with church choir-like vocals and some jazzy instrumentation in the middle segment. http://www.alexgitlin.com/npp/methuselah.htm

01 - Mattew (4:42)
02 - Mark (3:03)
03 - Luke (3:06)
04 - John (3:12)
05 - High In The Tower Of Coombe (3:18)
06 - Methuselah (4:29)
07 - My Poor Mary (3:19)
08 - Fireball Woman (3:37)
09 - Fairy Tale (3:05)
10 - Frere Jaques (6:12)

Line-up
- Craig Austin - Bass, Vocals
- Mick Bradley - Drums
- John Gladwin - Vocals, Vibes
- Les Nicol - Guitar, Vocals
- Terry Wincott - Guitar, Vocals

03 - Luke ...
04 - John ...

Link for download "Methuselah" in comments ...

Prog Not Frog Radio Presents: The Voice of The Moon # 023 With The Herbalist (Party Mix No. 2: Mid-Tempo Cornucopia & Chill!)

Well, let’s go with the second part of the Party Mix.

As I said in the post of #022, second part is intended for chilling out. That is, slower tempo, quasi ambient atmospheres, etcetera.

Hope you like it.

Let me know is you’d like to have more mixes like this or if you prefer the regular show.

See you all soon and…


Keep Listening…!!!

Image:

Robin Street-Morris : "Red-Eye Tree Frog I" (Colored Graphite on 80IbPaper)
See more (and buy) Robin's nice drawings at:

Folque - "Folque" {Norway} [1974] (Prog Folk)

This Norwegian folk outfit started out in the early 70s mixing acoustic instruments (fiddle, mandolin,
banjo and piano) with the electric guitar, bass and keyboards. They created an earthy music made up of playful, catchy melodies with male/female vocal interplay. Despite important personnel changes over
the years (their first-rate lead female singer was replaced, among others), they have managed to remain true to their sound and have churned out over ten fine albums between 1974 and 1998. In 2004, they reunited to play a gig at the Norsk Folkemuseum and don’t seem to show any signs of slowing down. Their highest rated album is their third, entitled “Vardøger”, closely followed by their first two, “Folque” and “Kjempene På Dovrefjell” released in the mid-70s, and by “Fredløs” and “Sort Messe” released in the early 80s. Their material is pure, often foot-stomping folk with Norwegian vocals. Despite the mostly minor keys, it is fresh and exhilirating and dons some wonderful arrangements.

Highly recommended to fans of MALICORNE, The POGUES, KEBNEKAISE and GRYPHON as well as those heavily into Nordic and Irish folk. A good introduction is the recent live sampler “Stormkast”. http://www.progarchives.com/Progressive_rock_discography_BAND.asp?band_id=1314

01. Skjon Jomfru (4:31)
02. Ravnene (2:35)
03. Springar (1:19)
04. Sjugur Og Trollsbrura (2:40)
05. Nissedans (2:28)
06. Harpa (4:52)
07. Sinclairvise (3:27)
08. Reinlender (2:00)
09. Alison Gross (3:52)
10. Steffa Gar Til Selfjord (3:53)
11. Reven Og Bjornen (3:25)
12. Heimat Lata (1:42)

Line-up
- Lisa Helljesen: Vocals
- Jørn Jensen: Vocals, Guitar, Dulcimer
- Trond Villa: Fele
- Morten Bing: Guitar, Mandolin
- Eilif Amundsen: Banjo, Bass, Guitar
- Trond Øverland: Bass, Piano

01. Skjon Jomfru.........
06. Harpa ...............
11. Reven Og Bjornen ....

Link for download "Folque - 1974 - Folque" in comments ...

Sunday, November 26, 2006

Ravi Shankar - "Portrait Of Genius" {India} [1964]

Born on April 7, 1920, in Varanasi into an orthodox,
well-off Brahmin family, Rabindra Shankar Chowdery's father, ShyÆm Shankar, was employed as a diwan (minister) by the Maharajah of Jhalawar. By the age of 13, Ravi Shankar was going along on every tour of his brother Uday Shankar's Compaigne de Danse et Musique Hindou (Company of Hindu Dance and Music). At the All-Bengali Music Conference in December 1934, he met the multi-instrumentalist Allauddin Khan. Precisely when Allauddin Khan was born is uncertain. People hazard dates in the 1860s around 1862, but in later years he himself gave his age haphazardly. He would transform many musicians' lives, but he had an incalculable effect on Ali Akbar (his son), Annapurna Devi (his daughter), and Shankar himself. Allauddin Khan joined Uday's troupe as its principal soloist around 1935-1936.
In 1938, Shankar gave up a potential career as a dancer and went to study with Allauddin Khan in Maihar. In 1939, he began giving public recitals and came out of training at the end of 1944. Until 1948, he based himself in Bombay and gave programs all over India. He toured and wrote for films and ballet. Around this time he began his recording career with a small session for HMV (India). Work for All India Radio followed; as music director from February 1949 to January 1956 in New Delhi. Concurrently, his international star was on the rise. In 1954, he performed in the Soviet Union. In 1956, he played his debut solo concerts in Western Europe and the U.S. Within a decade he would be the most famous Indian musician on the planet. Within two decades he would become probably the most famous Indian alive.
His English-language autobiography, -My Music, My Life (1969), is still one of the best general introductions to Hindustani music. Shankar is not one-dimensional. Apart from pursuing a career as a classical performer, he has also experimented outside this field. For this reason he has attracted criticism from purists. Some of this, especially during the Beatles era, undoubtedly had an element of jealousy to it; some was certainly warranted, because Shankar did take many chances. In fact, that was one of the things that kept his music exciting. To use a cricketing image -- baseball would be wholly inappropriate -- Shankar's batting average has remained high throughout a long and illustrious career. ~ Ken Hunt, All Music Guide http://www.mmguide.musicmatch.com/artist/artist.cgi?ARTISTID=363765&TMPL=LONG#bio

Ravi Shankar has been described as one of the greatest musicians on the planet. This record, one of his classic World Pacific albums, clearly lends credence to that statement. But the thing that makes this record interesting is the fact that it contains a unique fusion of Shankar and his group performing with respected jazz flutist Paul Horn. It's an extremely gratifying combination, and Horn plays with a true jazzman's restraint on the five short selections that open the record. The second half is devoted to one long (20 minute) traditional raga, "Raga Multani," in which Shankar's awesome ability and stamina is matched only by that of his ensemble, especially Alla Rakha on tabla. Essential for any fan of Shankar or Indian music. Awesome. ~ Matthew Greenwald, All Music Guide http://www.mmguide.musicmatch.com/album/album.cgi?ALBUMID=531308&AMGLENGTH=full#review

1. Tala Rasa Ranga (2:58)
2. Dhun (2:48)
3. Tabla-Dhwani (4:52)
4. Song from the Hills (4:52)
5. Tabla-Tabla Tarang (3:01)
6. Gat Kirwani (2:39)
7. Raga Multani (19:41)

Line-up
- Paul Horn: Flute
- Harihar Rao: Sholak, Tabla Tarang
- Ravi Shankar: Adaptation, Sitar, Main Performer
- Alla Rakha: Tabla, Tamboura

1. Tala Rasa Ranga ...

Link for download "Ravi Shankar - Portrait Of Genius" in comments ...

Racing Cars - "Downtown Tonight" {UK} [1976] (Rock)

They were signed to one of the biggest British record labels of the time, Chrysalis Records. Racing Cars debut album yielded their only hit single with "They Shoot Horses, Don't They?". It reached number fourteen in the UK singles chart in 1976, and was inspired by the film, They Shoot Horses, Don't They? of the same name. Touring to promote their debut releases, Racing Cars backed Bad Company in 1976, including dates at Earls Court and the York Theatre Royal in York.

Without any similar further chart appearances, Racing Cars ultimately acquired the dreaded one hit wonder label. However, the band was sufficiently established on the touring circuit to issue two further albums. These never reached the same commercial heights, and Racing Cars split up in the early 1980s. Those albums included bit parts for the session pianist Geraint Watkins; American saxophonist Jerry Jumonville; The Bowles Brothers Band (on vocal harmonies); and, perhaps most significantly Ray Ennis.

