This is the 2004 Remastered version with an extended copy of track 1 "Big City".

Bo Hansson will doubtless be known to all. He is a master musician and this (although not so popular as his Lord Of The Rings release) is a masterpiece of Intrumental Prog Rock.

Originally titled "Ur Trollkarlens Hatt" there are a few tracks I can listen to over and over ("Big City", "Divided Reality" and "The Sun (Parallel Or 90°)" for sure, but there are more delights on here than those three.

Perhaps a bit more jazz orientated than his first release.

Personnel:
Kenny Håkansson - Guitar
Gunnar Bergsten - Saxophone, Flute
Sten Bergman - Flute
Bo Hansson - Hammond Organ, Guitar, Synthesizer, Slide Bass
Bobo Stenson - Electric Piano (10)
Owe Gustavsson - Bass (10)
Rune Carlsson - Drums, Congas, Cowbell
Pelle Ekman - Drums (10)

Tracklist:
01 - Big City (Extended) (Hansson/Bergsten)
02 - Divided Reality (Hansson)
03 - Elidor (Hansson)
04 - Before The Rain (Hansson)
05 - Fylke (Hansson)
06 - Playing Downhill Into The Downs (Hansson)
07 - Findhorn's Song (Hansson)
08 - Awakening (Hansson)
09 - Wandering Song (Hansson)
10 - The Sun (Parallel Or 90°) (Hansson/Håkansson)
11 - Excursion With Complications (Hansson)
@224

Captain Beyond were formed in Los Angeles, California with Rod Evans (Original Lead Vocals on Deep Purple 1st Album), Larry (Rhino) Reinhardt, Lee Dorman (both from Iron Butterfly) and Bobby Caldwell (played drums with Johnny Winter).

This, (their first and I think their best) album was released in 1972. It is Rock with Progressive influences. As I described "Dumpy's Rusty Nuts" as Kick Ass Blues - I think the term applies here as Kick Ass Rock.

I rate this band as 5 STAR.

Lineup:
Rod Evans - Vocals
Larry Reinhardt - Guitar
Lee Dorman - Bass
Bobby Caldwell - Drums.

Tracks:
01 - Dancing Madly Backwards (On A Sea Of Air)
02 - Armworth
03 - Myopic Void
04 - Mesmerization Eclipse
05 - Raging River Of Fear
06 - Thousand Days Of Yesterdays (Intro)
07 - Frozen Over
08 - Thousand Days Of Yesterdays (Time Since Come and Go)
09 - I Can't Feel Nothin' Part 1
10 - As The Moon Speaks (To The Waves Of The Sea)
11 - Astral Lady
12 - As The Moon Speaks (Return)
13 - I Can't Feel Nothin' Part 2

320 Sampled.

The driving force behind this band, at least in their early stages, was the saxes of Dick Morrisey and keyboards of John Mealing, along with the crack rhythm section of Jim Richardson (bass) and Dennis Elliott (drums) they also had a guitarist, second reedsman and lead vocalist. I've only heard the first two albums, those could sort of be described as a progressive Blood, Sweat & Tears, very jazz-rock oriented, but not fusion".
If is a jazz-rock band from the United Kingdom. In this case, jazz-rock doesn't mean fusion ala Mahavishnu Orchestra but something akin to early Chicago or Blood, Sweat and Tears. Also comparable to Isotope and Nucleus. It's also a bit more progressive than either of those two bands. The music is very good and something I like a little better than Chicago. Fairly well balanced between guitar, sax, keyboards, and singing. The lead vocalist (on their first two albums, the ones I have) remind me a bit of Pete Townsend. Perhaps this band isn't for those into heavy prog, but if you also enjoy jazz this may be a good band to seek out. Dave Quincy left If to form Zzebra. -- Mike Taylor http://www.gepr.net/ifram.html

If was Great Britain's contribution to the jazz-rock movement begun and popularized in the late '60s/early '70s by Blood, Sweat & Tears and Chicago. Formed in 1969 by Melody Maker jazz poll winners Dave Quincy, Dick Morrissey, and Terry Smith, the band never found popular success in the United States. However, If produced several albums noteworthy for placing jazz players in a pop/rock band context and producing a true fusion of the two genres without diluting the players' improvisational skills. Unlike most of their horn-band contemporaries, If had no brass players in the band, relying solely on the saxophones of Dick Morrissey and the flute and saxophones of Dave Quincy. But what really gave If its unique sound were the vocals of J.W. Hodgkinson and the guitar of Terry Smith. Hodgkinson's vocal timbre was unusual -- smooth, flexible, and strong in the high end, sounding like no other vocalist. Smith's trebly guitar sound was also unique, combining a rocker's use of sustain with the jazz fluency of Wes Montgomery and Django Reinhardt. The original incarnation of If produced five excellent albums between 1970 and 1972, but these albums failed to find an audience. Morrissey soldiered on with the If name for two more albums with a totally different lineup and a more generic rock-type sound, but these, too, went nowhere. Drummer Dennis Elliott was later a member of the platinum-selling rock band Foreigner. ~ Jim Newsom, All Music Guide http://www.mmguide.musicmatch.com/artist/artist.cgi?ARTISTID=346237&TMPL=LONG#bio

If's first album came out in the summer of 1970, while most horn-driven jazz-rock bands were still mimicking the successful formula employed by Chicago and Blood, Sweat & Tears. If was different, with more of a jazz feel on both the instrumental and the vocal ends. The material on If provides plenty of room for reedmen Dave Quincy and Dick Morrissey, plus guitarist Terry Smith, to stretch out. Though not particularly deep or profound, the lyrics nonetheless express the positive, optimistic sentiments prevalent at the time. J.W. Hodgkinson's unusual tenor vocal timbre fits like a lead instrument in the mix, soaring above and within the arrangements. "What Can a Friend Say" kicks the album off in fine style, setting the parameters within which the band works throughout the rest of the disc, with the horns complementing Hodgkinson's rendering of the verses, which wrap around excellent, extended sax and guitar solos. The instrumental, "What Did I Say About the Box, Jack?" showcases Quincy's high-octane flute work and the speedy fingers of guitarist Smith. The album continues in the same consistently excellent vein, with the ballad "Dockland" providing a beautiful respite toward the end of the album. ~ Jim Newsom, All Music Guide http://www.mmguide.musicmatch.com/album/album.cgi?ALBUMID=510495&AMGLENGTH=full#review


01 - I'm Reaching Out on All Sides (5:54)
02 - What Did I Say About The Box Jack (1:51)
03 - What Can a Friend Say (6:59)
04 - Woman, Can You See What This Thing Is All About (4:11)
05 - Raise The Level Of Your Conscious Mind (3:13)
06 - Dockland (4:43)
07 - The Promised Land (3:42)


Line-up
- Dave Quincy / Alto and Tenor Saxes, Liner Notes, Reeds
- Dick Morrissey / Tenor and Soprano Saxes and Flute Reeds
- Jim Richardson / Bass
- Dennis Elliott / Drums
- Terry Smith / Guitar
- John Mealing / Keyboards, Vocals (Background)


01 - I'm Reaching Out on All Sides ...........
05 - Raise The Level Of Your Conscious Mind ...


Link for download "If - 1970 - If" in comments ...

I first heard of Dumpy's Rusty Nuts as I was attending many Hawkwind gigs. They were the support band and absolutely blew me away.

Dumpy is friendly with Hawkwind and a look on his website will tell you that he has a new CD out that is in the same style - I think I will find the £8 to get Space Nutz as this band really rock.

The album here is full of blues songs recorded live (and I think most of the audience at his gigs are "Bikers") with many references to his love of motorcycles.

I remember seeing him drive up to a Hawkwind gig (possibly in London - or just outside) in an old Ford Anglia, he was attending as part of the audience that time and not part of the show. His version of Peter Green's "Out Of Reach" is stunning.

The official site is here:-
http://www.dumpysrustynuts.net/
which is where the above picture comes from.

Tracks:
01 - It's Got To Be Blues
02 - Ride With Me
03 - I'm A Hog For You Baby
04 - Rip It Up
05 - Night Rider
06 - Woke Up This Morning
07 - Look In The Mirror
08 - Whole Lot Of Blues
09 - Out Of Reach
10 - Box Hill Or Bust
11 - Tush
12 - Just For Kicks
13 - Cross Keys
14 - Wee Wee Baby
15 - Wild Thing
16 - Route 66
320 samples of Kick Ass Blues.

I stumbled acrosss this Ultra Rare Psych album a year or so ago and it has 1 track that is really good along with some covers of other bands songs that are Bubblegum style.
The song in question is called "Take Me Break Me" and lasts just over 11 minutes, it has great sounds (sadly there is a vynil jump on this).
They were more famous in the USA for their chart appearance with a cover of the Beatles "Birthday".
The album opens with another Beatles cover "Don't Let Me Down". Also, the band do cover songs of "Proud Mary", "Gimme Some Lovin" & "Bad Moon Rising". Apparently even battered copies of this have attracted large amounts on E-Bay.
Don't be put off by the cover songs as "Take Me Break Me" (even with the jump) is worth the listen.
Tracklist:
01 - Don't Let Me Down (4' 08)
02 - Proud Mary (3'33)
03 - Gimme Some Lovin (8'47)
04 - All I want Is You (3'05)
05 - Birthday (2'50)
06 - Don't Shut Me Out (2'52)
07 - Bad Moon Rising (2'25)
08 - Take Me Break Me (Short Version) (2'54)
09 - Take Me Break Me (Long Version) (11'15)
10 - Link Track (0'43)
11 - Single "Nine To Five" (2'35)

I think the "Link Track" was added because other bands of the time did similar things (i.e. the Beatles Sgt Pepper's). The Single is not on the album - I just added it to make the Underground Sunshine recorded output as complete as possible.
A couple of band members contacted this Online Forum to explain about Take Me Break Me as the track gained something of a cult status:-
http://www.radiomute.com/8666-underground-sunshine.html
192 samples on the album 128 for the single (which sounds In-Complete).

ANAMORPHOSE's music is at the crossroads between JULVERNE, COMPANYA ELECTRICA DHARMA and GWENDAL, with elements of an inspired jazz rock. "Live" presents great themes with subtle arrangements, lit up by violin, flute or keyboards solos.

Barthelemy:

Released in 1970 by the El Paso, TX, label Suemi, Wailing Wall's sole LP is mostly an item for the psychedelic rock collector's wish list, but it delivers an interesting enough listen for more casual fans of obscure American '70s rock. Mike Cancellari (guitar), Doug Adams (vocals), Darrel Adams (bass), and David Rutledge (drums) were not the best of musicians, but what they lacked in tightness (and they did) they almost made up in feeling and a certain level of creativity. Cancellari was obviously a quick learner of Jimi Hendrix's chops, but while other guitarists at the time were focusing on the genius' sound and riffs, Cancellari picked up his bluesy soul ("Meet My Dreams" borrows the moody feel of "Rainy Day, Dream Away"). Doug Adams misses a few easy notes, but he has a deep soul-blues voice, between the range and strength of Chicago's Robert Lamm and Terry Kath. The vocal harmonies in "Scissor-Tailed Swallow" and the addition of two trombones in "Meet My Dreams" provide extra similarities with early Chicago, although Wailing Wall's brand of rock is heavier and definitely Southern. The heartfelt delivery and hard-thumping grooves ("Mad Rapper" crosses Hendrix's "Red House" with the rootsier moments of early Captain Beefheart) compensate for some awful lyrics, especially in "Country of the Goose," which could have been a strong song at four or five minutes, but becomes embarrassing at nine. Still, this album deserved to receive a wider audience than the El Paso locals. Shadoks reissued the album in 2004 with decent sound quality. ~ François Couture, All Music Guidehttp://www.mmguide.musicmatch.com/album/album.cgi?ALBUMID=1490345&AMGLENGTH=full#review


01 - Scissor-Tailed Swallow (3:21)
02 - Country Of The Goose (9:23)
03 - Flying (4:59)
04 - Hot Summer's Night (2:56)
05 - Mad Rapper (5:36)
06 - Dark House / Crazy Nights (4:58)
07 - I'm Running Low (6:00)
08 - Meet My Dreams (3:17)


Line-up
- Doug Adams / Vocals, Acoustic Guitar, Trombone
- Mike Cancellari / Electric Guitar
- Darrel Adams / Bass, Maracas, Trombone
- David Rutledge / Drums, Piano, Percussion


01 - Scissor-Tailed Swallow ..........
02 - Country Of The Goose ....


Link for download "Wailing Wall - 1970 - Wailing Wall" in comments ...

Megarare Norwegian folk-rock with slight prog moves, outdoors-hippy feel, sorta like Parlour Band , more folk though http://www.longhairmusic.de/malesch/h.htm


01 - Restless Man (2:58)
02 - The Letdown (3:13)
03 - Lookout Mountain (4:37)
04 - End Of The Effort (2:45)
05 - Big Nancy (2:35)
06 - Come On Over (2:44)
07 - Four Tomorrows(4:28)
08 - Pass The Word (4:07)
09 - Kilimanjaro Monday (3:13)
10 - Love Is Arranging My Life (2:27)
11 - Double Or Nothing (6:35)


Line-up
- Erik Moll / Vocals, Acc. Guitar, Percussion
- Rune Walle / Vocals, Acc. & Bottleneck Guitars, Dobro, Piano, Mandolin
- Trygve Thue / Vocals, Acc. & El. Guitars, Bass
- Ketil Sand / Acc. Guitar, Congas, Bongos & Ass. Percussions
- Arve Haland / Accordion
- Anne Bolstad / Vocals, El. Violin
- Tom Saetre / Acc. Guitar
- Elisabeth Braarvig / Cello
- Jens Braarvig / Bass
- Leif Jensen / Drums


01 - Restless Man .........
02 - The Letdown ...


Link for download "Hole In The Wall - 1972 - Hole In The Wall" in comments ...

Track listing:
1. Tread softly on my dreams(6:37)
2. Cecelia (8:12)
3. Follow me (3:19)
4. Dawning of a new day (6:11)
5. Beyond the moon (3:44)
6. Today (3:23)
7. A day in September (7:56)

Line-up:
- Del Gough / drums
- Bob Hodges / keyboards, vocals
- Paul Kendrick / bass, vocals
- Mick Ware / guitar, vocals



There seems to have been a near-endless supply of early-progressive rock bands like Czar hopping around in Britain both sides of the sixties/seventies borderline, bands that pitted electric guitar against organ and occasional Mellotron, hoary blues-based rock riffs against rudimentary classical licks recalled from piano lessons or the family record collection, in an effort to stretch the rock idiom beyond the three-chords, four-square-beat boundaries. Czar's sole effort is not the most glorious of this lot, as the band lack the depth and skills that the best bands had. Most of these songs are drawn-out but structurally pretty ordinary rock tunes where thudding drums splash in muddy puddles of scratchy guitar riffs under a clear blue Mellotron sky. It is the beauty of the Mellotron work that often makes the difference, e.g. the gothic main riff of "Tread Softly on My Dreams" which stands in stark contrast to the vocal hooks that are leftovers from second-division sixties pop. "Cecelia" features a nice if predictable swathe of acoustic guitar and harpsichord, but is ruined by a turgid guitar solo backed by monotonously grungy riffing. Overplaying their hand with weak cards is Czar's basic failing, worst example being the psychedelic organ work of "A Day in September", which cycles through cliches with minimum authority and even manages to squeeze in that requisite circus motif before the fade-out. It is not hopeless, but other bands were turning out much better product out of the same basic material at the time, and I suggest trying some of them before delving into this Siberian basement to discover Czar's musical legacy.

Thanks stavros666999 for this one !

Link is in comments.....

Just like Docenterna, who formed two years later, Dag Vag used the punk wave to launch themselves. They took a punk name and released just one punk single before turning to alternative pop. But where Docenterna started to play catchy modern pop, keeping some of the punk attitude, Dag Vag's main influences could be found in the Swedish progressive movement, among bands like Träd, Gräs & Stenar, as well as in world music and reggae. These influences were then used to create something that was still very much pop. If not unique, it was at least rare on the Swedish rock scene in the '80s. Dag Vag have also meant much for Swedish alternative music in providing a connecting link to the '70s where most '80s bands chose to turn their backs on the preceding decade.

Vig was the leader of the band Hottentots, which developed into Dag Vag. At first, they called themselves Dag Vag & Svagsinta, but after the first single they shortened it to Dag Vag. A musical change also took place, from punk to reggae-influenced pop, as they scored a hit with a cover of Anita Lindblom's "Sånt är Livet." Dag Vag had already made a name for themselves in alternative circles when their full-length debut was released in 1979. The album kept the reggae influences, but also showed traces of new wave. Settels left the temporarily group and Bäckström was replaced by Kenny Håkansson for the recording of the live album Scenbuddism, and after big success with their next studio album, the band decided to try to promote themselves abroad. read more here

links in comments..

Egyptian Reggae..
Dimma..

Enjoy!

Track listing:
01. Woman On a One Night Stand (5:06)
02. Day Breaks My Heart (4:38)
03. The Fool (4:27)
04. Pipe of Dreams (3:58)
05. Orange Street Blues (5:01)
06. Dance of Love (4:36)
07. Midnight Wire (7:32)

Line-up:
- Stewart Copeland / drums
- Mick Jacques / guitars
- Sonja Kristina / vocals
- Darryl Way / violin, keyboards, vocals
Guest Musicians:
- John Perry / bass
- Peter Wood / keyboards
- Derek Damain / backing vocals
- Norma Tager / lyrics


Curved Air was founded in 1969 by Francis Monkman (keyboards, guitar), Darryl Way (electric violin, vocals), Sonja Kristina Linwood (vocals), Florian Pilkington-Miksa (drums), Rob Martin (bass). The group evolved from the band Sisyphus and was named by Monkman after the piece A Rainbow in Curved Air by contemporary composer Terry Riley.

The line-up experienced frequent changes, Ian Eyre taking over on bass for the second album and Mike Wedgwood for the third; later members included Eddie Jobson (later Roxy Music, Frank Zappa and Jethro Tull), Stewart Copeland (The Police) and Tony Reeves (ex-Greenslade, Colosseum, John Mayall). Only Sonja Kristina continuously remained as member. Monkman, member of Academy of St. Martin in the Fields, was later to play with John Williams in a group called Sky.

The musicians developed from quite different artistic backgrounds, classic, folk, and electronic sound, which resulted in a mixture of progressive rock, folk rock, and fusion with classical elements.

The band's groundbreaking 1970 debut , Air Conditioning, reached no. 8 in the UK Albums Chart, and was the first ever picture disc. In 1976 the band recorded their last studio album and then eventually split . Intermittently since then, the group, particularly in its original line-up, has re-joined for periodic concerts, one of which in 1990 gave rise to another live album.

Link is in comments.......

One of New Zealand's most popular hard rock/psychedelic bands of the late 1960s and early 1970s, the Human Instinct never broke into the international market, despite a couple of concerted attempts to do so in England. The group evolved from the Four Fours, which had some hits in New Zealand in the mid-1960s, including "Moon Blues," the instrumental "Theme from an Empty Coffee Lounge," and "Go Go." The last of these was a fair beat number that made #12 in New Zealand in September 1966, the same year the Four Fours supported the Rolling Stones on the visiting superstars' second New Zealand tour. In August of that year, the Four Fours sailed to England to try and make an entree into the British pop scene, changing their name to the Human Instinct on the way. In London, the Human Instinct got to play under numerous star groups as a support act. After three Mercury singles stiffed in 1967, they recorded for Deram under producer Mike Hurst and made a couple more unsuccessful 45s. Some of these--the most renowned is "Day in My Mind's Mind"--have surfaced on specialist British sixties rock reissues, and show a competent but rather colorless psychedelic-sprinkled pop band with accomplished vocal harmonies. Drummer Maurice Greer, it has been written, declined a chance to play in Jeff Beck's group before the Human Instinct returned to New Zealand. Upon the band's return their personnel and sound were radically reorganized, with only Greer left from the UK lineup. The most significant addition was guitarist Billy Tekahika, who played under the name Billy TK. Partly because of Tekahika, the Human Instinct embarked on a far heavier psychedelic direction, influenced heavily by the wah-wah and distortion of Jimi Hendrix. Some of the material on their early 1970s albums on Pye was supplied by non-member Jesse Harper, a tape of whom allegedly impressed Hendrix himself. The later incarnation of the Human Instinct did go to England again to try and widen their audience, and again failed. The Human Instinct's cult reputation rests largely upon their first three albums in the 1970s, which have been reissued on CD by Ascension in Australia. Without denying the band's importance in New Zealand, where talented hard rock guitarists were rarer than they were in bigger countries, the records are so-so, or worse, blues-rock-psychedelia that offer little appeal or charm for the collector, despite Billy TK's abilities on guitar. Maurice Greer was still keeping a lineup of the Human Instinct going and recording in the late 1990s. ~ Richie Unterberger, All Music Guide http://www.mmguide.musicmatch.com/artist/artist.cgi?ARTISTID=802285&TMPL=LONG#bio

More info... http://www.wordworx.co.nz/Peg%20Leg%20release.htm


01 - Free Bird (9:16)
02 - All Time Loser (4:30)
03 - Find Your Heart (7:38)
04 - Peg Leg (3:05)
05 - For A Friend - Part 1 (5:25)
06 - For A Friend - Part 2 (3:42)
07 - Fallen Star (5:09)
08 - Hey You (4:11)
09 - Tight Rope Lover (4:46)
10 - Instinct (2:22)


Line-up
- Maurice Greer / Drums, Vocals
- Phil Whitehead / Guitar, Vocals
- Steve McDonald / Keyboards, Melotron, Vocals
- Glenn Mikkelson / Bass, Vocals


04 - Peg Leg ...
07 - Fallen Star ...


Link for download "Human Instinct - Peg Leg" in comments ...

Throughout the mid-1960s singer/bassist Skip Battin played and recorded with a string of groups including The Pledges, Gary and Clyde, Skip and Flynn and Skip and the Groop. Tired of paying his bills as a sessions bassist, by 1968 Battin was ready to try to make it with a real rock band. Recruiting long time friends Al Rosenberg and Clarence White, he decided to put together an outfit that would play a mixture of Byrds-styled folk-rock and West Coast psychedelia. White quickly dropped out of the project, leaving Battin and Rosenberg to recruit drummer Chester McCracken, along with keyboard player Ken Kleist, guitarist Lanny Mathijssen. Playing at a Topanga Canyon club named 'The Corral' the band began attracting considerable word of mouth publicity, which led the small Amos Records to sign them to a recording contract. Produced by Jim Post, 1969's "The Ballad of Evergreen Blueshoes" offered up an odd hodge-podge of musical genres. Battin (here spelled as 'Battyn') and Rosenberg were responsible for the majority of the 12 songs, which bounced all over the musical spectrum. Jug, country and western, pop, psych, etc. were frequently lumped together on tracks such as 'Life's Railway To Heaven' and 'Amsterdam in 1968'. Connected by a series of spoken word segments, the results were frequently maddening, though these guys simply had too much talent to turn in a complete dud. 'The Hedge Hog's Song' and their cover of Dylan's 'Walking Down the Line' were all quite good. Amos also saw fit to release a truly bizarre cover of 'Johnny B. Goode' b/w 'Walking Down the Line' as a single (Amos #115). Unfortunately, as a small label, Amos lacked much promotional clout, effectively guaranteeing the set would enjoy limited sales. (The back and inner sleeves are pretty funny - wonder if they had to worry about ticks while prancing around naked in the woods?). [SB]


01 - Life's Railway To Heaven (Skip Battin / Al Rosenberg / Ken Kleist / Lanny Mathijssen / Chester McCracken) /
02 - Walking Down The Line (Bob Dylan) /
03 - Line Out (Skip Battin / Al Rosenberg) /
04 - Amsterdam In 1968 (Levine) /
05 - Everything's Fine Right Now (Heron) /
06 - Johnny B. Goode (Chuck Berry) /
07 - The Hedge Hog's Song (Heron) /
08 - The Raven (Skip Battin / Al Rosenberg / Edgar Allan Poe) /
09 - Mrs. Cohen's Little Boy (Leonard Cohen) /
10 - Moon Over Mount Olympus (Al Rosenberg) /
11 - Jewish Teahouse (Al Rosenberg) /
12 - The Everblue Express (Skip Battin / Kim Fowley)


Line-up
- Skip Battin / Bass, Vocals
- Lanny Mathijssen / Guitar, Vocals
- Al Rosenberg / Guitar, Vocals
- Ken Kleist / Organ, Vocals
- Chester McCracken / Drums, Percussion


Thanks to ZenBa for the rip & info


Link for download "Evergreen Blueshoes - The Ballad of Evergreen Blueshoes" in comments ...

Prog comparable to Soft Machine circa Volume 2 and Julian's Treatment for the organ work and
female vocals. http://www.gepr.net/mafram.html


01 - Men (4:11)
02 - Big Ben (4:46)
03 - Beauty (3:34)
04 - Music, the Reason of Our Happiness (4:02)
05 - Jack is Away (5:14)
06 - 5 Longhaired Children in a Cave (3:52)
07 - The Worker (3:44)
08 - Sound For Tomorrow (2:29)


Line-up
- Viona Westra
- Giorgio Chitchenko
- Joost Geeraerts
- Danny Rousseau
- Jean Vandooren
- Eddy Verdonck


04 - Music, the Reason of Our Happiness ...
05 - Jack is Away ..........................


Thanks to ZenBa for the rip & info


Link for download "Mad Curry - 1970 - Mad Curry" in comments ...

A Hungarian progressive outfit that produce useful sounds despite regular personnel changes. This one I like because it has many similarities to Space Rock. Although I think they are categorised as Symphonic Prog.

My copy is the 1984 release without the Bonus Tracks released on the 1995 version. I also have the covers from the 1995 Re-Release and the Bonus Tracks from the Re-Release. (My rip is at 320 and the Bonus are 256). Solaris are well worth getting into.

A Review from ProgArchives:

This album was written over twenty years ago, smack in the middle of the ‘boring 80s’. Consequently, its production does have a sort of 80ish ring to it. But the music is so original and infectious I can’t help but love it. Think TANGERINE DREAM that actually rocks, with real themes and an incredible variety of inspired musical phrases; then speed the whole thing up about ten times and add a little classical twist to it all, and you’ll get an idea of what “The Martian Chronicles” sound like.This is simple music where the beat rarely goes beyond the 4/4 pattern, but that doesn’t take anything away from the fine woven melodies and the originality of the arrangements, where the band clearly favours an overall-effect over individual play - although the ever-present flute lends a light touch to it all, as do the mischievous little 'martian' voices that spring up here and there. With lots of synths and fiery guitars, the music races at the speed of light and hardly lets up until the end. Many passages are bound to accelerate your pulse rate (check out "The Martian Chronicles parts IV, V and VI" and especially "M'Ars Poetica"), whereas a few mellow ones (such as the track “Solaris” and parts of some others) provide a welcome interval between the raunchy guitars and the speedy synth flights. Overall, this a fine space-rock album made by classicaly trained musicians who obviously had lots of fun doing it.

I would agree with the above reviewer (very aptly put).

Members
Cziglán, István (deceased) - guitars (1980-1998)
Erdész, Róbert - keyboards (1980-)
Kollár, Attila - flute (1980-)
Gömör, László - drums (1982-)
Pócs, Tamás - bass (1982-)
Kisszabó, Gábor - bass (1980-1982,1995-)
Bogdán, Csaba - guitars (1981-1982,1995-)

Tracklist: 01 - Marsbéli krónikák I. (3:34)...02 - Marsbéli krónikák II.-III. (6:32)...03 - Marsbéli krónikák IV.-VI. (13:15)...04 - M'ars poetica (6:39)...05 - Ha felszáll a köd (If The Fog Ascends)(3:58)...06 - Apokalipszis (3:44)...07 - E-moll elõjáték (Prelude in E-Minor) (0:29)...08 - Legyõzhetetlen (Udefeatable) (2:46)...09 - Solaris (4:53)

Bonus Tracks: 10 - Orchideák bolygója (The Planet Of Orchids) (3:17)...11 - A sárga kör (The Yellow Circle) (4:54)

IQ have been tagged by the press as Neo Progressive (a term I dislike). When I placed this CD in my drive CDDB gave it the tag Neo Progressive. I suppose Zen Carnival (my last post) would also fall into this category.

Tell me friends. Is Progressive 'Prog Or Not?' PLs leave replys in comments. Progressive is either progressive or not (oops did I say something similar earlier).

A real good band with very good sounds, tight arrangements and accomplished musicianship.

I am impressed by IQ on many of their albums I have heard - but this one sounds as if it was recorded earlier than it was and I like the tone behind it.

Members:

Peter Nicholls - Vocals

Mike Holmes - Guitars, KeyboardsMartin Orford - Keyboards, Backing vocalsJohn Jowitt - Bass guitar, Backing vocalsAndy Edwards - Drums

Tracklist:

1 - The Darkest Hour
2 - Fading Senses: After All / Fading Senses
3 - Out Of Nowhere
4 - Further Away
5 - Leap Of Faith
6 - Came Down

320 sampled.

Sangue Vivo-Live Blood-is the source of the obsessive rhythm to which, since time immemorial, beat the tambourines in the land of Salento, in the extreme South East of Italy. It is done to soothe the dark, painful force that certain people from the area have in their blood. To give it sound, voice and dance steps until it no longer hurts too much. The pain doesn't stop, but for them, as long as the music lasts, it seems possible to forgive life. If the America of slavery had the Blues as its expression of pain, if the young blacks of the urban ghettos talk about misfortune and rage to a rap beat, the people of Salento express their feelings and passions by beating the tambourine and dancing the 'Pizzica', to achieve their trance. The music is not just for expression, but for communication. And the dance is for courting. (reviewed by Raffaella Aprile) You can find more info here

L'America..

Enjoy!

This (the first) album by Zen Carnival draws from the early UK progressive movement (very much akin to the likes of Genesis - Camel - Pendragon). It is professionally done and very interesting to listen to. I'd like to hear their second album Bardo.

Ken Pfeifer - lead and backing vocals, keyboards
Bill Denison - guitars, backing vocals
Jeff Park - bass guitar
Mike James - keyboards
Chris Geihe - drums


Tracklist:

1. Big Sky (9:27)
2. Tigers (5:10)
3. Royalty (7:41 )
4. Water's Edge (10:22)
5. Inheritance (14:02)
1. Distant Rumbling
2. Into the Earth
3. The Meek
4. Icarus
320 Sample Rate.

01 - Lever du Prince (4:48)
02 - Chanson du Courage (3:11)
03 - Demain la Vie (4:20)
04 - Terreur et Masque (3:19)
05 - Le Prince Jardine (4:11)
06 - Safari (5:28)
07 - Ballade Inquiete (3:31)
08 - Terreur et Jouie - Le Prince Croule (13:51)

Line-up
- Éric Clément: Guitare
- Jean-Pierre Forget: Saxophone
- Robert Lepage: Batterie, Voix
- André Mathieu: Orgue
- Paul-André Thibert: Soliste, Harmonica, Flute


More info ... http://prognotfrog.blogspot.com/2006/11/dionysos-le-grand-jeu-canada-1969-lp.html


02 - Chanson du Courage ...
06 - Safari ............


Link for download "Dionysos - 1971 - Le Prince Croule" in comments ...

Unfortunately,
I didn't find a review in English more info... http://www.rudipur.com/step1/acidalt.htm


01 - After Midnight (3:41)
02 - Midnight Queen (4:07)
03 - Tumbling Like a Rolling Stone (4:28)
04 - Your Sweet Love (2:37)
05 - Six To Seven (3:53)
06 - Hard Rockin' Band (3:55)
07 - Hey Freddy (3:15)
08 - On a Sunny Day (4:08)
09 - Blind Man (7:23)


01 - After Midnight ...
04 - Your Sweet Love ...


Line-up
- Robert Ponger / Hammmond Organ, Piano, Clarinet
- Herbert Novacek / Fender Bass/ Lead Vocals
- Rudi Staeger / Drums, Percussion


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

Robert Randolph & The Family Band is a multicultural American funk and soul band composed of Robert Randolph, Marcus Randolph (drums), Danyel Morgan (bass), and Jason Crosby (organ). Frontman Robert Randolph was trained as a pedal steel guitarist in the House of God Church, Keith Dominion, and makes prominent use of the instrument in the band's music. Randolph a native of Orange, NJ began playing the steel guitar in the House of God Church, which used steel guitars in worship services. Sacred Steel as it is called is used in many African American Pentacostal style churches and while playing at a sacred steel convention in Florida Randolph was discovered.

The group's sound is inspired by successful 1970's funk bands such as Earth Wind & Fire and Sly & The Family Stone, another multicultural band comprised of former members of the Church of God in Christ. Randolph himself has also stated that his main influence as a guitarist is Stevie Ray Vaughan.
The first Robert Randolph & the Family Band album, Live at the Wetlands, was released in 2002. The band released their studio debut, Unclassified on Aug 5, 2003. They attracted the attention of Eric Clapton, and have subsequently toured as a supporting act with the British blues guitarist.
Before releasing albums with The Family Band, Randolph was selected by avant-jazz organist John Medeski to join him and the North Mississippi Allstars on their 2001 jam project, The Word.
In September of 2003 Randolph was listed as #97 on Rolling Stone's 100 Greatest Guitarists of All Time list.
In 2005, Randolph, along with Kirk Hammett of Metallica, guested on the song "Trinity" on Carlos Santana's album All That I Am. Calypso from this release has a distinct Santana-ish sound.
The third album, Colorblind, was released October 10, 2006.