Since they parted, lead singer Morty has sung backing vocals for artists including the Beach Boys, Tina Turner and Bryan Adams. Of the reformation, he said "We were a bit reluctant. We're a bit long in the tooth and a bit out of touch but we finally said yes". They continue to play gigs across Europe, reforming in 2000 with a new album, Bolt From The Blue and a gig at the Cardiff International Arena. http://en.wikipedia.org/wiki/Racing_Cars

Originally released in 1976 this fantastic album contains the massive hit "They Shoot Horses Don't They". Originally released on Chyrsalis, the vinyl version carried a six minute version of "They Shoot Horses" which has, until now, never been featured on a reissue. Fans of Poco, Little River Band, April Wine are likely to dig this one. Country Rock with heaps of soul and a fantastic vocalists. http://www.freakemporium.com/site/advanced_search.cgi

1 - Calling The Tune (4:18)
2 - Hard Working Woman (4:14)
3 - Ladee-Lo (4:32)
4 - Downtown Tonight (5:56)
5 - Pass The Bottle (4:42)
6 - Moonshine Fandango (3:52)
7 - Four Wheel drive (3:11)
8 - Get Out And Get It (3:05)
9 - They Shoot Horses Don't They (3:41)

- Graham Williams / Guitar, Vocals, Guitar (Electric)
- Gareth Mortimer / Guitar, Vocals (aka Morty)
- Robert Wilding / Drums, Vocals, Percussion
- Ray Ennis / Banjo, Guitar (Electric), Vocals, Slide Guitar, Guitar
- Bowles Brothers Band / Vocals
- Geraint Watkins / Keyboards
- David Land / Bass, Vocals
- Simon Davies / Keyboards and vocals
- Roy Edwards / Keyboards
- Tony Carr / Percussion
- Roger Hand / Keyboards

9 - They Shoot Horses Don't They ...

Thanks to my friend ribeirorock for his recommendation.

Link for download "Racing Cars - Downtown Tonight" in comments ...

Patrick Vian - ''Bruits Et Temps Analogues''{France}[1975](Fusion)

Patrick Vian was the son of French jazz musician Boris Vian. Patrick went a different route in the world of music, first as a member of a group called Red Noise in 1970, and then embarking on a very short-lived career in electronic/fusion music. This is his one and only solo album, obscure gem of electronic music certain to please the fans of Heldon and the likes. Lots of Moog (modular) and ARP 2600, plus piano and electric piano. Some jazz influences do surface (can't be helped, because of his father), and even gets help from jazz musicians like Mino Cinelou (who had played with the likes of Gong, Weather Report, and Miles Davis), but by and large a highly experimental form of electronic music.

NWW List

Saturday, November 25, 2006

Crystalaugur - Terranaut{US}[1973](psychedelic rock)

the obscure Native American band Crystalaugur recorded this album in Singapore between 1972 and 1973, orginally pressing a mere 200 copies for a private label (Warped Rec) and the ridiculously small pressing made the original album an unbelievable rarity. The fuzz guitar and space rock vocals definitely put this LP in the psychedelic realm with an interesing primitive backdrop.

Zartong - "Zartong" {Armenia} (1978) (prog rock)

Symphonic prog with folky melodies, released in France.i couldnt find a good review on net.Keep listening & Links in comments..


ProsoPoeo..
keLe keLe..





friends; more into traditional folk/classical music, may look for Suren Asaduryan - The Voice of Duduk or the tales of apricot tree released in 2004

Gunum Guneslim. ..

Witch - "Lazy Bones" {Zambia} (1975) (psychedelic/afro rock)

Completely unknown band from Zambia, privately pressed on a small local label, this 5 piece electric band plays a strong electric African underground style. Tons of wah wah-fuzz guitar in every track, African style beats and vocals and all original song. If bands from Nigeria such as Blo and Ofege and bands from Zambia such as Rikki Ililonga and Chrissy Zebby are all traveling on the psychedelic highway with 100 mph the Witch overtakes them with 120. On the cover we can read: If you're feeling depressed, low, disturbed, out-of-sorts, sad, frustrated or widely demented, then folks, we suggest you seek out a quiet place, indulge in some soothing meditation and cut away that headache by listening to this inspiration album.(review taken from earrational) thanks to Piotr for the rip. Keep Listening.

Links in comments..

Strange dReam..
BlacK teArs..

Dear friends,
For more than 8 months about 400 albums sent. Unfortunately some of the links dead. We are getting many comments to re-upload them. Well this site is a hobby for us and it takes lots of time to send albums, tagging them, finding reviews, adding this mini players etc, and it is impossible to re-up more than 200 dead links. It will take a lot of time to re-up them and we wanna take this time to send new albums. But we can all together handle this. All we want from you: Pls take a look at your favorite albums posted here, and check the links. if the link gone, it will be great to upload them, and write the link in comments of this post..by this way friends who are searching this albums will be happy. As much as we find time; we try to upload them and share the links from here. Now make your re-up requests here and expect to upload with another friend that likes the album. You can reach this section from the main page by clicking "Broken Links" in interactive section. Keep Listening and share the links in comments! :)

Guestbook

it will be nice to read your comments. :)

Friday, November 24, 2006

Prog Not Frog Radio Presents: The Voice of The Moon # 022 With The Herbalist (Party Mix No. 1: Up & High!)

Well I don't know what kind of parties you go, but I do hope that if you make a party anytime soon you use this Edition #022 as musical background.

If your neighbours call the police I will asume the the blame. Promise.

This mix was done (and played) for the 11th annyversary party of a great radio show called Acto de Fe, ("Act of Faith"), directed by my good friend Juan Carlos Ballesta.You can reach his show and his excellent blog here.


There's something I must say: Today's show is a Party Mix so, no Herbalist voice this week. Sorry girls.

And.. well ...I must admit that I am not a party DJ but I have got and sewn together I bunch of songs that I'd like to listen at a party. Of course the kind of party I'd like to attend is not a "normal" one so at some moments the music might sound a little extreme to the untrained ear.
You better judge for yourself.

Enjoy.

Be happy.

Party as hard as you can at least once in your lifetime and...

Keep Listening...!!!

PS:

This is Party Mix No. 1. So it is supposed to be played at the peak of the night. Party Mix No. 2 will be moodier and more downtempo oriented, maybe to be played during the chilling down. (Next Week)




Image: Chris Harman : Fall Frog (Acrylic on Canvas)

Velvet Green Creations
13335 State Highway M-123, Newberry, MI 49868906 293-3625
harman1@sault.com

Thursday, November 23, 2006

Titanic - "Eagle Rock" {Norway} [1973] (Prog Rock) (@320)

Created in the end of 1969, the Norway prog-rock band Titanic, no doubt, is one of the most interesting group of the European prog-rock scene in the beginning of 70s. Accelerated by Roy Robinson, a British vocalist, the band had a tremendous success in Norway and West Germany. As a style the musicians are combining progressive, hard-rock and blues in a very interesting manner. http://www.proggnosis.com/MUSIC_DBArtist.asp?txtArtistID=3487

01 - One Night In Eagle Rock (7:46)
02 - All Around You (3:56)
03 - One Of Your Kind (5:28)
04 - Heia Valenga (1:37)
05 - Dying Sun (6:17)
06 - And It's Music (3:16)
07 - Richmond Express (3:36)
08 - Maureen (6:12)
09 - The Skeleton (2:31)

Bonus
10 - Rain 2000 (3:47)
11 - Blond (5:36)
12 - Macumba (3:52)
13 - Midnight Sadness (3:44)

Line-up
- Kenny Aas: Organ, Bass
- Kjell Asperud: Percussion, Vocals
- John Lorck: Drums
- Janne Loseth: Guitar, Vocals
- Roy Robinson: Vocals

01 - One Night In Eagle Rock ...
12 - Macumba ................

Link for downlad "Titanic - Eagle Rock" in comments ...