Tracklist:

01 - Going in the Right Direction – 3:32
02 - I Need More Love – 3:42
03 - Nobody – 4:32
04 - Soul Refreshing – 3:41
05 - Squeeze – 5:46
06 - Smile – 4:53
07 - Good Times (3 Stroke) – 3:47
08 - Why Should I Feel Lonely – 4:25
09 - Calypso – 4:07
10 - Problems – 4:24
11 - Run for Your Life – 4:53

Personnel:
Candice Anderson – Vocals (bckgr)
Neal Casal – Vocals (bckgr)
Rick Fowler – Duet vocal on "Smile"
John Ginty – B-3 Organ, Piano
Leon Mobley - Percussion
Danyel Morgan – Guitar (Acoustic), Bass, Guitar (Electric), Vocals
Lenesha Randolph – Vocals (bckgr), Duet vocal on "Smile"
Marcus Randolph – Drums
Robert Randolph – Pedal Steel Guitar, Guitar (Acoustic), Guitar (Electric), Vocals

Thirteen Dreams Tribute Cd to the brilliant 60's/70's rock band Spirit is a collectors dream. This new six member Seatle Band is astonishing! "Redux's" Producer Dave Aumann pulled out all the stops on this one!
Spirit is widely recognized as one of the quintessential sixties psychedelic bands and their opus Twelve Dreams of Dr. Sardonicus is rightly heralded as one of the real classics of the era. The genius of guitarist Randy California, vocalist Jay Ferguson, bassist Mark Andes, keyboardist John Locke and drummer Ed Cassidy fills their music with a timeless surealistic beauty. Their music lingers in your mind and soul long after you've experienced it!
Continuing with and adding to this magnificent tradition is Thirteen Dreams. Long time veterans of the psychedelic music scene. Thirteen Dreams lovingly revisits Dr. Sardonicus" in its entirety, bringing this 1971 masterpiece into the new millennium.
Twelve Dreams of Dr.Sardonicus: "Redux" takes the whole psychedelic experience to a new level with theremins, sitars, violins, e-bows, moog synths, and other out-of-this-world sounds, creating pure musical magic. Almost double the length of the Spirit original, Redux also includes mind blowing new versions of other unreleased Spirit songs. To compliment our superb band 13 Dreams, we picked the world's finest musicians living in the area at the time, for the "Redux" Production.
13 Dreams consists of one of the Northwest's best guitarist's Jeff Carolus-lead guitar/vocals. The band also includes Ed Vance-keyboards, Devan Stovall-drums, Chris Swanson-bass, Dave Aumann-guitars/vocals/theremin, Erik Hansen-vocals. Guest musicians, including Steve Fossen; formerly of Heart, film composer Saeed Shahram, Don King and Jeff Beals;from Jr. Cadillac, psychedelic violinist Seth Warren, sitarist Larry Ludvig, German vocalist Bea Kendrick, Doug Peters and Desiree Tournier.
The Great Orion Nebula Photo that graces the "Redux" Cd cover and also shows up inside the 8 page color booklet was taken by the famous astrophotographer Russell Croman.
Interesting Footnote Doug Yule, formerly of The Velvet Underground, served as the Project Creative Consultant Director.

Tracklist:
01 - Apocalypse Wow!
02 - Prelude - Nothin' To Hide
03 - Nature's Way
04 - Animal Zoo
05 - Love Has Found A Way
06 - Why Cant I Be Free
07 - Mr. Skin
08 - Space Child
09 - When I Touch You
10 - Street Worm
11 - Life Has Just Begun
12 - Morning Will Come
13 - Soldier
14 - Deep Space
15 - In Her Eyes
16 - Theme For Randy California
17 - Walking The Dog (Spirit Style)

Enjoy.

Progressive rock meets Eastern enlightenment. Formed in April 1969 by Raja Ram in Ladbroke Grove, Notting Hill, London. They played a hybrid of jazz, progressive rock and Indian Music. The original line-up included Shiva Jones (voice, keys, percussion), Raja Ram (flutes, percussion), Sambhu Baba (bass, guitar), Maha Dev (guitar), Allan Mostert ((guitar), and Jake Milton (drums, percussion). Quintessence were tagged a 'spiritual' band and were playing new age rock before the term was born. Although their evangelism in retrospect might seem to be a bit over the top, the music retains its beauty created by some highly individual souls.

A short extract there from, http://www.mooncowhq.ch/Quintessence/index.htm

Do not worry if the evangelism mentioned puts you off, there are plenty of exciting psych guitar parts on this. If you like sitars & flutes combined with blistering guitar then you will like this. Personally I really like (at the very least) their first three albums.

Tracks:

1 - Giants

2 - Manco Capac

3 - Body

4 - Ganga Mai

5 - Chant

6 - Pearl And Bird

7 - Notting Hill Gate

8 - Midnight Mode

Bonus Tracks

1 - Notting Hill Gate - Single Version

2 - Move Into The Light

Mostly Autumn are Bryan Josh (electric guitar, vocals, 6 and 12 string acoustic guitars, e-bow), Heather Findlay (vocals, tombourine, 6 string acoustic guitar), Iain Jennings (keyboards, vocals), Liam Davison (electric guitar, vocals, 6 and 12 string acoustic guitars), Bob Faulds (violins), Stuart Carver (bass guitar), Kev Gibbons (low whistle, high whistle) and Allan Scott (drums). Also Angela Goldthorpe, Jonathan Blackmore and Andy Smith.

A UK band influenced by 70's UK Progressive Bands with a Folk slant. It's nice to hear a NON Pop Christmas sound.

Tracks
1 Spirits of Christmas Past
2 Winter is King
3 Merry Christmas Everybody
4 Fairytale Of New York
5 Silent Night

Spirits of Christmas Past and Winter Is King are ok songs in their own right. It's nice to hear an alternative version of Fairytale In New York, look out for the added part at the end of Silent Night.

Troy Donockley plays low whistle, bouzouki and tofran on 'Winter is King'

And YES - Merry Christmas Everybody IS a cover of the Slade song.

So Merry Christmas Everybody!

This one is for fun. They are announced as Yes. Yet the performance is all about Dave Cousins of the Strawbs. I suspect there was a collaboration between the Strawbs and Yes to confuse the Top Of The Pops people here in the UK.

Hope there are people out there who can help with the info. I certainly suspect we have 1 poster from Brazil who knows MORE about Dave Cousins than I do so this is also a Christmas gift to her.

Oh yes... look out for Rick Wakeman running a PAINT Roller across his keyboard :o)

Important Announcement:

Hello my friends.. I have an announcenment to make today. This will be the last show of the first incarnation of The Voice of The Moon.

This doesn’t mean that I won’t be doing the show anymore. I will stop doing it at this point for some reasons that I think I should explain to those who follow the show regularly.

First, the collaborators of the blog are doing a fantastic job posting rare and great albums. So many good albums actually, that the show’s posts get lost in between many great album posts and only regular followers see the show’s posts. The effort of doing the show gets too diluted in the actual configuration of the blog, and blogging, I think, (or at least blogging for musical reasons) is actually about posting albums and not about radio. The radio show was done precisely to show things that usually are not posted in the blog. Specially some genres that go beyond Prog Rock. As the weeks go by I receive less and less comments. That proves my point.

I said that the effort gets too diluted in the blog and I must add (second reason for stopping) that it takes time and energy to do a show like this. Technically it demands selecting the tracks, planning, editing, mixing, normalizing, backing up, re encoding, uploading, writing, finding nice froggy images, etc and only few people seems to enjoy it.

I like to think that the show is not too boring and that the problem is that the blog’s actual state and configuration is not the best frame for it. I suppose that people see so many good albums that they do not care for the show.

I expect that soon the website will have a special feature for the radio show... when that is done ( and after I am back from the operation I have to undergo and then after I take a month away for vacation) I will be back. I think.

Meanwhile keep coming to the blog and enjoy the great job the guys and girls are doing here.

This last show of the first incarnation of The Voice of The Moon is about folk. I have tried to reach an equilibrium point between the old psych-folk school and more contemporary acid or dark folk.

I truly hope you like it.

Thanks to all of you for your nice comments.

Merry Christmas, my dear friends.

Be happy and…

Keep Listening…!!!

Osiris is the only Progressive Rock band from Bahrein. This band plays a refined, carefully worked-out progressive rock with delicate and tasteful melodies. The sound of this group reminds the British prog bands of the 70's like Camel, Genesis, Caravan and they like the combination between the numerous instruments: guitar, two keyboards, flute, vibes & percussions. Their nice melodies and subtle musical structures are close to Camel, with a touch of Genesis and Yes.(progarchives)


Track listing
1. Fantasy (6:00)
2. Sailor on the Seas of Fate (11:46)
3. Struggle to survive (5:01)
4. Atmun (5:11)
5. Embers of a Flame (5:00)
6. A Story of Love (6:15)
7. Paradox in A Major (4:06)
8. Look Before You Leap (bonus track) (4:13)

Line-up
- Mohamed Al-Sadeqi / guitar, vocals
- Abdul Razak-Aryan / keyboards, vocals
- Nabil Alsadeqi / drums
- Sabah Alsadeqi / lead vocals
- Abdul Razzak Arian / organ and other keyboards
- Nader Sharif / piano and other keyboards
- Ali Khonji / bass

StRuggle to suRvive..

links in comments..

i couldnt find a good review or information around. A few months ago, i found this beautiful band, till i have it.i love to listen some songs over and over on it.one of a forgotten jewel.

Enjoy!

Banlieues..

1993 was a good year for me I guess. Rising to the ramparts of surreal journies through space (viz Ship Of Fools) to the classy inner spirit journey that Yanni provides. These sounds are more at home if you are some kind of Spiritual healer or channeler of energies - and that does bear some relation to the sounds of Ship Of Fools who channel energy in a totally different kind of manner.

extract from Wikipedia... Yanni, (born Yiannis Chrysomallis, Greek: Γιάννης Χρυσομάλλης, on November 14, 1954), is a Greek keyboardist and composer. He was born in Kalamata, Greece.

Yanni is a self-taught pianist who began his musical career by giving recitals for family members. Early in his life, he was also a competitive swimmer in Greece and set a national record in the 50-meter freestyle competition. He later attended the University of Minnesota and earned a B.A. in psychology. After graduation, Yanni chose to try a career in music, although he could not read music and had no formal training. Using his own form of musical shorthand, he began writing original works that defy categorization.

While a student at the University of Minnesota, Yanni joined an up-and-coming local group called Chameleon, which was headed by drummer Charlie Adams. [1] Chameleon earned some modest commercial success touring throughout the Midwest, particularly in the states of Minnesota, Iowa, Wisconsin, Illinois and South Dakota. Eventually, Yanni grew tired of the rock and roll lifestyle and focused solely on his instrumental career as a soloist. He moved to Los Angeles and eventually formed a small band including Charlie Adams and John Tesh.

Personnel:
----------
All music composed and produced by Yanni
Endre Granat – Acoustic Violin on The End of August and Felitsa.
Charlie Adams – drums
Osama Afifi – Bass
Charlie Bisharat – Violin
Karen Briggs – Violin
Michael "Kalani" Bruno – Percussion
Julie Homi – Keyboards
Bradley Joseph – Keyboards
Sachi McHenry – Cello

Review by Backroads Music/Heartbeats:
Yanni's latest is another extension of his creative spirit and stirring passion for life. Focusing on piano as his primary instrument, Yanni infuses his "signature" style with timeless, eloquent themes and plenty of romantic energy. No longer are rhythm and dynamic currents as vital to his sound, since he seems to have stopped fueling his music with "rocket power." His romantic outpourings lend a personal nature to In My Time, and this new effort should be received with enthusiasm far and wide. Yanni is uniquely expressive, and this new music is deeply touching on many levels.

ZaXXoN View:
This (his ninth release) opens with 'In The Morning Light' - peaceful and gentle. Delicate notes wistfully gracing your ears. This is New Age piano worthy of a Reiki or Seichem healing session. The orchestration is very relaxing I can imagine the new day dawning as I hear this. Then comes the haunting 'One Man's Dream' - for me personally this is my favourite track by Yanni - It was the first mp3 I ever downloaded from the internet and I was amazed at it's inner belief and radiance. Even now - after many years of listening - this song carries with it (for me) an innocent yearning for understanding and soul searching that defies belief as to how the past lives on through our days and stays with us as we forge into the future. It contains some of the most magical moments of piano playing that I can recall. As soon as I heard this I just had to rush out and buy myself a copy.

'Before I Go' changes the mood slightly - still with delicate piano movements but, as in the title there is a sense of impending movement. Again this would be an ideal track for a New Age Meditation and I can envisage entering a shop that is wistfully burning insensce and is full of Crystals, Tarots and I Ching. The next track 'Enchantment' is also a really nice tune - a little more lively than the previous three tracks with rippling melodies fulfilling the song's title. What is good about Yanni's style of play on this album is the way the titles of the songs are evoked into intrumental music that allows the imagination to be awakened.

'The End Of August' has always been a favourite of mine - I think of evenings that are starting to grow darker - late summer evenings in English gardens and parks. Enjoying time with other people, this song has some nice violin passages which sets off the piano beautifully.

'To Take... To Hold' is a serene and gentle selection that seems to place the listener in a mood of sincerity. Another composition that I can listen to over and over again.

'In The Mirror' has some of the haunting quality of One Man's Dream but, also has a joyous background - It is amazing how Yanni manages to select notes from an instrument and lift the listener into worlds that exist within the human
consciousness. Towards the end of this piece there is a gentle uplift in orchestration that has some really wonderful accompaniment to it. I have heard Yanni described as Middle Of The Road - But I feel he is Top Notch.

'Felitsa' I would suggest is a Love song, certainly I imagine being with Felitsa or being with a close friend of the opposite sex. It has a waltzing theme and some grandeur, Imagine yourself in some wealthy aristrocrat's ballroom in the 1700's dancing with the enchantress (heh heh Only kidding about the enchantress, but she is unknown [to me]). I was not joking about the place this music takes me too.

'Whispers In The Dark' is also aptly named notes are softly played with the orchestration being slightly proud. It does have some wonderfully played sections at times as if his fingers are tip-toeing over the keys and with the orchestral foreground providing a scenery (that sceenry is the dark). 'Only a Memory' could easily be filled with some lyrical content (well as all these pieces have beautifully crafted melodies I guess they all could, but this one especially).

The final track 'Until The Last Moment' has some rising (and especially attractive are the falling rolls at the beginning), it develops into a lingering melody that hangs in your heart way after listening to the track. Shortly after there is a movement change and around the middle of the piece we get some serene moments of peaceful spiritual inner life before the playing picks up again and moves on into a stronger (but never harsh) environment. It seems the best was saved till last as the final 90 seconds is pure, majestic playing of intrigue and wonder. I love it.

Ideal if you want to do something and do not want the distraction of vocals, as well as simply relaxing meditative times.

Tracklist:

1 In the Morning Light 3:49
2 One Man's Dream 2:43
3 Before I Go 4:30
4 Enchantment 3:51
5 The End of August 4:51
6 To Take...To Hold 4:01
7 In the Mirror 4:04
8 Felitsa 4:51
9 Whispers in the Dark 5:24
10 Only a Memory 4:15
11 Until the Last Moment 6:22

Running Time: 48:40

All Music Guide:
Genre : New Age
Styles : Contemporary, Instrumental, Adult, Alternative, Progressive, Electronic.

Unfortunately,
I didn't find a complete line-up
I didn't find a review in English, only in German language http://www.wiskarecords.de/seiten/CDs/talesofpurple.html


01 - Ekmek (5:50)
02 - Patella Black (3:46)
03 - Turkish Tunes (4:09)
04 - Big Boss Smile (4:08)
05 - Derule (2:57)
06 - Monroe Song (2:31)
07 - Silent Farewell (3:07)
08 - Tales Of Purple Sally (7:31)
09 - Anatoly Highway (2:26)
10 - Call Of The City (3:37)
11 - How Half Is The Moon (4:01)
12 - Billy McGraw (4:04)
13 - Elements (9:45)
14 - Istanbulda (5:57)
15 - Dadaloglu (4:38)
16 - Kalender (3:48)


Line-Up
- Holger Czukay
- Jaki Liebezeit
- Michael Karoli
- Gerd Dudek
- Alex Wiska
- Cem Karaca
- Huseyn Sultan Oglu
- Seyhan Karabey
- Ünol Buyükgönenc


03 - Turkish Tunes ...


Link for download "Alex Oriental Experience – Tales Of Purple Sally" in comments ...

Reissued in 1996, it says: "The Long awaited reissue of the rarest Italian progressive record of the 70's ; 20 copies pressed for friends 23 years ago! i was lucky to trace the band and they gave me a tape with unreleased tracks, added here as a bonus. Musically close to bands such as Arti E mestieri , Duello Madre but less jazz and far better!" (mellow rec.)






Preghiera Di Sasso / Diapason

Praxis 5:13
Esperimento 4:18
Evoluzione 6:05
Atmosfera 5:25
Il Suono Del Silenzio 4:41
L'Invidia 7:02
La Macchina Del Tempo 3:41
La Paura 2:47
Esperimento 2:22
Frammenti 2:36

Riccardo Tosi - guitar
Leonardo Epifani - electric piano
Luigi Gialluca - sax
Paolo Previtali - bass, drums
Tommaso Perlino - drums, percussion
Emilio Di Pasquale - guitar
Ubaldo Di Gregorio - sax, clarinet
Salvino Epifani - bass

you can find some more information in italian language here

pRaxis..

Enjoy!

Biography:
Here & Now were the archetypical hippie/punk crossover band and stalwarts of the 70s free festival scene. Although originally formed in 1974 it was at the Watchfield Free Festival of August 1975 where the Here & Now band truly came into being. They regrouped in March of the following year and re-captured the spirit of their first encounter as the "Primal Tapes"; two tracks from this session appearing on the "Gospel Of Free" CD. The summer of '76 was spent touring as many free festivals as possible in the UK before heading off to tour France. At the beginning of 1977 and the end of this first French tour the band recorded a studio and live session for Radio France, and a track from this also appears on "Gospel Of Free". Read more here
Homepage

Album:
Easily the proggiest of Here & Now's output of the 1970s and 1980 (the remainder of their albums focus on progressive songwriting, incorporating ever deeper punk and reggae influences), "Give and Take" possesses something of a mysterious otherworldly quality and comes highly recommended, despite the fact that I can't really award masterpiece status, mainly because of "This Time".Full Review: Here




Here & Now - Improvisation:
Here & Now - Give & Take:

Imagine. One day I walk into a store and see this enticing looking cover. Hmm a Double Album by a band I have never heard of. Price £5 and usually it would retail at around £20. SO I take the chance and rush home to listen to it. As the sounds start I am amazed by the lovely richness of the music. I started listening to 1993 - Close Your Eyes (Forget The World).

Track 1 In The Wake Of. It starts off sounding very similar to the Ozric Tentacles I had already heard - but I found the sound far richer and nicer. Very soon my imagination starts racing and I am in a world of beautifully intense music rippling with divine imagery. I am listening to the first 7 minutes of almost 110 minutes of music and I am entranced with the sound already. There are no vocals until the end and the words come out (spoken gently) 'This combination of between movement which is very machine like and between absolutely nothing turn this ... it is timeless . We have no beginning no end.'

That small interlude allows the transition to track 2 - Where Is Here which starts with a swirling jangle of sound and gathering the beat that seems to ebb and flow all around your being. By this time I am aware that I have picked up an absolute GEM of an album and am increasingly excited about every sound coming from the speakers. Another spoken interlude in the central portion of this song 'If you are frightened of dying and you're holding on - you see devils tearing your life away. If you've made your peace then the devils are really angels freeing you from the earth'. By this time I am listening intently - and then the sounds carry on inventively lifting your imagination as it continues.

This band are from the UK - Yorkshire to be exact and they have brought Space Rock forward in a wonderful natural movement. There are samples from movies (Wizard Of Oz) and I often feel as if the music has an exotic East European background side to it. But this is a band that is as psychedelic natural as anything you can imagine. You will find some amazing quotes (Ken Kesey on L=Sd^2) by which time the album gathers a really great intense section.

If you want to experience a psychedelic mind-expanding TRIP without actually taking any drugs then this music will get you there !

I could fill a book with my pleasures of these songs - I have been listening to them regularly for the last 10 years or so and I will allow you to share with me.

'Inner space as much as outer space provides the boundary for our exploration' is the speech on the final track - Eternal Guidance. And by this time you should find that the experience is total... and then the fade out begins with Dorothy from the Wizard Of Oz saying repeatedly 'Because I Love You All - Because I Love You All' Of Course. LOVE is what IT is ALL ABOUT!.

Here is a track listing...

1993 - Close Your Eyes (Forget The World)
01 In The Wake Of... (7:37)
02 Where Is Here? (6:42)
03 Passage By Night (8:44)
04 L=Sd^2 (6:33)
05 S.O.L. 93 (5:02)
06 Star Jumper (5:41)
07 Western Lands (5:46)
08 Close Your Eyes (Forget The World) (9:29)

1994 - Out There Somewhere
01 Elevator (6:15)
02 Diesel Spaceship (5:12)
03 First Light (6:11)
04 Guidance Is Internal (7:56)
05 Out There Somewhere (10:08)
06 From Time (15:08)
07 (Eternal Guidance (6:40)

if you want further proof of what this album is like then just open this page for another excited beings comments :o)

http://www.progressiverockradio.com/modules/myReviews/


Guidance Is Internal:

As a classical violinist, Nigel Kennedy has always cultivated a very careful reputation as a rebel (scruffy beard, spiky hair, no bow tie) while making a comfortable living playing a generally pretty safe repertoire; audiences who wouldn't cross the street to hear genuinely difficult music by Elliott Carter or Michael Tippett could go listen to the T-shirted Kennedy play The Four Seasons and feel like they were on the cutting edge. Outside the classical arena, his projects have been a bit more interesting, and none has been more affecting than this eerily lovely collection of new compositions and folk tunes drawing on Polish and other Eastern European traditions. Teamed up with the Krakow band Kroke (violist and flutist Tomasz Kukurba, accordionist Jerzy Bawol, and string bassist Tomasz Lato), Kennedy delivers a set of tunes that are, by turns, dramatic, soothing, emotionally tormented, and romantically yearning. Lullaby for Kamila and One Voice are not only two of the loveliest performances of Kennedy's recorded career, they are also two of the most gently affecting compositions committed to tape in any genre in recent memory. Ajde Jano features a beautiful cameo appearance by the brilliant (and recently ubiquitous) singer Natacha Atlas, and Kukush showcases Kennedy's electric violin in a very sonically interesting setting. (As does T 4.2, though the latter is much less musically interesting than Kukush.) Highly recommended. ~ Rick Anderson, All Music Guide http://www.mmguide.musicmatch.com/album/album.cgi?ALBUMID=1420074&AMGLENGTH=full#review


01 - Ajde Jano (4:24)
02 - Lullaby For Kamila (3:24)
03 - T 4.2 (6:11)
04 - Eden (6:06)
05 - Dafino (2:51)
06 - Jovano Jovanke (4:25)
07 - Ederlezi (5:47)
08 - Kazimierz (3:28)
09 - One Voice (4:54)
10 - Tribute to Maria Tanase (3:11)
11 - Time 4 Time (5:20)
12 - Vino (6:03)
13 - Lost in Time (4:22)
14 - Kukush (4:42)


Line-up
- Nigel Kennedy / Violin, Violin (Electric)
- Tomasz / Double Bass - Jerzy Bawol / Accordion, Vocals
- Miles Bould / Guest Appearance, Percussion
- Tomasz Kukurba / Flute, Percussion, Viola, Vocals
- Kroke Band
- Kraków Philharmonic / Guest Appearance, Strings
- Natacha Atlas / Guest Appearance, Vocals
- Mo Foster / Bass (Electric), Guest Appearance
- Aboud Abdul Aal / Guest Appearance, Violin


01 - Ajde Jano ..........
02 - Lullaby For Kamila ...
11 - Time 4 Time ....................


Thanks to my friend ribeirorock for his recommendation .-)


Link for download "Nigel Kennedy & The Kroke Band - East Meets East" in comments ...

The album "Armageddon" by the formation PLJ Band is often considered as the most acclaimed Greek progrock music. It was released in ’82 but immediately forbidden because of the blasphemical lyrics and the albums had to be destroyed. Fortunately at about 300 records survived and ended as highly sought after ‘collector items’ (value more than US $ 300,00) in the arms of some very lucky and wealthy progheads many years later! The progressive German label Second Battle re-released "Armageddon" on CD from the original LP because the mastertapes were lost. The musicians: Laurentis Macaeritsas (lead vocals, 12-string guitar and keyboards), Antonis Mijelos (lead guitar, acoustic guitar), Jimmy Vasalakos (bass, backing vocals), Pavlos Kikrilis (rhythm – and classical guitar) and Tolis Skamajouras (drums and percussion). The sound is very unique: a captivating progressive blend of acoustic – and electric folk and (space) rock with a strong psychedelic undertone. The stunning surrealistic cover art is in the vein of Salvador Dali. Perhaps his mind reigns over this album?

The album "Armageddon" is one of the most original progrock albums ever made. The tension between the acoustic – and classical guitars (twanging and rhythm) and the soaring and spacey keyboards on one hand and the fiery and howling, distorted electric guitarplay on the other hand creates a lot of tension and compelling climates, emphasized by the hypnotizing vocals. If you want a psychedelic experience without drugs, this one is yours! http://www.progarchives.com/Progressive_rock_discography_BAND.asp?band_id=934


01 - Intro (5:03)
02 - I See People (4:29)
03 - Ezekiel (3:49)
04 - Oye (4:54)
05 - Armageddon I (7:29)
06 - Armageddon II (7:03)
07 - Void (2:12)
08 - Theme (4:58)
09 - Starwish (1:44)


Line-up
- Laurentis Macaeritsas / Lead Vocals, 12-String Guitar, Keyboards
- Antonis Mijelos / Lead guitar, Acoustic Guitar
- Jimmy Vasalakos / Bass, Backing Vocals
- Pavlos Kikrilis / Rhythm, Classical Guitar
- Tolis Skamajouras / Drums, Percussion


03 - Ezekiel ....
04 - Oye ....


Link for download "P.L.J. Band - Armageddon" in comments ...

Of course not to be confused with SCORPIONS, because SKORPIO hail from Hungary, and they released their album ‘Rohanas’ 30 years ago, so it might sound a bit dated here and there. However, SKORPIO still proves they could definitely play classic 70s orientated Hardrock, which was obviously influenced by DEEP PURPLE, URIAH HEEP and LED ZEPPELIN. They sounded very professional and were maybe one of the first real hardrockbands from Hungary. Their re-issued album ‘A rohanas’ also contains 3 unreleased bonustracks, so for a die-hard fan of the band this is already somewhat like a must to check out. In total we can find 12 songs, and the band was also specialised in some long instrumental passages (such as on the progrock piece “Fantaszia”) and adding some pop influences (trumpet), but the best songs are the pure 70s Hardrocksongs “Jo lenne, ha szeretnel” (DEEP PURPLEish), “Keresem, keresem”, “A rohanas” (a la LED ZEPPELIN), “Hosszu az ut” (one of the strongest song, a bonustrack!) and “Minden nap megtortenhet velem” (a la HEEP). So here’s another band to check out and like most of the other Hungarian acts recently reviewed, I also hope to review their other releases, because you never know if they released even better records than the ones you get to hear first. More info at: http://www.hungaroton.hu/ http://www.angelfire.com/zine2/strutterzine/HOTNEWREVIEWS43.htm

Skorpio’s debut album (1975) was a storming album full of deep progressive rock and 70’s rock sensitivities. This 4 piece rock band combined heavy guitar with deep and vivid Moog synth, bass and percussion elements. Hungary was responsible for some excellent prog rock and Skorpio would be right up there for definite consideration. Skorpio’s music is a blend of the space tendencies of Solaris with the 70’s vibes of Queen. They even draw onto this album snippets of “Rhapsody In Blue” ! Karoly Frenreisz (bass guitar, saxes and vocals) was in the original 1970’s line up of Hungary’s LOCOMOTIV before joining Skorpio. http://www.geocities.com/asdfasedf3/yetanother52.html


Line-up
- Frenreisz Karoly / Bass, Sax
- Szucs Antal Gabor / Guitar
- Papp Gyula / Keyboards
- Gekete Gabor / Drums, Percussion


Skorpio - "A Rohanas" [1975] (@192)

01 - A Rohanas (2:48)
02 - Jo Lenne, Ha Szeretnel (4:09)
03 - Fantazia (Gershwin A 'Raphsody In Blue' Temaira) (7:34)
04 - Maskepp Dobogna (5:04)
05 - Igy Szolt Hozzam A Dedapam (3:34)
06 - Keresem, Keresem (7:38)
07 - Miert Kkell Elfelednem (4:04)
08 - Minden Nap Megtortenhet Velem (6:29)
09 - Esti Enek (3:06)
10 - Hosszu Az Ut (Kislemez 1973) (4:29)
11 - Szevasz, Haver (Kislemez 1973) (4:16)
12 - Szikrazzatok, Lanyok ('Szikrazzatok Lanyok' Filmzene 1973) (3:35)




02 - Jo Lenne, Ha Szeretnel ...
03 - Fantazia .....................
06 - Keresem, Keresem ...


Skorpio - "Ünnepnap" [1976] (@320)

01 - Menetirány (3:28)
02 - Rongylábkirály (3:44)
03 - Ne Haragudj Rám (4:17)
04 - Ágnes (2:36)
05 - Ünnepnap (6:35)
06 - Mondd, Te Szép Lány (3:52)
07 - Vezess át az éjszakán (6:24)
08 - Ha Újra Kezdenénk (3:52)
09 - Nyújtsd A Kezed, Barátom (3:19)
10 - Újra Az Úton (3:39)
11 - Lead Me Now Through The Night (6:11)






01 - Menetirány ......
05 - Ünnepnap ...

Links for download "Skorpio - A Rohanas" and "Skorpio - Ünnepnap" in comments ...

These guys knew how to have fun in the studio (faire RIPAILLE is to feast). They only managed one album on the very collectable Ballon Noir label and had almost completed a second one when their label went bankrupt. If not a commercial success, at least musically speaking was RIPAILLE a major gem that has now been re-released by Musea, with three bonus track of that second album that was never to be. Their music is definitely axed at medieval times telling a story of a old woman getting burned for sorcery (sounds familiar?), but the music is so well played and descriptive that you are riveted to your seat (provided you understand French of course until the end of the album. The music may remind you of GRYPHON or GENTLE GIANT, and is right up there in terms of artistic success. Recommended for a real good time and for something quite different from your ordinary prog. http://www.progarchives.com/Progressive_rock_discography_BAND.asp?band_id=970

There are three outstanding gems on the highly collectable Ballon Noir label, the solo albums of Emmanuelle Parrerin and Laurent Thibault and the fantastic Ripaille album. This is simply one of the best combinations of lush symphonic rock and folk-rock ever made! Similar to the music of Gryphon, Fruupp and Gentle Giant, this is just as personal. Ripaille's music sounds surprisingly unpretentious, perhaps on account of their great melodic talent. Medieval elements blend well alongside jangly electric guitars, sound effects and hovering synthesizers. The relatively short tracks display great variety and lots of invention. Little could be improved here! (Another great album in quite a similar direction was released by Troisieme Rive in 1978.) A second album was completed in 1980, but Ballon Noir had financial problems as the major labels didn't bother with this kind of music. Taken from Scented Gardens of the Mind - A guide to the Golden Era of Progressive Rock (1968-1980) in more than 20 European Countries, by Dag Erik Asbjørnsen, Borderline Productions, ISBN 1-899855-12-2 http://www.alexgitlin.com/npp2/ripaille.htm


01 - Fils de la Lune (4:29)
02 - Le Jardin des Plaisirs (5:38)
03 - Il n'y a plus Rien (3:29)
04 - Satane Jardin (2:41)
05 - La Veuve de Nicole (5:08)
06 - Le Sabbat des Sorts (3:55)
07 - Les Loups (2:40)
08 - La Vielle que l'on Brula (3:52)
09 - Epilogue (4:18)

Musea bonus tracks:
10 - Ah! Faut Profiter (5:10)
11 - Gratis et en Plein Air (4:13)
12 - Les Chameaux (5:20)


Line-up
- Patrick Audouin / Grand piano, Fender Rhodes, synthesizers, spinet, acoustic guitar, tubular bells, rattle, cymbals, vocals
- Patrick Droguet / acoustic & electric guitars, triangle
- Michel Munoz / drums, rototoms, cymbals, crotales
- Gérard Duchemann / lead vocals, synthesizers, string-ensemble, spinet
- Jacquy Thomas / bass, string-ensemble, vibes, tambourine, vocals
- Michel Santangelli / drums (10-12)
- Hugues De Courson / rototoms, crumhorn
- Robert Le Gall / violin
- Alain Hergouarch / tambourine
- Emmanuelle Parrenin / triangle, vocals
- Jo Courtin / accordion
- Pierre Holassian / Alto saxophone
- Bruno Menny / sound effects


02 - Le Jardin Des Plaisirs ...
08 - La Vielle Que L'on Brula ...


Link for download "Ripaille - La Vieille Que L'on Brula" in comments ...

Biography: LARD FREE was a bit the project of Gilbert Hartman much the same way that HELDON was Richard Pinhas's project. Both groups hold many common points namely highly experimental but yet accessible music that can be likened to Krautrock, a good understanding of minimalist music such as TERRY RILEY, constant personnel changes and the same musical influences namely CAN, ENO and Robert FRIPP. Both Pinhas and Hartman collaborated on each other's albums.
LARD FREE's eponymous debut album is full of great spacey rock with searing guitars, superb drumming and great sax and bass playing. The follow-up "I'm Around Midnight" veered more towards electronics spacey layers sounding even more like they would come from the other the Rhine River. The last album called III but also known as "Spirale Malax" is yet even more Krautrock sounding and can be likened to some of the best TANGERINE DREAM albums of that era. Recently Spalax Records released a fourth album called "Unnamed" that was recorded well prior to the debut album around 71 & 72. It shows the band in yet another totally different mood this time close to RIO. Some real explicit moments and the music slaps you musically around a few times before you understand what is happening to you.
Album: It is an interesting mix of late sixties free jazz, early seventies jazz rock (Miles Davis, Soft Machine), and semi-improvisational free rock with a slightly psychedelic sensibility. Lots of ghostly sounding vibraphone solos, stuttering saxophone outbursts and freaky jazz guitar runs can be heard. "Petit Tripou du Matin" seems to have vague ethnic influences with its raga-ish sounding electric guitar and slightly oriental sounding saxophone.



Lard Free - "cochonailles":
Upload on Request. Links in comments...

Bioghraphy: One of the most mysterious groups from the French experimental underground of the early '70s, Fille Qui Mousse was as radical as the German band Faust, and utilized similar studio trickery. Their one album never got properly released, and they might have been forgotten if not for being included on the influential Nurse With Wound list of influences in the early '80s. Fille Qui Mousse was a leftist political collective led by journalist/musician Henri-Jean Enu in the very early '70s in Paris. In 1971 they obtained a record deal with the legendary Futura label, which had mostly released avant-jazz at that time but were expanding into more experimental rock. The record was recorded in the summer of 1971, most likely in one day, and then mixed in December of that same year. Over a year passed before about a dozen test pressings of the record were made in early 1973. Unfortunately, Futura was having financial problems at the time and these 10 or 12 copies were all that existed, becoming one of the most rare, sought, and yet virtually unobtainable LPs of French avant-rock. Finally, in the mid- to late '90s, several CD versions of the record were released, under the titles Trixie Stapelton and Se Taire Pour une Femme Trop Belle, often without song titles or the names of performers or composers (which weren't listed on the test pressing), until the Fractal release of Se Taire in 2002.