Wednesday, November 22, 2006

Panta Rei - "Panta Rei" {Sweden} (1973) (Prog)

This rare psychedelic/progressive freak-rock album - released in 1973 on Harvest in Sweden -is loaded with great instrumental fusions of flutes, guitars, and and remarkable percussion resulting in five long tracks with very special acid/jazz rock character. At times, a very North American '60's sound is to the fore andpantaRei’s tight playing creates an amazing combination of trippy blissed-out guitar raves, complex compositions, and consciousness-expanding improvisation which sounds better today than ever before. htttp://www.freakemporium.com/site/advanced_search.cgi

A rare piece of vinyl, Panta Rei are in a sytle of eary Swedish Prog/Psych with a jazz oriented approach. http://www.proggnosis.com/MUSIC_DBArtist.asp?txtArtistID=1350

A Swedish weird heavy progressive rock with a 'hot rats feeling; has long tracks extending over 13 minutes, with strong guitar and spacy freak-out moments. A total classic for the 70's Collectors. http://www.longhairmusic.de/malesch/p.htm

1. Five Steps (3:09)
2. White Bells (6:51)
3. Five O'Clock Freak (9:40)
4. The Knight (13:40)
5. The Turk (4:08)

Line-up
- Thomas Arnesen / guitar, keyboard, percussion
- Leif Östman / guitar, percussion
- Cary Wihma / bass, percussion
- Tomo Wihma / drums, percussion
- Georg Trolin / vocals, percussion
- Göran Freese / saxophone, percussion
- Gunnar Lindqvist / flute

2. White Bells ...
5. The Turk ...

Link for download "Panta Rei (Sweden)" in comments

Tuesday, November 21, 2006

Karelia - "Suomi Pop" {Finland} [1970] (hippie folk rock)

..armas nukarainen and liyana nyhtankolja are two leading finnish pop "pelimanni". they have tried on this long playing record to preserve the genuine sound and feeling of finnish folk music. they think that the people should be informed about how the melodies were performed in the good old years of finnish history. the finnish people have had musical arrangements of their folk songs in the classical music style (sterilized and dull) stuffed down their throats for hundereds of years..(review taken from the vinyl backcover)
some of the songs in this album remind me the taste of kebnekajse..a forgotten jewel from the past..happy listenings!

links in comments..

peltoniemen hintriikan surumar..
hauranmaan polska..

Monday, November 20, 2006

Elomar, Arthur Moreira Lima, Heraldo do Monte and Paulo Moura - "ConSertão" {Brazil} [1982]

From northeastern origin, Elomar was deeply influenced by the folklore of his region, which mixes medieval troubadour traditions and Arab and Iberian influences with indigenous Brazilian creation yielding a strongly modal music. His cultural background makes it possible for him to crossover between folklore and classical music. He has about 13 recorded albums. Elomar studied music and architecture in Salvador BA and returned to his hometown, where he keeps a small farm where raises billy goats in an conscious effort to place his world in perspective. In 1972, he recorded the LP Das Barrancas do Rio Gavião (Philips) with no success. The double album Na Quadrada Das Águas Perdidas (Marcus Pereira/Rio Gavião, 1979) followed, where he exposed the exquisite and strange dialect of his region, a mix of corrupt Portuguese with ancient traces of Dutch. International success came with 1990's Elomar em Concerto, where he was accompanied by the Quinteto Bessler-Reis. Elomar wrote operas, also with strong regional character, like +O Retirante. In 1980, recorded Parcelada Malunga with classical pianist Arthur Moreira Lima. In 1982, he teamed with the stars Arthur Moreira Lima, Heraldo do Monte (guitar), and Paulo Moura (clarinet/saxes) for the formation of the ConSertão project, which involved the recording of the album and shows throughout Brazil. Cantoria (Kuarup, 1984) was also a project, with three live recorded albums and several shows together with Geraldo Azevedo, Vital Farias, and Xangai. In 1986, he recorded the Concerto Sertanez, with classical violonista Turíbio Santos, Xangai, and João Omar. In 1996, he performed with his group Kaleidoscópio (violonista João Omar, flutist Elena Rodrigues, cellist Ocelo Mendonça) at the Centro Cultural São Paulo, with the show De Cantoria Concertante. ~ Alvaro Neder, All Music Guide http://www.mmguide.musicmatch.com/artist/artist.cgi?ARTISTID=810847

01 - Estrela Maga dos Ciganos - Noite de Santo Reis - Elomar
02 - Na Estrada das Areias de Ouro - Elomar
03 - Campo Branco - Elomar
04 - Incelença pra' Terra Que o Sol Matou - Text from the Profet Joel
05 - Trabalhadores na Destoca - Elomar
06 - Pau de Arara - Luiz Gonzaga
07 - Festa no Sertão - Heitor Villa-Lobos
08 - Valsa da Dor - Heitor Villa-Lobos
09 - Leninia - Codó
10 - Valsa de Esquina Nº 12, em Fá Menor - Francisco Mignone
11 - Espinha de Bacalhau - Severino Araújo
12 - Pedacinhos do Céu - Waldir Azevedo
13 - Corban - Elomar

Line-up
- Elomar: Viola, Vocals
- Arthur Moreira Lima: Piano
- Heraldo do Monte: Viola, Guitar
- Paulo Moura: Clarinet, Saxes

02 - Na Estrada das Areias de Ouro ...
03 - Campo Branco .........

Link for download "ConSertão" in comments

Friday, November 17, 2006

Florian Geyer - "Beggar's Pride" {Germany} [1976] (Prog)

Formed in 1971, Florian Geyer were a German progressive band from Rheinland.They released but one album which isnowadays worth US$450 and can hardlybe found anywhere. Unfortunately due tounprofessional storage the master tapescould not be used, therefore the CD had tobe mastered from vinyl with Sonic Solution’sNoNoise techniques. With eightbonus tracks and a twelve page colouredbooklet. http://www.aural-innovations.com/god/god010.pdf




01 - Lady Molly (4:56)
02 - King Future (4:46)
03 - I'm A Star (6:11)
04 - Beggar's Pride (6:40)
05 - Town Hill (10:42)
06 - Troublemaker (4:18)

Bonus
07 - Candle Of My Burial (4:15)
08 - Monday Afternoon (4:32)
09 - Morphin (5:28)
10 - Whole Lotta Money (4:14)
11 - Some Old Place (5:06)
12 - Don't You Cry No More (5:56)
13 - Late Night Movie (3:30)
14 - Don't Send Me A Letter (3:49)

Line-up
- Manfred Wolff: Guitar, Vocals
- Dieter Stieg: Bass, Vocals
- Jürgen Glüge: Drums

01 - Lady Molly ....
02 - King Future ....

Link for download "Florian Geyer - 1976 - Beggar's Pride" in comments ...

Yoo Eun-Sun - "Binari For Beautiful World" {Korea} [2001] (excellent classical fusion)

An Nyung Ha Se Yo! :) A few weeks before i was explaining to a friend that prognotfrog has it is own ethic..Honestly i dont care legality but there must be a
respect for the artists and their works..Especially our type of music needs economically supported.Thats why we dont send much albums from 2000s..About 400 albums sent and maybe 5-6 of them from 2000s (i am not saying anything to bloggers,he/she, who posts new albums..it is just about pnf) This make me think of: What if i have only one chance to send an album from 2000s, What may i send? I asked this question to myself..Well if it is prog rock i must think about weeks maybe..If it is prog folk i must think a lot too..but if it is traditional folk/classic fusion i have only one: Yoo Eun-Sun

Many friends usually upload albums to my computer..I dont know who uploaded this one..A few years ago when i first listened the album, it impressed me..years later it is still in same great taste..This album released in 2001..2-3 years before yoo and her band have been on a asia tour made her famous with her work in asian countries..There are 2 traditional instruments in this album that make me addict of this album: He-Keum (traditional fiddle) & De-Keum (traditional bamboo flute like instrument) for a very long time this album is one of its best in its type for me..2 days before i downloaded a better rip from my friend Cassandra W.(thank you)..i wish you enjoy this album too..happy listenings..

links in comments..

Hoisang..
Chunilui chukjun..