Album: Often referred to as the French Faust, FQM's album mixed collage, psychedelic rock, surreal poetry, and organically tapped noise purity with the absolute best of experimental 70s rock-and-beyond. "Straight off, we plunge into that Faust structure...riffing with a psychedelic bent, hints of Gong too...we move into bizarrely constructed patterns of percussive sound and chopped-up rock music, and just as a musical focus takes shape it disappears. A poem, recited by a girl, over an urban landscape populated by numerous barking dogs then gives way to an intensely strange mangled web of sound that's almost brain numbing. And, yet more in the way of strangeness is a piano based piece that recalls some of Roger Doyle's early experiments. The only actual song has the most bizarre lyrics (in English) and is followed by an excursion in distorted and processed guitar. Next is where the folk music comes in, but even with gypsy violin FQM's interpretation of folk is strange and twisted. Finally, we return to the psychedelic jamming that opened the album, but with a jazzier edge, ending the album perfectly.

Only recommended for experimental music lovers and Nurse with Wound list collectors.

Fille Qui Mousse - Antinomique:

Biography:
He began his career as a "light" singer, recording a few singles. In 1971 he started his particular journey through experimental music, recording his proggiest issues: "Fetus", "Pollution", "Sulle corde di Aries". Some very atmospheric parts and some very melodic songs make these records worthwhile, along with musical references to the arabic culture and italian folk that will surface from time to time in all of his following output. His next records are gradually more and more experimental, exploring minimalism and culminating with "L' Egitto prime delle Sabbie", with two long pieces based on hardly one note and its harmonics. Very difficult, I can´t recommend this period to anyone but music scholars or any Stockhausen students. After this, came a great change of direction.
From "L'era del Cinghiale Bianco" to "Mondi Lontanissimi", these are pop-rock records, but very interesting (and even commercially successful) ones. Especially the lyrics, sometimes very deep, sometimes ironic, full of references. He starts singing in many different languages, even within one song.
With "Fisiognomica", Battiato started walking towards classical music, using orchestra on some songs and composing a couple of operas. "L'Imboscata" and "Gommalacca" are rockier than any of his previous works. The latest has a shy return to prog and experimental, yet for a wide audience. Album:
Battiato's third release and showed his fascination for electronic, minimalist and systemic musics. As such, it is quite similar to "Pollution" except much more electronic based and with a more definitive style. There are also a lot of modern classical strains coming through here and a great spacey feel again reminding me of Sensations Fix or Gong at times. A simply fascinating album.

Track listing
• Side A
1. Karuna Khyal 1 (24:32)
• Side B
2. Karuna Khyal 2 (22:30)

Alomoni 1985 is a long lost artefact from the underground Japanese scene during the mid '70s. The album was release privately by Voice records around 1976 and re- released on Paradigm Discs in 1998, limited to 500 hand numbered records. There is very little known about the group; band members and production information are both unknown. Around the same time ('75) the group released another album under a different name Debon by Brast Burn which act as a perfect pair to this album.

Over the last decade many rumours about the band have been circulating the Japanese Psychedelic underground scene who owes a huge debt to Karuna Khyal in all their oddities. Although hailing from Japan their influences are mainly drawn from the German Kraut rock scene, following in the foot steps of greats such as Faust, Guru Guru and Can, alongside large influences from the bluesy rock played by Hapshash & The Coloured Coat and Captain Beefheart. Throughout the vocals are not dissimilar to Damo Suzuki hysterics; mumbled and sometimes screamed in insanity. Their overall sound is defined by their raw primitive bluesy sound, wealths of tape manipulation, plenty of mouth organ, electronic sounds, electrifying jam sessions, crazy vocals… all packaged up nicely into two lengthy composition.

Contain only two full blown psychedelic trip clocking in just short of 50 minutes this album will leave you strung out pleading for your sanity back. Each song is structured up on hypnotic rhythms, which is surprising considering the lack of drums in the album. In short this is one of the most addictive albums I have ever listened to. This one will be put on repeat for days at a time, unable to bring myself to stop the immense pleasure I receive from listening to this album.

The first piece "Karuna Khyal part 1" is a connection of smaller pieces fused together to produce one large song. In most cases an amazing flow between the pieces is found throughout. Imagine Captain Beef heart's Minor man slowing down to about half pace counteracted by other worldly ambience built up via haunting tap loops and frightening side guitar work. Unfortunately this track can loose its footings at times spoiling the overall effortless flow of the song. The only thing I can say about the second song "Karuna Khyal part 2" is Perfection. This is of the most electrifying psychedelic/ experimental music I have heard. The madness only intensifies from here on in, reminding me somewhat of Hapshash & The Coloured Coat's early material. I cannot describe this track with words; it is something you have to listen to believe.

This was one of my first introductions into the Japanese scene and holds a dear place in my heart. This is not to say it was love at first site, it was a tedious experience coming to terms with the genius of this album. At first there seemed little point or direction to this album, but with each listen you will piece together new links. I cannot stress enough time is something this album needs.

Unfortunately I cannot award Alomoni 1985 with a five star rating like I would if the album was solely "Karuna Khyal part 2". I can find too many faults in the first song to confidently give this a masterpiece status. Highly recommended especially to fanatic Kraut rock and Japanese psychedelic fans. ~Review by Black Velvet@Progarchives.com

Link is in comments.....

TRACK LIST:
01. Pane Astrale 4:33
02. Saturno 21:38
03. Il Viaggio del Elric 13:06
04. Ipernatura del Tempo Centrale 9:16
05. Antichi Occhi Cicci 8:53
06. Meccamica Superiore 9:10

All tracks: by Universal Totem Orchestra.

LINE-UP:
Ann Torres Fraile - vocals
UTO Giorgio Golin - drums
Dauno Giuseppe Buttiglione - basses
Marco Zanfei - keyboards

With:
Marco Mauro - lead guitar (2 to 5)
Marcello De Angelis - lead guitar (6)
Giuseppe Saiani - guitars (2 to 4, 6)
Giuliano Eccher - guitars; viola (3)
Francesco Ciech - violoncello (1)
Antonio Fedeli - saxophone (2 & 4)
Gianni Nicolini - tabla (3 & 4)
Giacomo Plotegher - keyboards (2 & 6)
+ 7 additional vocalists

Produced by BWR & UTO.
Engineered by M. Gadotti at "Mass Music", Lavis.

Synopsis.In a few of the UTO-related reviews I've read "Rituale Alieno" is usually described as a classic Zeuhl production with obvious influences of Magma, with which I can't agree for following reasons. First: this music is too many-sided to be classified monosyllabically. Second: there is only one track on the album where the presence of elements of Zeuhl is unquestionable, whereas the others contain either the bits of that genre or are free of them entirely (like the album's opener, for instance). Third: apart from the male choral parts, there is nothing influenced by Magma on "Rituale Alieno". (In my view however, the choral arrangements on the album are inspired rather than influenced by Magma: they're much more inventive than those on any of the albums by Christian Vander's brainchild). In fact, UTO perform a highly original, complex, and very intriguing music, which, moreover, changes its 'face' on each of the album's six tracks. "Rituale Alieno" is incredibly diverse stylistically, and only elements of Opera, created by wonderful vocals of Ann Torres Fraile, remain unshakable throughout it. It's impossible to imagine all the versatility of the music on the album without hearing it, as all of the tracks here, without exception, are structurally polymorphous and, in addition, differ from each other by many stylistic aspects. Pane Astrale (1) is the only song on the album that doesn't include the entire band. It consists of constantly developing interplay between passages of acoustic piano and violoncello with Ann's vocals soaring over it and represents nothing else but a contemporary Classical Music with elements of Opera. Inasmuch as the latter elements are featured on all of the tracks here, I won't name them while describing the further contents of the album. The 21-minute Saturno is that only exception, which I mentioned at the beginning of the review. Being musically as complex and intriguing as all of the other compositions on the album, Saturno, however, is the most diverse of them stylistically and represents a composite conglomerate of Symphonic Art-Rock, Zeuhl, Classical Music, Jazz-Fusion, Space Rock, and music of the East. Il Viaggio del Elric is almost exclusively weaved from symphonic textures (think of Classic Symphonic Art-Rock, Classical Music, and acoustic medieval music), which, though, doesn't make it at least a bit less eventful and more predictable than the others. On the following two tracks, Ipernatura del Tempo Centrale and Antichi Occhi Cicci, the music turns more into 'jamming' realms, which is the department of Space Rock and Jazz-Fusion (or just Space Fusion, if you will), though elements of Symphonic Art-Rock are still here. Meccamica Superiore is the only track on the album containing some heaviness and is about a Classic Symphonic Art-Rock with elements of Cathedral Metal and Classical Music. Finally, I think I should mention that tracks 2, 3, & 4 contain also some quantity of elements of music of the East.

Conclusion. UTO is the most astonishing music source I've tasted of this year, and their "Alien Ritual" became a revelation to me. This is just a magnificent masterpiece and is one of the most profound and interesting albums released at the end of the last millennium, not to mention 1999. Heartily recommended. The more contemporary Italian bands I hear the more I inclined to think that Italy is today in the vanguard of the Progressive Rock movement in Eurasia.
~VM: September 22, 2003~ from : http://www.progressor.net/review/universal_totem_orchestra_1999.html

Well, Well, Well... I am back with more music for you all.
This week show is about good songwriting (and covering)... thanks to our beloved friend Nahavanda I discovered the album "Re-Covers" by Albert Kuvezin and Yat Kha a few weeks ago.. since then I have been unable to stop listeining to it so I have decided to use it as a starting point for today's show...

As the Yat Kha album is rather crazy and might sound corrosive to our western ears I decided to get even more corrosive (hehehehe!).. by playing the new Nick Cave project: Grinderman. There's a funny story about this album,. It was supposed to be released in March 2007 but somehow it slipped into the internet 4 months before its official publication. How? Who did it?.. We'll never know I guess... Anyway I dedicate this songs to Seebaer, I know he likes Nick Caves a lot.


The rest of the show is more of the usual madness.
Do not miss tye cello-rock ensemble Rasputina, brainchild of the extremely brilliant Melora Craig, the rabid madness of Marc Almond or the undeservedly forgotten great songs by Daniel Dax...

..and there're more surpirses.. specially chosen for you all...

Be well, enjoy yourselves and...

Keep Listening...!!!

I love it and it's rare.

Unfortunately,
I didn't find a review

01 - Callin' Out (2:30)
02 - Sing Your Song (3:04)
03 - A New Breed Of Man (3:10)
04 - Lady Of Darkness (3:59)
05 - Movin' On (2:33)
06 - The Story of Angelique (3:46)
07 - Starvin' Man (3:50)
08 - Ribbon And Bow (2:35)
09 - Money Slave (3:17)



Line-up
- Richard Barcellona / Vocals, Lead Guitar, Harmonica
- Gallen Murphy / Vocals, Bass, Acoustic Guitar
- John Keith / Vocals, Organ, Bass, Acoustic Guitar
- David Novogroski / Vocals, Drums, Percussion


02 - Sing Your Song .........
06 - The Story of Angelique ...


Link for download "Edge - 1970 - Edge" in comments ...

"None of Fates Warning's previous output gave any indication that Jim Matheos could play like this. Even after Fates Warning moved from heavy metal to more progressive music, the guitar sound remained metallic This is not so much an impressive guitar recording as it is a pretty one. His sound, compositions and arrangements are stunning and full of emotion. The one song that stands out here is "Pause for Paws." It is without question Matheos' most impressive guitar moment captured on disc. When the time comes for Jim to hang up his electric guitar with Fates Warning, it is hoped that he returns to this style. This is a very reflective listen and a major stamp of credibility to a musician who has remained committed and focused on his musical goals. " review from www.allmusic.com,

1. Remembering Rain
2. Winter's Thaw
3. Gay Head
4. Metaphysical Soup
5. Laurel Dawn
6. The Air of Autumn
7. Three Wishes
8. Pause For Paws
9. Silent Snow, Secret Snow

line up :
Jim Matheos - Guitar
Eugene Friesen - Cello
Charlie Bisharat - Violin

link for First "Impressions" in comments

Absolutely the most underrated album from any Floyd member for many years. God knows why? This in essence could almost be a Floyd album all on it's own. Incredible to think that also Gilmour's first solo album was also hatched at this time, Wet Dream has great contributions from Snowy White on guitar, Mel Collins on Sax, Juliette Wright with lyrics but most of all Rick Wright himself. the album is richly laden in deep textures of prog, jazz and just plain old Floydian styles. 'Against all Odds' questions the deep emotion behind relationships and their subesequent break ups. 'Waves' a perfect instrumental with stunning sax from Mel Collins. ' Summer Elegy ' for me perhaps the most slick Floyd style sing along. Let's face it when Rick Wright sings well there is probably not a better vocalist from Pink Floyd. Apologies Waters and co.' Drop in from the top' and ' Funky Deux' are excellent jazzy funk rockers and it's classics like these that introduced me to jazz/fusion in the first place. No poor songs on this album. A solid five stars for the most consumate of professionals and his first perfect solo album.
review taken from www.progarchives.com

tracklist :
1. Mediterannean C (3:52)
2. Against the Odds (3:59)
3. Cat Cruise (5:15)
4. Summer Elegy (4:53)
5. Waves (4:20)
6. Holiday (6:12)
7. Mad yannis Dance (3:19)
8. Drop in from the Top (3:26)
9. Pink's song (3:27)
10. Funky Deux (4:57)

line up :
- Richard Wright / vocals, keyboards, Oberheim synthesizer
- Mel Collins / saxophone, flute
- Snowy White / guitars
- Larry Steele / bass
- Reg Isadore / drums

link for "wet dream" in comments

01. Cancion de la primavera (3:05)
02. Cancion del agua (4:00)
03. Cancion de las nieves (3:51)
04. Cancion del arco iris (3:23)
05. Cancion de las gaviotas (9:56)
06. Terraplen (3:47)
07. Prisioneros (8:45)
08. Tarantos (para Jimi Hendrix) (3:33)
09. Dialogo interior (6:46)

- Gualberto / flamenco guitar & Sitar
- Antonio Diaz / acoustic guitar
- Tod Purcell / guitar
- Arthur Wolh / violin
- Willie Rodriguez de Trujillo / drums & percussions
- Carlos Carcamo (Granada) / flute
- Enrique Morente / voice

INTRODUCTION :
Very unique about Gualberto is that he plays flamenco guitar with his sitar. In this way flamenco takes a step back to its roots.

From an interview with Gualberto & Ricardo Mino (flamencoworld.com) :
"The North of India has muslim influences, that's the reason behind its adornments, we're talking about the arabesque Hindu music, the hindustani music; the other kind is much older, the carnatic southern music", says Gualberto, totally in love with the vina, an instrument that "it's the mother of the sitar, bigger, with very high frets, and does a lot of adornments, like the melismas of the cante jondo. We were in Luxembourg a month ago, and I bought a record in which there is a raga written to be played with the vina. According to the experts, that's the origin of flamenco. It's called "bairabi" and it has the flamenco scales. It even has a part that is just like a "seguiriya"". The bairabi is 2500 years B.C., adds Gualberto while Ricardo leans his head."

It happened before that some Eastern figures like in Pakistan recognised similar origins in music as in flamenco. It is known history that many gypsies have origins in the East and this can be still traced in some of their music.

Gualberto introduced the sitar in his legendary group Smash at first in the early seventies, recorded after having studied in the US a few more progressive composed albums in the mid seventies, did some collaborations at the end of the seventies and recorded a few guitar, voice, sitar combinations in the last twenty years. Thanks to his contribution to the flamenco with full of respect to his origins he opened the way to more possibilities in expressions.

GUALBERTO : A LA VIDA AL DOLOR (1975)****

The first solo album of Gualbertp seems to have two kinds of sites, also musically. "A la vida" is a more Steve Lake (ELP) like songs and "al dolor" contains a flamenco rock song with highlights of like the flamenco with sitar at "Terraplén" and some electric association at "Tarantos (para Jimi Hendrix)" from which it was never clear to me to where the association with Hendrix exactly referred to. But it is probably because for Gualberto he diged inti this new experience of introducing new combination. In that track he introduced (not for the first time in history, but by a flamenco artist perhaps) an electric guitar into the flamenco too, but I wonder if it was more than an ode.

Full Biography, Discography & Reviews :
http://progressive.homestead.com/GUALBERTO.html


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Formed in the late 60's by Rainer Brüninghaus, Houschäng Nejadepour, Detlev Landmann, Herbert J. Kalveram and Bill Brown, EILIFF were a German instrumental band who turned fusion on its head with a pair of studio albums featuring classy Canterbury-style jamming with bass, guitar and keyboards plus some ethnic instruments thrown in (mostly the sitar). Two live albums were also released, one of which only came out 30 years later. Being somewhat out of step with the then dominant Kosmiche tradition, the band never really made a name for themselves despite displaying some phenomenal musicianship. References include SOFT MACHINE, early KING CRIMSON, COLOSSEUM, NUCLEUS, VDGG as well as Miles Davis and Frank Zappa.

Their eponymous album (71) features some killer keyboards (electric piano), wild guitar and sax interplay with very complex grooves and extended jams. The similar but more psychedelic album "Girlrls" (72) is even more improvisational and jammy, with frequent nods to KING CRIMSON and DEEP PURPLE. On both live albums, the "Bremen 1972 Live" and "Close Encounters With Their Third One" (recorded in 71-72 but only released in 2002), the band moves effortlessly from energetic, fast-paced riffs to more spacey free-form passages with equal skill. The sound quality is surprisingly good on both.

Intense head prog, early 70's style, that will appeal to fans of SOFT MACHINE, EMBRYO and BRAINSTORM. http://www.progarchives.com/Progressive_rock_discography_BAND.asp?band_id=876


01 - Eve Of Eternity (5:58)
02 - King Of The Frogs (5:45)
03 - Journey To The Ego (6:16)
04 - Girlrls (6:40)
05 - Hallimasch (8:47)


Line-up
- Rainer Brüninghaus / Organ, Electric Piano, Sounds
- Herbert J. Kalveram / Sax
- Houschäng Nejadepour / Guitars, Sitar
- Detlef Landmann / Drums
- Bill Brown / Bass


01 - Eve Of Eternity ....
04 - Girlrls ........


Link for download "Eiliff - Girlrls!" in comments ...

Tracks:
01. Uranus 9.45
02. Bossa Rustical 4.07
03. Tanz Mit Dem Mond 7.26
04. Mutter Erde 6.59
05. Welt Im Dunkel 7.07
06. GAA 7.33
Album Legnth: 42.57

Musicians:
Werner Frey - Guitar, Vocals
Stefan Dorr - Drums, Vocals
Werner Jungmann - Vocals, Congas
Gunter Lackes - Organ - Piano, Vocals
Peter Bell - Bass, Flute, Vocals


Named after the Greek Earth goddess, Gaa was an obscure band from Sarrland, Germany where they formed in 1973. While gigging in mid-1973 they were asked to record an album by Alfred Kerston, owner of Kerston records. The recording session was quite hurried due to the lack of funds, which becomes evident in the mix which sounds rather tinny. The album received an extremely limited release of only 300 copies in 1974. In 1975, the band began to record some new material but managed to complete only three songs, roughly half-an-albums worth. Again, they were wrought with financial difficulties. In 1978 the band called it quits and their second album remained unfinished. Subsequently, Garden Of Delights has recently released 'Alraunes Alptraum', a CD which comtains the 1975 recording session along with some solo work from the 80's to help bring the running time over 40 minutes.

Albums
Auf Der Bahn Zum Uranus 1974
Alraunes Alptraum 1999 (recorded 1975)

Auf Der Bahn Zum Uranus (Kerston 1974)
One of the monsters of Krautrock, the original release of 'Auf Der Bahn Zum Uranus', limited to 300 vinyl copies, is certainly one of the most sought after LP's. GAA were one of the few bands that stuck with German vocals and in my opinion this is probably the best all-German album! 'Auf Der Bahn Zum Uranus' begins in grand cosmic fashion with the track 'Uranus'. This track builds slowly with acoustic guitar, organ and other-worldly vocals similar to those heard on My Solid Ground's 'Dirty Yellow Mist'. 'Uranus' contains a middle section with celestial vocals and organ owing much to Richard Wright's work on Saucerful, as well as a powerful chorus with haunting lyrics:

"Hate is the power that rules the world and it is fear that will bring it to death; violence which threatens all life, in the end there's always destruction and death."

Following this is 'Bossa Rustical', an outstanding upbeat instrumental with fancy acoustic guitar, catchy lead guitar and great percussion. Track three, 'Tanz Mit Der Mund' is very reminiscent of Blitzkrieg-era Wallenstein; dominated musically by symphonic piano the song has a slight hint of space rock. 'Mutter Erde' is a heavy rocker which at times reminds me of Deep Purple with its heavy guitar sound and prominent hammond organ. 'Welt Im Dunkel' is an interesting mixture of blues, cosmic choral lines and spacey organ which will have you wishing for more. The final track 'GAA' begins as a blues jam highlighted some great lead guitar and jazzy flute before taking a sudden and unexpected turn towards space rock four minutes into the song. Dramatically, the song ends with a powerful Saucerful-esque chord sequence. For those audio quality minded individuals out there, please note that the Ohrwaschl CD was mastered from vinyl and contains a good amount of surface noise. My hope is that Garden of Delights picks it up and gives it the treatment it deserves! [4.5/5 Doug]


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The group was founded in the 71st year in Wroclaw razvalivcheixia party by the time the Romuald Roman & Roman Runovich, but the leadership passed to Alexandre Mrozieku. In the 72nd Nurt became a winner of the National Festival of Youth Music, and later, and Jazz Festival over River. In the 73rd Nurt recorded at the plate Muse, which has proved to be, the latest start-quick changes and the group disintegrated. All musicians continued more or less successfully serve other teams Mrozek and Tsvinar and became one of the legends of Polish rock, suffice it to say, for example, that they were part of the excellent team Test. In the early 1990s Mrozek re Nurt and they even recorded a CD. The sole plate is considered to be one of the best in Polish rock early 1970s. .This is a classic rock with a strong blues component plus top boxes.I recommend to familiarize download their magnum opus Strachu Syn with a magnificent solo jazz stars Tomasz Stanko.
Thanks to Opa-Loka for the info (Review and Line-up) :o)


"Only a handful of this great '70s Polish progressive album with sitars, great guitar etc. etc. Adventurous tracks in the Led Zeppelin, Cream vein with Groundhogs styled fuzzed out guitars plus hard bass and loud drumming. Limited digipak edition of 500 copies." http://www.freakemporium.com/site/advanced_search.cgi


01 - Kto Ma Dzis Czas (3:21)
02 - Synowie Nocy (3:51)
03 - Bedziesz Pania w Moim Piekle (3:25)
04 - Holograficzne Widmo (4:02)
05 - Gdyby Przebaczyc Mogli Wszyscy (3:12)
06 - Morze Ognia (3:10)
07 - Parter Na Klaustrofobie (4:06)
08 - Pisze Kreda Na Asfalcie (5:51)
09 - Syn Strachu (9:40)
10 - Impresja W 'E' (5:54)
11 - Na Odleglosc Rak (2:46)
12 - Akrobata (4:27)
13 - Rock Bez Tytulu (2:32)


Line-up
- Aleksander Mrozek : guitar, vocal
- Kazimierz Cwynar : bass, vocal
- Ryszard Sroka : drums
- Roman Runowicz : guitar, vocal
with
- Tomasz Staсko : trumpet
- Jan Jacek Baran : percussion
- Ryszard Gwalbert Misiek : sax


02 - Synowie Nocy ...
12 - Akrobata ..............


Link for download "Nurt - 1972 - Nurt" in comments ...

Tracks
01 The Acrobat
02 Wind Cloud
03 I Believe in You
04 Last Request
05 In the War
06 Take It Away
07 End of the Affair
08 August Carol

Dave Black ~(Guitar, Vocals)
John "Bon" Cook
~(Mellotron, Synthesizer, Guitar, Vocals)
Tom Knowles ~(Vocals)
Fenwick Moir ~(Bass)
David Whitaker ~(Drums, Percussion)

Review : The development of electronic keyboard instruments has been much like the fashion industry; it really is a shame that these two worlds can't be brought together, in which case Mellotron trousers and a Fender Rhodes sports shirt, both back in fashion, would be a perfect match. In the early '70s, the former keyboard was just about everywhere on the hit parade, supposedly on the verge of replacing entire symphony orchestras with the touch of a finger. Kestrel was a quintet from Newcastle, England that featured a keyboardist named John Cook on Mellotron, among other axes. He was not the only talent in the group, nor the only reason to listen to the only album the group ever made, originally released in the mid- '70s on the Cube label. But largely forgotten like many a progressive rock album from this era that enjoyed only piddling success, the Kestrel effort has become the subject of cult interest basically because there's a Mellotron on it. In 2000, a Japanese collector's label reissued the album on CD. In a somewhat superficial judgment of Mellotron playing from this period, Cook seems to suffer from the same problems everyone else did. The Mello-nauts were too busy listening to themselves, apparently soaking up the wonder of so much sound coming out of every touch. While it wasn't exactly a string section, it was pretty cool, maybe too cool. The instrument seems to run from subtlety, overemphasizing the inevitable piddling melodic content. If the comparison can be switched from fashion to cooking, the result would be a goulash in which somebody has poured an entire beaker of paprika. Still, the Mellotron does not fail to liven up some of the Kestrel tracks. The finale entitled "August Carol" has shown up on several lists of "greatest Mellotron performances ever," faithfully compiled by enthusiasts. The group also features an excellent singer, Tom Knowles, and a journeyman rocker named Dave Black who plays guitar and writes songs. He was a member of David Bowie's band for a few years and went on to form several other groups such as Goldie and 747. Black wrote all but one of the songs on Kestrel, none of the material being particularly original or absorbing. The overall sound is going to be what listeners will find either appealing or not, but either way there is no denying that as far as '70s progressive rock goes, Kestrel was the real thing. ~ Eugene Chadbourne, All Music Guide

Bio : There is a certain segment of the listening public that remains fascinated with the Mellotron, an electronic keyboard that for a short period in the '70s was just about as popular on hit records as the sitar, which is saying a lot. Call them mello-dramatic, these listeners go to great lengths to complete their Mellotron archive. The process, like the lightning storm that Dr. Frankenstein latched onto, creates a kind of eternal life for groups such as Kestrel, a once forgotten Newcastle quintet that recorded a single self-titled album in 1973, originally released on Decca's Cube imprint the following year.

While John Cook was the featured fellow-tron on the Mellotron, synthesizer, and other electronic keyboards, guitarist Dave Black was the Kestrel member with the most active career in rock music. Continuing to name bands after birds, Black was back with Goldie a few years later; the group scored a hit single with "Making Up Again" in 1978. Several former members of Kestrel were involved in this combo. In between, Black increased his visibility by touring with David Bowie's Spiders from Mars band in 1975. For nearly a decade beginning in 1980, Black concentrated on a new group called, or rather numbered, 747, then began a solo career as well as a sideman stint in the Brendan Healy Band. The original Kestrel album was reissued by a Japanese CD label in 2000. ~ Eugene Chadbourne, All Music Guide

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Saft was a band from the Norwegian city of Bergen, formed in 1969-70, and disbanded in the spring of 1974. They've had several re-unions since then. Saft were one of the first bands in Norway to sing in nynorsk. (“Fjøsvise” in 1971), and one of the first to mix hardingfiddle with rock (“Halling” with Sigbjørn Berntoft Osa in 1973). Saft also wrote musical history when they won “Europatoppen” with the song “People In Motion” in November 1971.

Their debutalbum ”Saft” was the first of three major albums the band recorded. The musical was unusually varied, ranging from progressive rock, Norwegian middle-age ballads, classical music and heavy metal. The best known song from the album is “All The Time”. Ove Thue had based the lyrics around a slogan originating from the USA during the Vietnam war: “Fighting for freedom is like fucking for virginity”. This was used as the chorus, which too proved too much for the BBC. The powerful radiochannel refused to play the album when it was send in as a Norwegian contribution to Europatoppen in 1971. Saft replied by printing “Censored by BBC” on the cover to the single – which showed a photograph of a naked Ove Thue. The record was eventually played, but the naughty words were bleeped out. http://isohunt.com/release/67693/?poster=&cat=2


01 - Introduction (0:19)
02 - Couple Of Freaks (7:15)
03 - Eleanor Rigby (2:23)
04 - Fjøsvise (2:17)
05 - Don't Look Back (2:38)
06 - All The Time (4:55)
07 - Fly (4:07)
08 - This Is Not Today (3:21)
09 - Opus 1 (4:32)
10 - Min (2:57)
11 - So Long (3:09)


Line-up
- Ove Thue / Vocals
- Trygve Thue / Vocals, Guitar
- Tom Harry Halvorsen / Keyboards, Flute
- Magne Lunde / Bass
- Rolf Skogstrand / Drums
- Rune Walle / Guitar


02 - Couple Of Freaks ....
05 - Don't Look Back ...
06 - All The Time .....


Link for download "Saft - 1971 - Saft" in comments ...

Tomorrow's Gift (along with similar bands, Frumpy and Joy Unlimited) originally formed as a blues and soul-rock band evolving by the end of the ‘60s into progressive rock, but still remind faithful to their roots. The line up consisted of Ellen Meyer (Vocals) Carlo Karges (guitar, percussion), Manfred Rurup (organ), Wolfgang Trescher (flute), Bernd Kiefer (bass) and Olaf Casalich (drums). Casalich was later replaced by Gerd Paetzke. In 1970 the young band (three members were still teenagers) set out to release their debt double vinyl. As expected the production yielded a rough unpolished edge giving the album the typical vintage progressive sound. The album Features an abundance of guitars, organ, flute and drum solos accompanied by Meyer’s vocals which have been likened to Janis Joplin. Most believe this album would have proved stronger if edited onto just a single disc!

After their self titled effort the band had split in 1971. It was now down to Manfred Rurup and Bernd Kiefer the keep the flame lit. Recruiting “Zabba” Linder (drums) the band pushed forward as a three piece, going on to release ‘Goodbye Future’ (1972). The sound of the band had totally changed, with a more technical edge and much improved sound production. They took a more Jazz mind into the studio resulting in a mainly instrumental Jazz-rock album, focusing on the keen interplay between keyboard and bass. The overall sound was quite varied: incorporating the lighter Canterbury-jazz sound with an almost Zappa-esque humour.

This was to be the last record under the name Tomorrow’s Gift. In 1973, guitarist Uli Trepte (previously of Guru Guru) joined, only to quit just half a year later and was replaced promptly by sax and clarinet player Norbert Jacobsen. The band now changed their name to Release Music Orchestra under which name they released five records. ==Written by Black Velvet (Adam)==
http://www.progarchives.com/Progressive_rock_discography_BAND.asp?band_id=1085


01 - Jazzi Jazzi Der Geier Fliegt Vorbei(11:38)
02 - Allerheiligen (4:38)
03 - Wienersatz (2:18)
04 - Naturgemäss (16:50)
05 - Didden Für Dunden (4:10)


Line-up
- Bernd Kiefer / bass
- Manfred Rurup / keyboards
- Gerd Paetzke / drums


03 - Wienersatz ...
05 - Didden Für Dunden ...


Link for download "Tomorrow's Gift - Goodbye Future" in comments ...

01. My Future Waits *
02. Ideas within You *
03. Fire Climbs *
04. Run To The Devil *
05. God΄s Dream *
06. Ancient Child *
07. The Vision *
08. Fire Climbs **
09. Flowers Grow Free **
10.The Vision **
11.Anything I΄d Give **
12.Ancient Child **

*(Dragonwyck Recordings 1970)
**(Sunrise Recordings 1968)

Demo only LP of intense Doorsy hard psych/rock that's become somewhat legendary over the years. The LP retains some of the appealing cheesiness of the style, yet is charged with enough presence and fire to transform itself into a winner before your eyes, with recurring feedback leads its strongest asset. One of the best of all the countless "Morrison Hotel" excursions around. The wide appeal and small press has made it one of Rockadelic's more famous releases, although their CD version has poor sound and is not recommended. The tape-sourced WIS reissue reinstates the original running order and adds 5 tracks from a 1968 studio session which yielded the band's pre-LP 45 (released as by Sunrise), but the 1970 material seems to lose a bit of the trebly garage intensity of the Rockadelic LP. The band was also known as Speed, Flying Turns and Fun at various stages in their career. There was another 45, "The music" on the Peckar label, and a later one "Lovin' The Boys" as part of the "Fun" project. [PL]

Five guys from Cleveland recorded 7 tracks, released a test pressing on Pama Records in 1970 as an edition of only 85 copies and created a milestone for all heavy/psychedelic music collectors. The Doors brought main inspiration to their music, with the difference; the songs are heavier and more progressive; the sound is dominated by great vocals, freaked out heavy guitar solos and swirling Hammond B3 organ. The core of musicians started as Sunrise in 1968 and released one 45 record. A true lost masterpiece!

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Ole Lukkoye is a relatively new band from Russia that tries merge droning space rock and ethnic music from the Middle East/Central Asia. The resulting sound comes across like a mix of Ozric Tentacles/Korai Orom and the "neo-ethnic" US band Azigza. The vocals are usually "with an Eastern vibe," a rather droning, reciting way of singing is used. All albums show a strong presence of percussion, airy synth lines and a rather darkish atmosphere. Most tracks have a great long-drawn groove.