Vasant Rai - "Autumn Song" {India} [1978] (classical fusion)

Until his death at the young age of 43 in 1985, Vasant Rai was one of the world's most acclaimed masters of Indian music. Born in Unjha, in the province of North Gujarat, India, in 1942, he began musical education at age seven. He studied vocal music with his father, Govindji Brahmbhatt, and instrumental music with his elder brother, Kantilal. Vasant became proficient on sitar, violin, and flute, and appeared in his first concert at age 11. In 1958, after 13 years of musical experience, Vasant became the disciple of the incomparable guru Ustad Allauddin Khan, and was the last student to receive the Indian maestro's complete musical training. He emerged a virtuoso on the sarod. read more here

Keep listening & Links in comments..

autumn song..
bhairui(dark-eyed girl)..

Modo - "Modo" {Latvia} [1978] (prog rock) (ep)

i couldnt find a valuable review/info to copy/paste..one of a forgotten jewel from the past..3 songs on it.you have option to listen the first song from the sample here..2nd song has some good female vocals.one of my favorite..keep listening..

Links in comments..

Devitais Vilnis..

Yalla - "Tri Kolodca" {Uzbekistan} [1981] (psych/pop folk rock)

Some of the bands are on the line bands..Yalla is one of a good pick for 80s sounds meet with psychedelic folk (rock)..their first 2 albums more into psych folk..they released many albums but the other ones more into popular music..brave ears may find something different on this album..happy listenings & links in comments..

Yalla..

Another band from uzbekistan that you may seach for is X Religion..they released an album in 2003, dances on gobelins.

Agnostic Eparchy..

Xit - "Silent Warrior" {USA} [1973] (native indian psych folk rock) (vinyl rip)

All of xits songs are important and intelligent. They tell the truth of native culture, then and now. To explore contempary native music, you owe it to yourself to listen to them. Even children can listen because there is no foul words and no demands for violence. There is anger and and a honest voice seaching for action.They are simply asking each person to look at the plight of their respected nations and take a stand on prtecting the past, present and future generations. Simply, one of the best rock bands ever. They should be in the rock n roll hall of fame. They changed native music for the better, and forever. Thankfully! (a review taken from amazon.com) i always love to listen traditional instruments in rock form..this one is one of its best example: native scales/instruments meet with rock. Keep listening!

links in comments..

We Live..

Iceberg - "Tutankhamon" {Spain} [1975] (Prog)

Iceberg were easily one of *the* best Progressive bands to come from Spain, or anywhere else for that matter. Their music is a shifting, complex mixture of fusion guitar and symphonic keyboards. Coses Nostres is most similar to Return to Forever's Hymn of the Seventh Galaxy. Anyone who like's that Return to Forever album will flip over Iceberg. Guaranteed! The scorching guitar dueling it out with the sizzling synthesizer will make you drop your jaw. The rhythm section are mind-blowing, riffing non-stop and enjoining battle with the guitar and keyboards. Vocals are too scared to get hear this hotbed so it's instrumental all the way. The subsequent albums reveal a more unique voice for Iceberg though still a very fusionesque form of symphonic progressive. Well worth searching out but the LPs are apt to set you back several dollars. I've seen Coses Nostres go for $50-60. It's worth it. An absolute must if you can find any of the albums. Try for Coses Nostres or Sentiments as they're a bit better than En Directe or Arc En Ciel though any of these are fantastic. I haven't heard Tutankhamon. -- Mike Taylor

Spanish prog has a reputation of being jazzy. This is with good reason, as most of the bands from Spain that I've heard, such as Om, Cai, Guadalquivir, and Azahar, have a strong fusion or jazz element. But Iceberg stands out among them as being a top notch fusion album not only of Spain, but of all time! With a lineup that rivals those of Return To Forever in terms of skill, Coses Nostres is a fusion-lovers wet dream with it's masterful drumming and bass playing, wildly brilliant guitar, and complementing keyboards. Anyone who has been impressed by the guitar styles of Al Di Meola or John McLaughlin should hear Iceberg's Max Suñé play. His searing leads travel the entire neck of the guitar with remarkable fluidity. He avoids the Trevor Rabin-esque playing fast for the sake of playing fast, and instead combines a traditional Spanish style with the modern rock guitar style of the seventies. The drummer plays on the level that you might expect from Lenny White or Billy Cobham. And lets not take anything away from the keyboardist and bassist, both of whom are excellent. The music is a complex, time-shifting combination of riffs and leads, with an all around aura of musicianship that reminds me of Area (only missing are the vocals and the wild experimentation). Iceberg's themes are upbeat and bouncy most of the time, but don't let the jazziness turn you off. If you're into well written and played progressive fusion like Hymn of the Seventh Galaxy-era Return to Forever, or Visions of the Emerald Beyond by the Mahavishnu Orchestra, Iceberg is a must. Coses Nostres easily makes my top ten fusion
favorites. -- Mike Borella

Iceberg's Tutankhamon is there only record with vocals, but fortunately they got rid of the singer. It was pretentious and sung in English, Spanish and, maybe, Catalan. -- Manuel De Pinedo Garcia http://www.gepr.net/ifram.html

ICEBERG from the middle of the 70's were easily one of *the* best Progressive bands to come from Spain. This Spanish band ICEBERG came (like Manuel from Fawlty Towers) from Barcelona and consisted of: Max Sune (guitar), Josep Mas Kitflus (keyboards), Primi Sancho (bass) and Jordi Colomer (drums), Angel Riba (voice) could only be heard on the first record.
Their style was definitely jazzier but with continuous conversations between the guitars and keyboards in a mixture of fusion and symphonic sounds. The band mixed RETURN FOREVER or THE MAHAVISHNU ORCHESTRA's crazy and energetic music and SANTANA's more latin one.

ICEBERG made four studio-albums entitled: “Tutankhamon” (’75), “Coses Nostres” (‘76), “Sentiments” (’77) and “Arc-en-Ciel” (’78). Their final release was the live-LP “En directe” from ’79. Their debut album “Tutankhamon” (eleven tracks) is their most ‘symphonic’: tasteful songs with many shifting moods, ranging from fluent with biting and howling, wah-wah drenched guitar solos to dreamy with floods of choir-Mellotron and tender Fender Rhodes piano. The vocals are often passionate and the interplay between guitar and keyboards is flowing. The other albums contain splendid jazzrock/fusion music with spectacular guitar - and keyboard work. Try for "Coses Nostres" or "Sentiments" as they're a bit better than "En Directe" or "Arc-En-Ciel" though any of these are fantastic. "Coses Nostres" is a very strong release from the ultimate Spanish fusion ensemble. An absolute must if you can find any of the albums. FOR THE FUSION-LOVERS...! http://www.progarchives.com/Progressive_rock_discography_BAND.asp?band_id=659

01. Tebas (1:16)
02. Prologo (3:08)
03. Sacerdotes de Amon (2:53)
04. Amarna (2:56)
05. Lying On The Sand (5:27)
06. Amenofis IV (3:05)
07. Himno Al Sol (4:35)
08. La Muerte (4:19)
09. Close To God (4:08)
10. Too Young To Be A Pharaoh (3:35)
11. Tebas (reprise) (1:49)

Line-up
- Jordi Colomer / drums, percussion
- José "Kitflus" Mas / keyboards, synthesizers, Mellotron
- Angel Riba / vocals, saxophone
- Primitivo Sancho / bass
- Joaquín "Max" Suñe / electric guitar

7. Himno Al Sol ....
8. La Muerte .....

Thanks to my friend ribeirorock from Spain for his recommendation.

Link for download "Iceberg - 1975 - Tutankhamon" in comments ...