Their first three full length albums Zapara, Toomze and Do Doo Doo (Remedy for a Dwarf) all sound quite similar. Zapara sounds slightly more reflective than the others to me. Some tracks remind me of the related band Samkha. Toomze sounds a bit like a transitional album towards a more aggressive, electric sound. More (ethnic) instruments are featured this time. Toomze also features keyboard-programmed horns, which don't work that well in my opinion. A good album, but possibly their straightest album. Do Doo Doo (Remedy for a Dwarf) is for me their best. The overall sound is still the same, but the whole album sounds more spirited than the other two. All albums are worth hearing, but I would recommend starting with Do Doo Doo (Remedy for a Dwarf) and work your way back, if you like what you hear. http://gnosis2000.net/reviews/olelukkoye.htm

Go a bit beyond Ozric Tentacles' Druidic reggae-rock hamlet, slip past the heavy Hawkwindish Tribe of Cro territory, and cross the frozen tundra to the permafrost kingdoms of Russia's tribal trance-rock rulers. Tunguskan fire-winds above, wolf claws rattling, darbuk calls, synths twisting sound, dwarf howl-screams, jimbees, chimes, Don Cherry like horns, bassoon effects, ritualistic vox, ample but sparse guitars, way-spacey programming aneath yon ice ring halos around an ancient Arctic moon that call you to other worlds of nomadic ancestors. Mix the Orb's underworld excursions with Oldfield's concept albums and the Ozrics and Tribe of Cro trance-dance, add a dash of that Steve Tibbetts/ Marc Anderson percussive dirge, then a pinch of Jai Uttal's Footprints with a dose of Sisters of Mercy guitar work. Sift it all through an ethnik-tribal-vworld-musick strainer. Ole Lukkoye is: Boris Bardash on keys, guitars, and crooning a bit like a Russian David Byrne, Andrey Lavrinenko on bass, Frol on bassoon and ocarina, Yuri Lukjanchik on jimbees and darbuk. Also appearing are Oleg Shar, Sergev Radovsky, Evgenia Radovsky, Aleksander Kovalenko, and Vadim Kouzenkov. Nearly all of the band was doing some form of percussion as well! ~ John Patterson, All Music Guide http://www.mmguide.musicmatch.com/album/album.cgi?ALBUMID=701342&AMGLENGTH=full#review


01 - Wedding Of Deaf-Mute (5:13)
02 - Fairy Tale (9:28)
03 - Tuva-Tuva (12:44)
04 - Children (5:50)
05 - Lega Lazit Dub (15:56)
06 - Rainbow (5:03)
07 - Mana (Doo-Doo-Doo) (16:49)


Line-up
- Boris Bardash: Keys, Guitars
- Andrey Lavrinenko: Bass
- Frol: Bassoon, Ocarina
- Yuri Lukjanchik: Jimbees, Darbuk


03 - Tuva-Tuva ...
04 - Children ...


Link for download "Ole Lukkoye - Doo-Doo-Doo" in comments ...

Vangelis Papathanassiou (Aphrodite's Child, Vangelis) joined the band with this album as well as producing it. Where earlier Socrates albums may not have been 'progressive' but were instead more in the style of 'hard rock', with Phos, they have adopted a more progressive style.US album cover is the small
http://www.proggnosis.com/MUSIC_DBCDInfo.asp?txtCDID=5523


01 - Starvation (3:45)
02 - Queen Of The Universe (4:59)
03 - Every Dream Comes To An End (5:56)
04 - The Bride (3:37)
05 - Killer (2:28)
06 - A Day In Heaven (4:32)
07 - Time Of Pain (3:27)
08 - Mountains (7:28)


Line-up
- Antonis Tourkogiorgis: Vocals, Electric & Accoustic Guitars, Bass
- John Spathas: Lead & Accoustic Guitars
- George Tradalidis: Drums, Percussion
- Vangelis Papathanassiou: Keyboards, Percussion


01 - Starvation ...
04 - The bride ........


Link for download "Socrates - 1976 - Phos" in comments ...

Deep Feeling was a short-lived obscure British band, whose only album originally released on DJM label in 1971 is tragically overlooked among the prog fans and collectors.

Being no less than a minor masterpiece, it contains six long songs, most of them falling stylistically somewhere between UK proto-prog groups (Cressida, Beggars Opera, Spring) and the excellent British bands of the first echelon (early Crimson, Marsupilami, Rare Bird). In fact, several tracks are just as complex as "The Court Of The Crimson King" or Rare Bird's suite "Flight".

The album starts with great "Welcome For A Soldier", a complex piece with several tempo shifts and some excellent guitar/keyboard interplay in the middle. The vocal melody is very dreamy and beautiful, evoking parallels with PFM's "River Of Life". But the instrumental parts are far more energetic, full of unexpected rhythmic changes and dazzling solos. Next comes the short acoustic "Old People's Home" - I don't know why but this track sounds very British and draws some references to the works of Greatest Show On Earth or the calm moments of Gravy Train.

"Classical Gas" is another story - the only entirely instrumental track on the album and probably its major highlight. This version is simply irresistible, with beautiful guitar passages (a-la Cressida's John Culley) and excellent harpsichord backing. "Guillotine" sounds much heavier on the contrast, but it's obviously not a hard-rock, but an accomplished full-blown early heavy progressive in the vein of Rare Bird's "Hammerhead" for example.

Two closing tracks can seem not on par with the rest of the album, but in its special context they work brilliantly. First we come across the fine guitar-driven "Country Heir", which could have been well recorded by The Kinks in 1967-1968. Only this song is almost six minutes long and still doesn't get boring! And the ending of this wonderful album is the funny homage to British rock scene of the 1960-1970s - a powerful rendition of rock'n'roll classic "Lucille" done with scorched guitar leads and the obvious drum-solo in the middle.

It is very sad that such a great progressive rock work remains so little-known, but there is a simple reason for that: Deep Feeling's sole album is notably hard to find. The original LP would cost you a small fortune, and the only (bootleg) CD reissue on some obscure Japanese label has been put out in the early 1990s and is obviously long out of print and virtually impossible to get hold of.

However, in terms of songwriting and musicianship, this is a flawless piece of work - which is hardly surprising, though, considering the band's story. Deep Feeling was comprised of highly experienced session musicians, who all had been playing and recording rock music for quite a few years before the band was formed. Certainly it is impossible to put down a full list of Deep Feeling members' appearances after all those years, but it would be safe to say that they played with Chuck Berry, Righteous Brothers, Deep Purple, Cream and Led Zeppelin among others - which might explain the exceptional level of musicianship to be heard on the album. And the level of creativity is incredibly high as well, thanks to the talents of the main songwriters/arrangers Dave Green and Mart Jenner. After releasing a few records as Guy Darrell Syndicate (Guy Darrell was a long-standing stage nom-de-plume of singer John Swail), Deep Feeling moved on to a more progressive style and recorded the eponymous album which still stands as one of the jewels of British proto-prog and of the UK progressive rock in general.

Many thanks to Deep Feeling bassist/flautist Dave Green for the full clarification of the band's story! http://www.progressiveears.com/ASP/reviews.asp?albumID=2337&bhcp=1


01 - Welcome For A Soldier (5:59)
02 - Old People's home (3:53)
03 - Classical Gas (8:16)
04 - Guillotine (9:02)
05 - Country Heir (5:47)
06 - Lucille (5:28)


Line-up
- John Swail: Lead Vocals, Guitar
- Dave Green: Bass Guitar, Flute, Vocals
- Derek Elson: Hammond Organ, Harpsichord, Piano, Vocals
- Martin Jenner: Lead Guitar, Pedal Steel Guitar, Vocals
- Gramham Jarvis: Drums, Percussion, Vocals


01 - Welcome For A Soldier ...
03 - Classical Gas ...


Link for download "Deep Feeling - 1971 - Deep Feeling" in comments ...

I couldn't find a good review/info to copy/paste. This is a complete package for every kind of progressive lover: sympohonic, folk, fusion, psychedelic...somewhere it says: Not unlike Crimson’s Thrak but with an ethno edge. Hungarian vocals. Very good work.

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Hosi Enek..

Hello, prognotfrog.

Today i want to present romanian prog-folk band Semnal M. Some information
you may find here:
http://interioare.free.fr/Semnal%20M/Semnal%20M%20-%20Discografie.html
But there is only romanian language.
My present is - "Cintece transilvane" (Electrecord, 1980)
Electrecord was the "major" label in Romania, where all the bands
released their albums (like Phoenix, Sfinx and others)
Don't loose the link! ;))

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Thank you Laci!!

Also known as CAROLE GRIME’S DELIVERY, this outfit has an impressive line-up: brothers Phil and Steve Miller on guitars and keyboards, Roy Babbington on bass, Pip Pyle on drums, Lol Coxhill on saxes all backing up singer Carol Grimes - you would expect one Mother of a Canterbury group dishing out some killer jazz-fusion-rock. Well not quite! The results gives a bluesy-rock with slight Canterbury leanings and it probably reflects the fact that they existed since 66 but never recorded anything until 70.

This is a reissue of their very rare 1970 album that has been out of print for close to 30 years. It has been a rare collector's item with a used price of $250 and up. The reissue contains the original album, a non-LP single, an alternate take and two live tracks. The music is a mix between blues, Canterbury, Jazz, psychedelic and progressive rock.

1. Blind To Your Light (5:05)
2. Miserable Man (8:28)
3. Home Made Ruin (3:23)
4. Is It Really The Same (5:44)
5. We Were Satisfied (4:02)
6. The Wrong Time (7:50)
7. Fighting It Out (5:48)
8. Fools Meeting (5:27)

Bonus Tracks
9. Harry Lucky (3:41)
10. Home Made Ruin (alternate take) (2:56)
11. Is It Really The Same (live) (5:19)
12. Blind To Your Light (live) (5:29)
13. One For You (7:43)

Total Time: 71:08
Line-up

- Steve Miller / piano (CARAVAN)
- Phil Miller / guitar (MATCHING MOLE, HATFIELD & THE NORTH, NATIONAL HEALTH)
- Roy Babbington / bass, string bass (SOFT MACHINE)
- Pip Pyle / drums (GONG, HATFIELD & THE NORTH, NATIONAL HEALTH)
- Carol Grimes / vocals, percussion

Guest musicians:
- Lol Coxhill / soprano/tenor saxophone
- Roddy Skeaping / violin on "Miserable Man"
- Richard Sinclair / bass on "One for You"

Source: http://www.progarchives.com/Progressive_rock_discography

Thank you Marcus!!

links in comments..

Congreso is a Chilean collective that fuses indigenous rhythms, jazz harmonies, and contemporary music. From 1969 through 1993, eleven of their thirteen LPs achieved Gold Album status in Chile.(allmusic)
Excellent Chilean progressive band with a big sound, some influence from the melodic side a-la early Genesis, but an equal influence from their own ethnic folk heritage, such so they come off sounding very unique yet accessible. Many albums. Vocals in Spanish. Start with their double-live En Vivo.(gepr.net) Maybe the most known band outside of Chile with Inti-Illimani. Melodies may make you feel like you are in a dream.

links in comments..

Juego..
Quenita..

01. Valinor (6:58)
02. Earendils Worte in Walinar ["Eärendil's Words in Valimar"] (6:13)
03. Luthiens Fruhlingsgesang und Tanz ["Lúthien's Spring-song and Dance"] (6:36)
04. Atalante (6:40)
05. In den Hallen von Megenroth ["In the Halls of Menegroth"] (4:08)
06. Gondolin ["Gondolin"] (4:21)
07. Turgon"s Stadt ["City of Turgon"] (3:48)


YAVANNA (Germany) – eclectic prog [formerly EDEN]

Meanwhile over twenty years passed, since 1984 the first YAVANNA album of Bilder Aus Mittelerde (Pictures from Central Earth) were published. It covered many years before the large Tolkien boom the thoughts of the author of “the Lord of the Rings” and the “Silmarillion”. Many the musician, which were involved in this production at that time, are to be heard today as professional and Studio musicians on uncounted albums.

Information Taken up 1982 - 1984, merged in January 1984 in the EDEN Studio load-separate.
Audio engineering: Dirk narrow brook
I thank all mean friends, who helped me to realize this project.
And for all, which hear the result, is my only desire that music
and text into their heart advanced!
Dirk narrow brook
UTÚLIE `N AURE, AUTA I LOME!
THE DAY CAME, THE NIGHT PASSES!

For the photographs the following key boards were used:
Upper home Obx A, Yamaha DX 7, prophet 5, Korg Trident, Korg Polysix, Polymoog, Minimoog,
Roland sequencer, Yamaha Grand Piano, Yamaha Electric Grand
Synthesizer programming: Dirk narrow brook and Thomas's Adam
Thomas's Adam plays on Sonor Signature Drums

A small „encyclopedia “to the better text understanding.
translation page here

Link is in comments.....

Butler were one of few all-Maori rock bands. All four members were originally from Rotorua, but the band actually formed in Christchurch in 1970. Predominantly an underground group, they played their early gigs at the Open Door, before moving into Trevor Spitz's nightspot Aubrey's.

Having built a strong Christchurch following, the band took stabs at other South Island centres, returning to hometown Rotorua in 1971. From there they began building up a North Island following, proving popular on the University circuit with their combination of originals and Led Zeppelin / Wishbone Ash covers.

Some television exposure followed with a spot on 'Happen Inn', 'Popco' and 'Free Ride'. This was fairly rare for an underground group and even with this they never really gained much pulling power.

In 1973 they recorded a self-titled album for Pye. It was released on the Family label and from it came one single, "Green River"/"Especially For You". http://www.sergent.com.au/butler.html


01 - Bang Bang (4:00)
02 - Suicide Ride (4:32)
03 - We're Getting Nowhere (2:47)
04 - In The Morning (3:06)
05 - Especially For You (3:11)
06 - Green River (3:32)
07 - Reach Out (3:07)
08 - Tilde Jane (2:13)
09 - Mistake (1:38)
10 - Southern Magic (1:49)
11 - Here We Come (2:50)
12 - Mirror Don't You Weep (4:29)


Line-Up
- Steve Apirana (Guitar / Vocals)
- Heidi Warren (Guitar / Vocals)
- Angel Adams (Bass Guitar)
- Hori Sinnott (Drums)


01 - Bang Bang ....
07 - Reach Out ......

Thanks to ZenBa for the info (Review and Line-up)

Link for download "Butler - 1973 - Butler" in comments ...

LP, NASONI 018 ( 2002 )
Second album by this Texan psychedelic rock band of John Perez, Jason Spradlin, David Fargason and several guests. Mindblowing,
spaced psychedelia and acid rock of the highest order. Do your brain a favour and experience the temple. Guided by superb floating guitar
leads you'll pass fuzzed-up guitar eruptions, sandozian vocals and shrines of magical eastern vibes, flavoured with swirlin' sitars and trantric breathing. Point me at the sky and let me fly !

Dig the limited Nasoni Records re-issue of the band's legendary debut album
"exploring the psychedelic" (Nasoni 042).




01 Cubehead
02 The League For Spiritual Discovery Lives
03 Preparation For The Psychedelic Eucharist
04 Inside The Acid Temple
05 The Art Of Ecstasy
06 Free I
07 The Gospel According To Robot A. Hull
08 Unfolding

From Aural Innovations #22 (January 2003)

Texas space psychsters Liquid Sound Company return with an amazing follow up to their Exploring The Psychedelic album from a few years back. Founding member John Perez (also with doom metal band Solitude Aeturnus) is once again joined by Jason Spradlin and new member David Fargason (Vas Deferens Organization, Muz) replaces Teri Pritchard on bass.

I'll tell you right off the bat that this is a serious slab of take-no-prisoners spaced out, fuzz laden mindfucked psychedelia. The disc opens with "Cubehead", which after a brief monologue sample launches into a fuzzed out acid rocking manna from psychedelic heaven that defines the bands name and sound. The guitars will make you drool, a substance that will mix in nicely with the matter from your melting brain. But "Cubehead" is a short track that serves to prime the listener for the remaining 45 minute journey.

On "The League For Spiritual Discovery Lives", the band take a couple minutes to hypnotize the listener before launching into the trademark Liquid Sound rocking acid blast. Phased and wah'd trip guitars and pounding tribal drums are embellished by beautifully bubbling space efx. And at 8 minutes this sucker stretches out nicely. It rocks hard but will wrap its loving arms around your brain, massaging and caressing and injecting rainbows of colors and cosmic images. And the trip continues as the song segues seamlessly into "Preparation For The Psychedelic Eucharist", an ultra hypnotic mantra building tune. (Some of this is making me think of a more purely acid-psych version of Farflung.) And the voyage continues with the Eastern influenced title track, one of the most powerhouse mind assault songs of the set. I really dig the combination of sitar and swirling psych guitars and the throbbing Stoner undercurrent.

"The Art Of Ecstasy" is a little different, communicating a jazzier mood, but is still mucho psychedelic. The Gospel According To Robot A. Hull" is a very cool psych song with a bit of a 60's flavor and blistering fuzz licks. "Free I" is a steady paced meditational ride with luscious whispers. And "Unfolding" is similar but a bit of a teaser as throughout its 9 minute length the percussion builds in a way that seems to be preparing for an explosion... but it never comes. Oh well, it still serves as a gentle closing track that allows the listener to cool down before rejoining physical reality.

In summary, this gem easily made my best of 2002 list. One listen and you'll be hooked, though subsequent listens will reward you with new found treasures. Highest recommendation!

Links in comments...

Inside the acid temple..