Yiotis Kiourtsoglou - "Hapopsis" {Greece} [2005] (ethno jazz fusion)

Yiotis Kiourtsoglou was born in Kozani(Greece) in 1965. He started practicing guitar in 1981. His first influences were traditional, rock and soul music. In 1983 he turned to electric bass and started listening to jazz. He also studied Jazz Harmony and Theory with Theo Kapilidis. Along with Theo and Nikos Kapilidis, they created the "Electric jazz trio". In 1988 he attended the "Musicians Institute" of Los Angeles where he was taught the electric bass technique by great teachers such as Gary Willis, Bob Magnuson and Jeff Berlin. He also performed live in many clubs in L.A. While living in America he had the chance to watch great musicians and to appreciate their music, their technique and their philosophy of life and of the relationship between life and music. In 1989 he graduated from the M.I. and was awarded as "The most improved student of the year" while he was nominated as "The most outstanding player". When he returned to Greece he performed with "Electric jazz Trio" in the jazz club Mantato in Thessalonica with the saxophone Manny Boyd and the trumpet player Danny Hayes. He recorded with them two albums, one with jazz standards and one with arrangements of Theo Kapilidis. In 1993 he records with the guitarist Lior Yekutielli from Israel and drummer Mark Halbheer from Switzerland. During that period, he performed live in various clubs in Greece and Europe along with Elli Paspala and David Lynch. In 1996 along with the guitarist Kostas Baltazanis and the drummerPetros Kourtis they created the "Iasis" trio and a same titled record.
At the same period he co-operates with David Lynch and Stavros Lantsias, who all formed the "Human Touch" band. The result of this collaboration was an album in 1998. This album is the result of their internal quest, a beautiful combination of modern technique, while sticking to tradition. He also works with many Greek and foreign artists in recording albums and in live performances. In 2003 he collaborates for one live show in Thessaloniki with the world known drummer Billy Cobham. After that he appears with Human Touch in many live shows in Greek and abroad, where they played their music in festivals and shows next to some of the greatest musicians of the world's scene. Their new album "Movin' " was recorded in February 2004. The first personal album of Yiotis Kiourtsoglou was produced in 2005,fifteen tracks and an arrangement of the song "Coffee" by Orfeas Perides (with Orfeas participating at the vocals), compose the musical landscape of the album. Funk and jazz music. Sound with the vivid colour of the Balkans. The most important musicians of the Greek and Balkan jazz-world scene joined to play together. Rich and surprising arrangements. Apart from the bass which, as expected, takes first place, the wind instruments (saxophone, trombone, flute, nay, kaval, duduk) play a central role and enhance with their colour most of the tracks.Yiotis Kiourtsoglou and the significant musicians who participate, have played music full of intensity, passion and life. This vividness is imprinted in the recording. The listener feels that he is present at the time when the music was played live.'Hapopsis' in Greek means 'aspect' or 'point of view'. Every track is an 'aspect' of the album's musical microcosm, but, at the same time, every listener will have a different 'point of view' of the album itself.
review and info taken from http://www.yiotiskiourtsoglou.gr/

Kiourtsoglou Yotis - Ambi Groove

Wednesday, November 15, 2006

Ragnarök - "Ragnarök" {Sweden} [1976] (Prog)

Not to be confused with the New Zealand symphonic prog group from those very same years (that should belong in the site soon) or the Heavy Metal unit from the 80-90's, these Swedes managed four albums on Silence Record and some more (not listed here) in the early 90's. They are a typical example of atmospheric and melancholic prog like only Sweden can produce them. Their first album is a real classic known as a minor classic among progheads and they will participate to another group (KUNG TUNG - much harder) before doing their second album where those influences from that group will leave a mark. It is reputed to be as good as their debut. The later albums listed here remain of a good standard. Among the non-listed albums is "Well"(91) and is rather new age and sometimes industrial - not much to do with the earlier works. http://www.progarchives.com/Progressive_rock_discography_BAND.asp?band_id=1078

Swedish band that combine folk, fusion and symphonic prog. Bits of King Crimson, Gong and other Scandinavian bands can be pointed to has possible influences, but Raganrok don't really sound like any of the above overall. They take a very pastoral approach to fusion/prog, eschewing high-tech studio trickery, using just pianos, gently tolling electric guitars, flute, bass and percussion. The first album is beautiful mood music, great to drift off with at night. Fjarilar i Magen surprises everyone with its leading track: "Adrenalin". True to its name, it's a metallic hunk of blazing guitar that nearly makes King Crimson's Red look tame. The rest of the album is much more subtle, but in its own way is more like "Adrenalin" than the first album. All right, that's taking the analogy a bit far, but the band do inject more intense passages neatly interwoven among the gentle fantasias. Overall, probably better than the first. -- Mike Ohman

One of the first concerts I saw in my life was with Ragnarok, and I recall that I liked it. Nevertheless it's not a band I'm overly enthusiastic over. I've got one album. Pleasant listening, and although not cliche-ridden, like much other instrumental music a bit anonymous.

Fairly well known Scandinavian band with several albums to their credit. for the latest album Well, they are down to a trio of woodwinds, drums and keyboards, and have assumed a more low-key new agey feel to their music, while still remaining provocative and inspired.

Absolutely brilliant LP [Ragnarok from '76] from Swedish jazzy, folk-progsters Ragnorok. A beautiful LP full of great instrumental pieces all dominated by an acoustical setting and chilled out jazzy electric pianos. Track Two "Promenader" is incredible, a lovely Mahavishnu like Rhodes piano but with a Scandinavian twist (like Bo Hansson) erupts into a Frippian sustained Guitar riff. It really needs to be heard to be believed. The whole LP is instrumental and rightly so as vocals would have taken away its purity. It's hard to try and find other bands who are similar as Ragnarok are so original. "Dagarnas Skum" is an 8-minute jazz folk beauty complete with prog-ish flute. It reminds me of British folk guitar genius Davy Graham or Bert Jansch. I suppose the best similarity would be fellow Swede Bo Hansson but this is wide of the mark really as Hansson was basically a one-man show where as Ragnarok were a band of veritable virtuosos. Really I have never heard such a genius blend of pastoral prog rock, folk and jazz, a truly awe-inspiring record. BUY IT!!! -- David Abel http://www.gepr.net/rafram.html

1. Farvel Köpenhamn / Goodbye Copenhagen (2:30)
2. Promenader / Walks (4:40)
3. Nybakat Bröd / Freshbaked Bread (3:01)
4. Dagarnas Skum / Foam Of The Days (8:07)
5. Polska Fran Kalmar / Reel From Kalmar (0:46)
6. Fabriksfunky / Factoryfunk (4:49)
7. Tatanga Mani (4:34)
8. Fiottot (1:23)
9. Stiltje-Uppbrott / Calm-Breaking Up (4:21)
10. Vattenpussar / Pools Of Water (4:08)

Line-up
- Lars Peter Sörensson / drums
- Stefan Ohlsson / drums, guitar
- Peder Nabo / flute, guitar
- Staffan Strindberg / electric bass
- Peter Bryngelsson / guitars
- Henrik Strindberg / electric guitar, flute, Soprano flute, Soprano saxophone

1. Farvel Köpenhamn / Goodbye Copenhagen ...
2. Promenader / Walks ..................

Link for download "Ragnarök - Ragnarök" in comments ...

Siddhartha - "Weltschmerz" {Germany} [1975] (Prog)

Named after a Hermann Hesse novel, Siddhartha was a unique and unusual blend of progressive and art rock, with bits of psychedelic and even proto-punk thrown in. The roots of the group go back to 1971, in a small town outside Stuttgart in southwestern Germany, where keyboardist Martin Morike and violinist Gerhard Kraus practiced constantly in Morike's basement. Eventually they decided to form a band, and they enlisted guitarist Eberhard Muller and drummer Klaus Hermann, fellow students at their university. After rejecting several bass players, they obtained Klaus Scharff through a classified ad.

In 1973, Muller came up with the name for the group and they started to gig locally while the various members continued their college studies. One of their live pieces, also called "Siddhartha," was a very long improvisation over which various members of the band read from the Hesse novel, accompanied by a light show and smoke machines. The group decided in 1975 to release an album as a way to get more live gigs. In early April and again in mid-May of that year at the Ton Studio in Stuttgart, they recorded material with the help of guests Gabi Popmanith on vocals, Iris Rothermel on flute, and Lothar Mattlinger on tuba. After failing to find a label that was interested in their unusual work, they released the album, Weltschmertz, as a 400-copy private pressing near the end of 1975. By the late '90s, this record had become a collector's item worth 500 dollars, and it was finally put out on CD by reissue label Garden of Delights. Siddhartha lasted until the end of 1977, when various members had to move away because of university studies or civil service. ~ Rolf Semprebon, All Music Guide http://www.mmguide.musicmatch.com/artist/artist.cgi?ARTISTID=925990&TMPL=LONG#bio

When Siddhartha originally recorded their only album in 1975, no label would commit to the uncompromising weirdness of the music from these art rockers. Weltschmerz starts off with "Looking in the Past," a track that goes from brash proto-new wave with female vocals, to laid-back psychedelic guitar rock, to hyper, keyboard-driven prog, and then into strange space rock territory with a chorus and finally back to the driving proto-punk. Siddhartha doesn't try to fit any niche too comfortably -- Pink Floyd-ian space rock, to Emerson-like symph-rock keyboard workouts, to psychedelic guitar solos, to haunting violin over a lush keyboard bed, to cosmic folk with acoustic guitar and flute. Siddhartha works against predictability as they pull one musical rabbit after another out of their hat, with strange song structures in between long instrumental passages of melodic beauty. Siddhartha is a difficult group to pigeonhole, if you are so inclined; however, for those who don't like their music pigeonholed, Weltschmerz is a wonderful treat. ~ Rolf Semprebon, All Music Guide http://www.mmguide.musicmatch.com/album/album.cgi?ALBUMID=842443

1. Looking In The Past (6:11)
2. Tanz Im Schnee (5:13)
3. Times Of Delight (7:09)
4. Weit Weg (12:18)
5. Gift Of The Fool (6:39)

Line-up
- Martin Morike / organ, piano, vocals
- Klaus Hermann / drums
- Gerhard Kraus / violin, vocals
- Eberhard Muller / guitar
- Klaus Scharff / bass
- Gabi Rossmanith / vocals (1)
- Iris Rothermel / flute
- Lothar Mattlinger / tuba (4)

1. Looking In The Past ...
2. Tanz Im Schnee ....

Link for download "Siddhartha - 1975 - Weltschmerz" in comments ...

Monday, November 13, 2006

Carmen - "Fandangos In Space" {UK} [1973] (Flamenco with Prog Rock)

An unique band, Carmen combined flamenco music with progressive rock. Adding to their distinctiveness was the fact that during long instrumental passages, members of the band would dance onstage, adding those sounds to the instrumental mix. Composed of Roberto Amaral (vocals, castanets), David Allen (guitar), his wife Angela Allen (keyboards), John Glascock (bass), who later worked with Jethro Tull, and Paul Fenton (drums), Carmen's sound was focused on up-beat flamenco guitar with a strong rhythm section and subtle keyboards. Their first album, Dancing on a Cold Wind, was released in 1973 and featured the 23-minute epic "Remembrances (Recuerdos de Espana)." It was followed by Fandangos in Space in 1974. The quintet's final album was The Gypsies, released in 1975, a more restrained effort than previous releases. ~ Geoff Orens, All Music Guide http://www.mmguide.musicmatch.com/artist/artist.cgi?ARTISTID=862284&TMPL=LONG#bio

In the early seventies, the British-American group CARMEN broke new ground in rock music, combining the British flair for progressive rock with traditional Spanish folk themes into a very fresh, energetic and powerful new mix. The sound is centered around guitar, keyboards are used subtly but to good effect. On the whole, they are a rather hard band to describe ... "They sound only like themselves, because it IS so unique". Some vague comparisons could be made to JETHRO TULL, MEZQUITA (some of the Spanish themes), and TRIANA (the flamenco/prog combination).

CARMEN released three albums only: "Dancing On A Cold Wind", "Fandangos In Space", and "The Gypsies". It's hard to say which of the first two albums is better, both are excellent starters. Two great tastes that taste great together. HIGHLY RECOMMENDED...! http://www.progarchives.com/Progressive_rock_discography_BAND.asp?band_id=668

Fandangos In Space
Released in 1973, Fandangos in Space introduced to the world the one of a kind blend of flamenco music and progressive rock of Carmen. Produced by Tony Visconti (whose credits at the time ran from Gentle Giant to David Bowie), it is a stunning demonstration of virtuosity, creativity, and songwriting skills. The Spanish/gypsy element translates into some predictable and clichéd
lyrical topics, like bull fights, but the musical elements are so well integrated into the progressive rock vocabulary (including hand claps, castanets, and flamenco footwork) that one wonders why nobody followed the band's footsteps (literally!). Fandangos in Space opens with the three-part "Bulerias," a roller coaster of sharp complex rhythmic prog and flamenco; future Jethro Tull member John Glascock's bass work is simply amazing. The piece establishes the main musical motif that will come back later in "Looking Outside" and the closing "Reprise." Roberto Amaral's typical falsetto vocals are put to good use in the torrid "Bullfight," while David Allen gives rare
emotional depth to "Lonely House," a ballad built on the metaphor of an abandoned house. When Allen, his wife Angela, and Amaral join forces for the chorus line ("you've gone"), the listener dives into the despair conveyed by the lyrics. The second half of the album is loosely linked thematically and musically, each melody subtly hinting at the others. "Looking Outside (My Window)" brings another highlight and includes a flamenco dance as an interlude. A must for prog rock fans, Fandangos in Space is one of the genre's unsung classics. ~ François Couture, All Music Guide http://www.mmguide.musicmatch.com/album/album.cgi?ALBUMID=932148&AMGLENGTH=full#review

01. Bulerias: a) Cante / b)Baille / c) Reprise (1:44)
02. Bullfight (4:48)
03. Stepping Stone (2:52)
04. Sailor Song (5:15)
05. Lonely House (4:08)
06. Por Tarantos (1:44)
07. Looking outside (My window): a) Theme (1:56) / b) Zorongo (1:17) / c) Finale (4:09)
08. Tales of Spain (5:20)
09. Retirando (2:13)
10. Fandangos in Space (4:33)
11. Reprise (3:00)

Line-up
- Robert L. Heimall: Cover Design
- Peter Mew: Engineer
- Carmen: Main Performer
- David "Leather Sax" Allen, Jr.: Guitar, Vocals
- Paul Fenton: Drums, Percussion
- John Kongos: Engineer
- Roberto Amaral: Castanets, Foot Percussion, Percussion, Vibraphone, Vocals
- Angela Allen: Foot Percussion, Keyboards, Mellotron, Synthesizer, Vocals
- Benno Friedman: Photography
- John Glascock: Bass, Bass Pedals, Vocals
- John Kurlander: Engineer
- Alan Harris: Engineer
- Tony Visconti: Engineer, Producer

01. Bulerias .......................
07. Looking outside (My window) ...

Video - http://easydreamer.blogspot.com/2006/07/carmen.html

Link for download "Carmen - Fandangos In Space" in comments ...

Prog Not Frog Radio Presents: The Voice of The Moon # 021 With The Herbalist (Audacity and Experimentation: How Far Can the Human Voice Go?)

First of all, my most sincere apologies for those who waited until Monday to get the show. I had some complications during the weekend that delayed the release of #021 but here it is…

Well…

How far can you go in music???

Let’s find out…

Today’s show will test your musical listening abilities. We’re going to abandon the realm of popular music completely and we will go far and deep into the world of experimental music.

I will present to you all three different ways of treating the human voice, all of them framed inside the scope of avant-garde composition.

The first example from 1955, is the famous “Songs of the Youth” (“Gesang der Jünglinge") by the renowned German composer Karlheinz Stockhausen (1928- ) . This work consist in the blend of a child’s Voice heavily treated and mixed with electronic generated sounds. Gesang Der Jünglinge is considered one of the most important compositions of the XXth century because it integrates for the first time ever the space into the composition, using a system of five speakers to create a sonic pentagonal aura. Thus, space becomes another instrument. Unfortunately this quality can’t be appreciated in stereophonic sound but… there’s another important issue. Gesang Der Jünglige is the first work of Total Serialism because Stockhausen serialized pitch, timbre, duration, register and dynamics of every sound in the composition.
(For more about serialism please go here: http://en.wikipedia.org/wiki/Total_serialism.
All we will say is that serialism somehow treates music in a sort of arithmetical way, creating variations of elements during the composition that follow certain pre-established patrons.)

Our second example of experimentation with human voice and other elements is the Missa Umbrarum (Mass of the Shadows) by the American composer Daniel Lentz (1941-). This is a work for voices and struck or rubbed wine glasses. Although the performance notes by the composers can be quite extravagant (the singers must actually drink the wine during the performance to change the pitch of the sound produced by the wine glasses), Missa Umbrarum is a marvelous musical journey. Dean Suzuki, from the important electronic magazine www.expose.org considers Missa Umbrarum one of the top 25 musical recordings of all time. Judge for yourself.

Finnally we will sink into an imaginary, remote past while listening to the work of Meredith Monk (1942-) a celebrated American composer very much interested in neo-ritualism and the possibilities of the human larynx beyond singing. Meredith Monk has integrated spoken word, grunts, cough, whispers and every other sound possibly made by the human vocal apparatus into her music. Although this might seem weird, she creates incredibly beautiful atmospheres and transporting musical stories that have made her one of the most popular experimental academic composers of our times. We willlisten to the marvelous Dolmen Music a Meredith monk's work from 1981.

Only three works for this show. But three works that I consider extremely important to understand that we need to stretch our listening abilities as much as we can. We need to go the extremes of musical experience. We need to go beyond normality, to be free, to be able to…


… Keep listening…!!!


Image: Irene Hardwicke Olivieri: "Still a Tadpole already a Frog" (oil on wood)
See more Irene's paintings at http://www.irenehardwickeolivieri.com/ If you can buy one. She is great!

Sunday, November 12, 2006

Samurai - "Samurai" or "Green Tea" {Japan} [1970] (Heavy-Progressive)

"Samurai" or "Green Tea" http://rateyourmusic.com/artist/samurai__jpn_

This was not the British band with Dave Lawson, but a Japanese one. They moved to Britain in the late 60's, and got a contract with Philips. They were also joined by several British members and released a couple of albums. "Kappa" from 1971 reveals a band in the heavy-progressive vein and with a thing for lengthy jams and improvisations. This is especially apparent on the instrumental 22-minute "King Riff and Snow Flakes" that takes up the whole of side 2. Heavy guitar and organ dominates the sound, and literally every musician in the group is allowed to stretch out. The first side is a lot more structured and song-oriented, although the 10-minute opener "Trauma" also features lengthy improvisations. "Same Old Reason" is a strong tune with harpsichord and nice themes. The ballad "Daredatta" is sung in Japanese and dominated by the flute of Miki Curtis. "Vision of Tomorrow" is a straightforward and traditional 70's hard rock song. Overall, quite solid and enjoyable stuff if you're into early 70's heavy progressive rock with lengthy solos and instrumental passages. http://www.vintageprog.com/sss.htm

Samurai – a Japanese group led by vocalist/flautist Miki Curtis. They went to Europe in late 1967, picking up some European members and thus becoming half-Japanese. In London they recorded a single and their debut album, the double-LP [so I’m told] ‘Samurai’ a.k.a. ‘Miki Curtis & Samurai’ [German Metronome, 1970], as well as a single only released in Italy. They should not be confused with the UK group of the same name, who released a self-titled LP on Greenwich in 1971.

Their second album, ‘Green Tea’ [Philips, 1970], is as far as I can tell simply a single-LP repackaging of the debut only released in Japan, to where the band had returned. The last album that I know of is ‘Kappa’ [Philips, 1971]. The band played a varied kind of psychedelic progressive rock, occasionally a bit hard-rocking, with jazzy and exotic Asian touches. They’ve been compared by Vernon Joyson to Andwella’s Dream and early Traffic. The music on their first album [the only one I’ve heard] is fairly accessible, but without at all sacrificing quality or creativity. On ‘Kappa’ they reputedly played lengthier tracks with more of a heavy progressive leaning. ‘Samurai’/’Green Tea’ [single LP version] was reissued on CD by P-Vine. The bass player, Tetsu Yamauchi, was later in Friends [see above], Free and The Faces, as well as pursuing a brief solo career. Drummer Yujin Harada was later in the last incarnation of Far East Family Band [see above]. Graham Smith, credited on harmonica on the first 2 albums, is probably the same person who later played violin in String Driven Thing and Van Der Graaf.http://www.recordheaven.net/japan.htm

1 - Green Tea (5:37)
2 - Eagle's Eye (5:50)
3 - Boy With A Gun (5:07)
4 - 18th Century (1:02)
5 - Four Seasons (9:52)
6 - Mandalay (6:22)
7 - Daffy Drake (2:50)

Line-up
- Miki Curtis: Vocals, Flute
- Joe Dunnet: Guitar
- Yamauchi Tetsuo: Bass
- Harada Yuji: Drums
- John Redfern: Organ
- Hiro Izumi: Guitar, Koto
- Mike Walker: Vocals, Piano
- Graham Smith: Harmonica

1 - Green Tea ...
2 - Eagle's Eye ......
5 - Four Seasons ...

Link for download "Samurai" in comments ...

Saturday, November 11, 2006

Bertus Borgers - "Bertus Borgers & The Groove - Live" {Netherlands} [1991]

Bertus Borgers (born July 15, 1947) is a Dutch saxophone player.

This albun isn't the type usually posted in this blog, but I love it and it's very rare, so I decided to share it with you. Unfortunately, I didn't find a review in English.

The only information I have is that, Bertus Borgers participated as a musician/producer of the albuns of the bands below:

- Mr. Albert Show - Mr. Albert Show (LP, 1969)
- Mr. Albert Show - Warm Motor (LP, 1970)
- Bertus Borgers - Demo '74 (LP, 1974)
- Sweet d'Buster - Sweetd'Buster (LP, 1977)
- Sweet d'Buster - Friction (LP, 1978)
- Sweet d'Buster - Gigs (LP, 1979)
- Sweet d'Buster - Shot into the blue (LP, 1979, twee versies)
- Herman Brood & his Wild Romance \ Sweet d'Buster \ Bintangs - Alive and kickin (LP, 1980)

and others ....

Line-up
Julya Lekranty
Mildred Douglas
Renee van de Graaf
Tineke Schoemaker

01 - (It's a ) Heartbrake
02 - (Livin'Under) City Light
03 - Bad Boy
04 - Don't Torture Yourself
05 - Going Nowhere
06 - Hard Stone Jungle
07 - In One Eye Out The Other
08 - Memphis Underground
09 - Session In The Kitchen
10 - Still Believe11 - Tell Me More
12 - Thank You For The Loe
13 - Woman

06 - Hard Stone Jungle ...
10 - Still Believe ...........

Thanks to Adar for the rip & info

Link for download "Bertus Borgers & The Groove - Live - 1991" in comments ...

Finch - "Beyond Expression" {Netherlands} [1976] (Prog Rock)

The foundation of Dutch progrock band FINCH was laid by bass player Peter Vink and drummer Beer Klaasse (both ex-Q65 and The KJOE). They were eager to play progressive music: Peter was impressed by the symphonic rock of YES and BEER by the improvised rock of MAHAVISHNU ORCHESTRA and CREAM. After some sessions and failed efforts to find a good singer, the new band switched to instrumental music with this line-up: Peter Vink, Beer Klaasse, the 19 year old "guitar virtuoso" Joop van Nimwegen and keyboard player Paul Vink. With two Vink’s in the band the name became FINCH, the English translation from this Dutch name. The EMI sub-label Negram was willing to invest in the new progrock band, in ’75 this resulted in the debut-album "Glory of the Inner Force" (worldwide sold 20.000 copies). New keyboard player Cleem Determeijer’s interplay with guitarist Joop sounded captivating and the first album was hailed by the music press. The single "Colossus" (’75) wasn’t successful but it’s now a hugh collector’s item. In ’76 the second album "Beyond Expression" was released, it was acclaimed as Album of the week by radio and tv broadcasting company Veronica and known music magazines were very positive. The future looked bright for FINCH: sold oud concerts, worldwide sales (15.000 copies) and in Japan FINCH became almost as popular as other Dutch progrock bands FOCUS and EARTH & FIRE! Unfortunately Cleem was no longer able to combine the music with his classical study, he was replaced by Ad Wammes and, due to musical disagreement, Hans Borsboom replaced Beer Klaasse. This new FINCH line-up released the third album entitled "Galleons of Passion" in ’77, it was not received very well though the sales flagged around the 11.000 copies. It turned out to be the band’s swansong until in ’99 the Dutch record company Pseudonym Records released a 2-CD, including fine demos of the "Galleons of Passion" album and exciting live material from ’76.

The first LP "Glory of the Inner Force" contains four melodic and often swinging compositions with strong echoes from YES. The keyboards sound tasteful (Hammond organ and Mellotron), the guitarwork is great with passionate solos and the rhythm-section plays solid (a grunting Rickenbacker bass).

The second album "Beyond Expression" sound more original, inventive and dynamic with furious guitarplay and bombastic keyboards in four captivating and compelling tracks. A splendid album, a bit underrated because of the attention for the other Dutch progrock bands EARTH & FIRE, KAYAK and FOCUS. The third album "Galleons of Passion" is more in the vein of mid-GENESIS and sound pleasant but less captivating and contrasting. The 2-CD "The Making of...Galleons of passion/Stage" ’76” is mainly interesting because of the live-material: it’s layered with magnificent electric guitarplay (Jan Akkerman once told he was very impressed by Joop!) and great solos from Ad’s newly purchased Minimoog synthesizer. The live-CD contains the previously unreleased track "Necronomicon" (over 15 minutes), a ‘typically Seventies live progrock composition’ with lots of solos on guitar, keyboards and bass. http://www.progarchives.com/Progressive_rock_discography_BAND.asp?band_id=829

In the beginning of 1974 this 100% instrumental group was started in The Hague. Members: Beer Klaasse (drums, ex-Q'65), Joop van Nimwegen (guitar, ex-Cobra), Peter Vink (bass, ex-Q '65), Paul Vink (organ, piano, ex-Twelve O'Clock). Beer got replaced at the end of 1976 by Hans Bosboom (ex-Alveo, Chafing Blues and Blues Session), who in turn got replaced by Fred van Vloten (ex-Range). Paul Vink went to Livin' Blues in 1975 and was replaced by Cleem Determeyer (ex-Crusade) who made way for Ad Wammes in 1976. http://www.proggnosis.com/MUSIC_DBArtist.asp?txtArtistID=618

Finch was established by guitarist Joop van Nimwegen, bass player Peter Vink (Vink meaning Finch in Dutch) and drummer Beer Klaasse. The first two earlier worked together in the Dutch formation Q65. The musical leader was Joop van Nimwegen. For lack of a good singer, Finch decided to build a repertoire of instrumental rock. Keyboardist Paul Vink joined, but was later replaced by Cleem Determeijer, then a student at the Rotterdam Academy of Music.

The first album, Glory Of The Inner Force, was published in Finch's native Netherlands, as well as by Atlantic in the US. On both sides of the ocean the album received positive reviews. Determijer wanted to concentrate on his piano studies and was replaced by Ad Wammes.

The second album, Beyond Expression, became a Record of the Week on Radio Veronica, a popular Dutch seaborn station. Finch started to make a name for itself and began to attract crowds to their concerts in the Netherlands, Belgium, and Germany. A third album, Galleons Of Passion was published in the Netherlands and the UK, however, the frequent personal changes in the rock group made it impossible to continue. In 1978 the partnership was discontinued. Their three albums continue to attract the interest of those who enjoy early classic and progressive rock. http://en.wikipedia.org/wiki/Finch_(Dutch_band)

1. A Passion Condensed (20:05)
2. Scars On The Ego (8:51)
3. Beyond The Bizarre (14:24)

Line-up
- Cleem Determeijer / keyboards
- Beer Klaasse / drums
- Joop Van Nimwegen / guitars
- Peter Vink / bass

2. Scars On The Ego ...

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Friday, November 10, 2006

Rahmann - ''Rahmann''[1980]{France}(Fusion)

HMANN could be described as an Algerian version of MAGMA, without vocals, mixed with a some MAHAHVISHNU influences. The rhythm section in this band is absolutely powerful. If you can imagine layers of percussion instruments playing around some powerful drumming (almost like the Middle-Eastern version of the percussion work on a Fela Kuti album) you will have some idea of their concept of rhythm. Add to that, complex guitar riffing (sometimes on Fretless guitar), aggressive Zeuhl-bass, dissonant keyboards, and you have the ingredients for some powerful music. The CD contains 6 tracks from the original album, as well as a few bonus live recordings of the same tracks. This is a must for fans of AREA's Middle-Eastern/Greek influenced compositions.
Phenomenal music that shifts from aggression to beauty effortlessly.
Album Review For Further Information

Samurai - "Kappa" {Japan} [1971] (Heavy-Progressive)

This was not the British band with Dave Lawson, but a Japanese one. They moved to Britain in the late 60's, and got a contract with Philips. They were also joined by several British members and released a couple of albums. "Kappa" from 1971 reveals a band in the heavy-progressive vein and with a thing for lengthy jams and improvisations. This is especially apparent on the instrumental 22-minute "King Riff and Snow Flakes" that takes up the whole of side 2. Heavy guitar and organ dominates the sound, and literally every musician in the group is allowed to stretch out. The first side is a lot more structured and song-oriented, although the 10-minute opener "Trauma" also features lengthy improvisations. "Same Old Reason" is a strong tune with harpsichord and nice themes. The ballad "Daredatta" is sung in Japanese and dominated by the flute of Miki Curtis. "Vision of Tomorrow" is a straightforward and traditional 70's hard rock song. Overall, quite solid and enjoyable stuff if you're into early 70's heavy progressive rock with lengthy solos and instrumental passages. http://www.vintageprog.com/sss.htm

Samurai – a Japanese group led by vocalist/flautist Miki Curtis. They went to Europe in late 1967, picking up some European members and thus becoming half-Japanese. In London they recorded a single and their debut album, the double-LP [so I’m told] ‘Samurai’ a.k.a. ‘Miki Curtis & Samurai’ [German Metronome, 1970], as well as a single only released in Italy. They should not be confused with the UK group of the same name, who released a self-titled LP on Greenwich in 1971.

Their second album, ‘Green Tea’ [Philips, 1970], is as far as I can tell simply a single-LP repackaging of the debut only released in Japan, to where the band had returned. The last album that I know of is ‘Kappa’ [Philips, 1971]. The band played a varied kind of psychedelic progressive rock, occasionally a bit hard-rocking, with jazzy and exotic Asian touches. They’ve been compared by Vernon Joyson to Andwella’s Dream and early Traffic. The music on their first album [the only one I’ve heard] is fairly accessible, but without at all sacrificing quality or creativity. On ‘Kappa’ they reputedly played lengthier tracks with more of a heavy progressive leaning. ‘Samurai’/’Green Tea’ [single LP version] was reissued on CD by P-Vine. The bass player, Tetsu Yamauchi, was later in Friends [see above], Free and The Faces, as well as pursuing a brief solo career. Drummer Yujin Harada was later in the last incarnation of Far East Family Band [see above]. Graham Smith, credited on harmonica on the first 2 albums, is probably the same person who later played violin in String Driven Thing and Van Der Graaf. http://www.recordheaven.net/japan.htm

1 - Trauma (10:18)
2 - Same Old Reason (2:49)
3 - Daredatta (3:38)
4 - Vision Of Tomorrow (3:52)
5 - King Riff And Snow Flakes (22:28

Line-up
- Miki Curtis: Vocals, Flute
- Joe Dunnet: Guitar
- Yamauchi Tetsuo: Bass
- Harada Yuji: Drums
- John Redfern: Organ
- Hiro Izumi: Guitar, Koto
- Mike Walker: Vocals, Piano
- Graham Smith: Harmonica

2 - Same Old Reason ...

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