Hello, prognotfrog.
My name is Laci. I have written yet. I have one link to wonderful band
from Czechoslovakia - Synkopy - Slunecni hodiny (1981). They played
original sympho-rock in best traditions of this genre. They are one of the most
well-known band in the world from this country (together with Olympic,
Modry Efekt and others) :)





Slunecni Hodiny/Synkopy & Oldrich Vesely (Czech Republic)

1.Introdukce 2:54
2.Hul V Slunecnich Hodinach 6:04
3.Jsi Nadhrne Praveka 8:21
4.Intermezzo 2:14
5.Cerny Racek 7:41
6.Klavesove Extempore 4:03
7.Vodopad 7:28
8.Toulka Je Obla 7:28

Total 42:29

'81

Musicians
Oldrich Veselyi Micromoog, ARP Omni, Clavinet,Fender piano,Piano,Vocal
Vratislav Lukas Ac. guitar,Micromoog, Ckavinet, Cello, Vocal
Pavel Pokorny Micromoog, ARP Omni, Fender piano, Violin, Vocal
Emil Kopriva El. guitar, Vocal
Petr Smeja El. guitar
Jiri Rybar Drums, Percussion, Micromoog, Vocal

links in comments..

Thank you Laci!!

The beginnings of Romanian band PHOENIX must called back from the 60's. They released a few EPs during this period, featuring several original compositions and some covers of BEATLES songs. Unfortunately (or fortunately, God knows) the communist officials were not impassive regarding their western style and music and started to create them some problems. Despite all opinions, the leader Nicolae Covaci abandoned the beat influences and instead turned to archaic Romanian music as the source of inspiration. Their journey to old Romanian folklore begin with "Cei Ce Ne-au Dat Nume" continues with "Mugur De fluier" (subtitled Introduction for an old Romanian music concert) and ends with "Cantofabule", a poem inspired by medieval books (bestiars) dedicated to mythical creatures.

The work of PHOENIX is a pleasant guide through Romanian spirit and meanwhile some really progressive pages. Living guitar, nice bass, accurate drums and emotional vocals alongside proper arrangements, originality and musical depth describe three of the best Romanian albums ever."

1. Invocatie (10:13)
2. Norocul Inorogului (3:19)
3. Scara Scarabeului (2:20)
4. Definul, Dulce Dulful Nostru (5:49)
5. Uciderea Balaurului (4:35)
6. Stima Casei (2:21)
7. Pasarea Calandrinon (5:50)
8. Filip Si Cerbul (4:30)
9. Vasiliscul Si Aspida (3:55)
10. Sirena (3:45)
11. Pasarea Roc..k And Roll (5:32)
12. Canticlu A Cucuveaualiei (7:07)
13. Zoomahia (6:04)
14. Phoenix (3:44)

- Nicolae Covaci / lead guitar, vocals, acoustic guitar, double six, blockflote
- Iosif Kappl / bass, vocals, violin, blockflote
- Mircea Baniciu / vocals, guitar
- Ovidiu Lipan / drums, bongos, tympani, gong, chimes, tambourine
- Gunter Reininger / piano, electric piano, synthesizer, celesta, electronic organ

(source: http://www.progarchives.com/Progressive_rock_discography

links in comments..

Thank You Marcus!!

Vremena Na Vreme (Eng. "From Time To Time") was formed 1972, with original line-up consisting of: Miomir Djukic - prim, guitar, vocal; Vojislav Djukic - guitar, vocal; Asim Sarvan - vocal, guitar; and Ljubomir Ninkovic - guitar, vocal. They grew out of an informal assembly of musicians who gathered from time to time in order to record songs and soundtrack for Radio Belgrade broadcast programmes. They also gained reputation as prolific composers and arrangers for numerous TV, radio, film and theatre performances and shows. They were pioneers of introducing traditional folk elements into popular and rock music, utilizing old instruments such as prim or sargija and making crossover between genres. Drummer Nikola Jager became more or less a regular member of the band since their debut album, while many excellent musicians appeared as guests on their studio works. They built a slow but growing reputation releasing several important singles from 1973-78, many of which hit the top charts in the former Yugoslavia. However, their eponymous debut album from 1975 remains as the most successful achievement to date. The band decided to split up in 1979. Debut album "S vremena na vreme" from 1975 is highly recommended to all prog folk and folk-rock fans. It features a mix of acoustic and electric songs with occasional backing sounds of flute, organ and mandolin-related traditional instruments. Arrangements sometimes associate with earlier works of Magna Carta, Incredible String Band or Jethro Tull, with harmony vocals resembling Simon And Garfunkel influences. (review taken from ebay listings)

links in comments..

Tema za sargiju..

The fact is that this album is one of the best achieved and better constructed Progressive Operas ever released, especially when it comes to the 2 longer tracks in the album. The acoustic piano, sometimes close to the works of classical composers such as Stravinsky and Wagner, is perfectly combined with a thoughtful wind and metal section, with a rare sense of beauty and perfect interplay. The string arrangements are thrown in the mix to form an even tighter body of work. Rebecca and Caption for the City Night Life are set on the progressive jazz/rock side of the band, while doing it with orchestral instruments, which adds loads of originality to the result. The multi-movement Dancer then introduces and adds the classical and symphonic virtues to that jazzy feel, enthralling the listener in a maze of combined styles in a not only refreshing but also surprising effect. The operatic singing appears for the first time in the album, creating a whole new atmosphere that is accompanied by delightful minor-key classic music. This approach is then further explored to perfection in the 16+ minute opus Fantasy of Horses, which just lets the listener in a pavlovian state…earning for more.
Biography
Full Review
Interview
Link in comment.

I love it and it's rare.

Unfortunately,
I didn't find the Line-up

Only:

British prog, only issued in Norway http://www.gepr.net/ufram.html

Universe: self-titled. Universe was an English band who went to Norway. Some way along their travels their van broke down in front of a music freak's house. The guy took the band in, fed them, and gave them shelter for the night. The band recorded a jam session as a private pressing for this guy. Colours found it and reissued the recording. Bery obscure sounding music. http://www.jambands.com/aug99/ghosts.html


01 - Twilight Winter (6:34)
02 - Cocaine (6:38)
03 - Universe (3:28)
04 - Rolling (3:49)
05 - Spanish Feeling (10:24)
06 - The Annexe (6:12)
07 - Bleak House (2:47)
08 - Trac Four (1:03)


02 - Cocaine ...
03 - Universe ......

Link for download "Universe - 1971 - Universe" in comments ... (Sorry... bitrate = @128)

I love it and it's very rare.

Unfortunately,
I didn't find a review
I didn't find the Line-up (incomplete)

Only:

progrock
mega rare
Name of the band in English: Organisation to Protection of Life.
Flower-power-hippie-psych-folk proggy rock - u name it kind of music - in stunning condition. Extremely rare in this condition - looks almost unplayed! http://www.musiccollector.dk/0nes-test/fastpris/popup.asp?VareID=5178


Litt musikk fra hippietiden kan være et kjærkommet om enn nostalgisk bekjentskap.
DEN LILLE PRINS~Hippieology vol. 1
~From the ancient rock-years in Denmark. DEN LILE PRINS and FORENINGEN TILL LIVETS BESKYTTELSE was situated in a comunity outside Aalborg in Jyland Denmark around '70 - '72. This is more or less the same story as FUREKAABEN from Copenhagen: People are living together in a community, some of them are musicians, and.. wow, you have a band ! Just the girl Susanne Hamilton is from Copenhagen, and she was presentet to the group via the "producer" from ancient rec. label Spectator. No wonder that the two LPs sounds like something between FUREKABEN and SKOUSEN / IINGEMANN. That means rock based on folk. Instruments are: Acoustic and electric guitars, bass, drums, violin, saxophone, jewharp, mandolin and lotsa vocal. Lyrics are naive-but-with-a-big-warm-heart as they came those days, and this was not bad at all. The atmosphere is so groowy and friedley as you can think of. Those days were really something. These two LPs on one CD tells us something about why the early hippie-rock-days were so good.
This is more or less the same story as FUREKAABEN from Copenhagen: People are living together in a community, some of them are musicians, and.. wow, you have a band ! A rock album based on folk. Instruments are: Acoustic and electric guitars, bass, drums, violin, saxophone, jewharp, mandolin and lotsa vocal. The atmosphere is so groowy and friedley as you can think of. http://www.merlinprog.com/d.htm


Scarce Orig. Danish Psykedelic Rock LP on Spectator Label. Featuring Susanne Hamilton, Gorm Larsen, Christian Risgård Thomsen, Malthe Enevold Nielsen, Erik Andersen, Thomas Johansen. http://clemensantikvariat.dk/music/record.php?id=658


01 - Elverkongen (6:15)
02 - Ulster (3:37)
03 - Betjent Larsen (5:23)
04 - Illusioner (3:09)
05 - Loppecircus (1:29)
06 - Magens Fortaelling (8:35)
07 - Rary (4:25)
08 - Fuldmane - Med Regnbuer Inden I Hovedet (6:03)
09 - Folketinget (1:30)


Line-up
Susanne Hamilton: ?
Gorm Larsen: ?
Christian Risgård Thomsen: ?
Malthe Enevold Nielsen: ?
Erik Andersen: ?
Thomas Johansen: ?


01 - Elverkongen ...
03 - Betjent Larsen ...

Link for download "Foreningen Til Livets Beskyttelse" in comments ...

SMAK was formed 1971 in Kragujevac, the present Serbia and Montenegro, by a guitar virtuoso Radomir Mihajlovic nicknamed "Tocak" (the Wheel). The first stable line-up was assembled in late 1974 including Slobodan Stojanovic (drums), Zoran Milanovic (bass), Boris Arandjelovic (vocals) and Lazar Ristovski (keyboards). During 1977-78 Ristovski was replaced by first Miki Petkovski and then by Tibor Levay on keyboards, while in the period 1979-81 Dado Topic (ex TIME, KORNI GRUPA) collaborated with SMAK as producer and occasional guest vocalist before the band broke-up in late 1981. The original line-up gathered again in 1986 with a new keyboardist Milan Djurdjevic, but after the release of one LP they split again. The third comeback of SMAK happened in 1992 with Ristovski again as a member, when they mostly played concerts in Serbia and issued a live album. Finally, in 1994 SMAK re-appeared again, this time along with Tocak and Stojanovic they added younger musicians: Dejan Stojanovic (second drum kit), Dejan Najdanovic (vocals), Vlado Samardzic (bass) and Milan Milosavljevic (guitar).
SMAK was celebrated for Tocak's virtuosity in guitar playing, modelled on J. Hendrix and J. Page style, and for interesting, if not always successful, fusion of hard rock, prog rock, jazz rock with strong blues backing, with Arandjelovic's falsetto vocal often used as an instrument rather than singing. "Ulazak u harem", a folk-inspired instrumental issued as hit-single in 1975, showcased Tocak as one of the guitar-heros of ex-Yugoslavian music scene of the 1970s, while albums "Crna dama" ("Black Lady") and "Stranice naseg vremena" ("The Pages of Our Time") were highly celebrated among prog fans and were even released in English versions for the Western market. Their reunion, from the second half of 1980s onward, turned the musical direction of the band into less-inspired mainstream hard rock, abandoning any prog elements. As a comparison, one can mention similarities in style with artists such as DEEP PURPLE, TASTE, TRAFFIC, DOOBIE BROTHERS, SANTANA, LEB I SOL. http://www.progarchives.com/Progressive_rock_discography_BAND.asp?band_id=1550


1 - Crna Dama (3:34)
2 - Stvar Ljubavi (5:09)
3 - Domaci Zadatak (7:43)
4 - Alo (4:04)
5 - Egoba (6:46)
6 - Daire (3:45)
7 - Plava Pesma (4:26)


Line-up
- Radomir Mihajlovic Tocak / guitars
- Slobodan Stojanovic / drums
- Zoran Milanovic / bass
- Boris Arandjelovic / vocals
- Miki Petkovski / keyboards


3 - Domaci ...
6 - Daire ...


Thanks to ZenBa for the rip & info


Link for download "Smak - 1977 - Crna Dama" in comments ...

For my friend 6070Rock :)

Well band name is so common..You know i am no good on finding informations..If you find,you know what to do :) one of a forgotten treasure from the past, great coverart.keep rockin

links in comments..

all oF theN witcheS..
LoOk AgAiN..

Hola amigos! A few days ago i sent an album "Fun Of It - Meditation" but it was wrongly tagged Murphy Blend - First Loss (71) album..i was searching Fun Of It band for a long time. When i found & listened the album..i like it, it was my taste of music and decided to share in here..Well i never listened Murphy Blend before..and wrongly tagged album fooled me..i am like you, searching for something different..and i am learning 2..thanks for the warning comments..i removed the post from the site..and i am sorry to introduce the album wrongly & waste your rapidshare time..

here is some copy/paste: "With the aggressive flute playing, general rhythmic stance & bluesy/jazzy feel, this Mexican band from the mid-late 70s recalls most vividly the Jethro Tull of the "Stand Up" /"Benefit" era in the early 70s. This CD reissue collects together on one disc both their 1975 debut album "Hecho En Casa" and their 2nd Lp from 1979 "Ceramica". Though moments on their LPs certainly sound alot like Jethro Tull, there are other bands with lots of flute playing who come to mind sometimes as well. Camel, Gotic, even alittle PFM here and there. Fans of flute-driven prog will love this release. Unfortunately, this was a ltd ed of 1000 copies and has been out-of-print for some time. I found a handful stashed away in a forgotten box and as soon as they are gone....." This album may make day of jethro tull lovers.keep listening.

links in comments..

eL tALoN dE AqUiLes..
DesPueS De La MueRte..

The brainchild of Teddy Osei, a Ghanaian sax player, composer, and drummer who came to London to study music, Osibisa was one of the first African bands to win worldwide popularity. Their mix of African (especially highlife) and Caribbean forms made them a sensation in the mid 70s and their popularity continues today, even though recording dates have fallen off. ~ J. Poet, All Music Guide
http://www.mmguide.musicmatch.com/artist/artist.cgi?ARTISTID=357803&TMPL=LONG#bio

OSIBISA means Criss-Cross rhythms that explode with happiness, and what a precise name, the first thing that anybody who listens this band admires is the fantastic rhythm section, combining drums and bass with tribal percussion instruments in a delightful way, even Uriah Heep couldn’t resist the chance to add their percussion to the song Look at Yourself.
But if this was their only particularity, they wouldn’t be added to Prog Archives, this group of talented African and Caribbean musicians blend African chants with Psychedelia in the most incredible and skilled way, long before the term World Music was coined, it’s so well crafted that nothing sounds artificial, the music flows from start to end with joy for live and sadness of centuries of oppression and adding a spectacular show on stage.
The story of OSIBISA starts in London in 1969, when three musicians from Ghana ( Teddy Osei on the Sax, Sol Amarfio on the drums and Mac Tontoh on the trumpet); join Spartacus R from Grenada who played the bass and complemented perfectly the African percussion, Roger Bayle from Trinidad and Tobago on the keyboards and Wendel Richardson from Antigua on the lead guitar.
Very soon they found another member, Asisi Amao from Nigeria who added extra percussion plus tenor Sax. and in that moment OSIBISA was born.
During the next two years they were preparing their first album but in 1970 they released their first and very successful single: "Music for Gong Gong" that caught attention from all the world.
In 1971 they release the fantastic “Osibisa” with an extremely beautiful art cover by a young painter named Roger Dean.
From the beginning this album broke schemes, the opener “The Dawn” starts as a tribal ceremony to receive the day with complex percussion surrounded by birds and sounds you could easily listen in central Africa, but soon the vocals and instruments prove us that they were incredibly talented to blend different influences that go from, Hendrix, Santana, Bob Marley, R&B, Jazz and all the British Psychedelia they listened and assimilated during the years they were in England, this capacity to blend styles supposedly incompatible is what took them close to Progressive Rock.
But my favorite song from this album is Ayko Bya, a total tribal chant with an amazing organ to perfectly backup the contrapuntist vocals between two singers as if they were in a contest trying to get more complex than it’s predecessor , simply amazing. The success was instantaneous, the offers and invitations came from all the world, from Psychedelic to Jazz festivals, but this guys took the music seriously.
The second OSIBISA album “Woyaya” was released in the same year and marked a change in their music, even when they kept the tribal sound and complex percussion they started to experiment with the organ, this album reaches their peak in the title song that closes the album an incredibly beautiful nostalgic chant “We are going, Heaven knows where we are going” surrounded by an atmospheric and psychedelic organ, extremely beautiful song.
In 1972 they release their most successful album “Heads”, mostly because of the legendary song “Che Che Kule”, this album marked the end of their Psychedelic/Proto Prog career, but still is a great album that deserves to be listened.
Their career continues with high and low points until the 21st Century but turning more and more commercial with the pass of the years, but still today they are icons in Ghana, where they’ve been awarded by former President Jerry J Rowlings.
Now the real question is where to include them, clearly they were a Psychedelic band but it's undeniable that they have also evident Folk African roots and were part of the Proto Prog Movement in Africa, which as we know arrived later than in other continents, so to be precise I will have to include them in the Various Genres section. http://www.progarchives.com/Progressive_rock_discography_BAND.asp?band_id=2434

Osibisa's self-titled album opened up their unique blend of African and Western styled music to a wider audience, charting in both the U.S. and Europe. Produced by Tony Visconti, Osibisa's extraordinary merger of African drum beats, colorful rhythms, and rock-inspired keyboard and horn parts give it an expansive sound that infuses countless musical influences. Even the melodies take bits of rhythm & blues and modern rock and affix them to the accompanying percussion beats to come up with a contemporary feel with an avant-garde atmosphere. Tracks such as "Dawn," "Phallus C," and "Oranges" incorporate fragments of traditional jazz and jazz fusion mainly because of the flute and saxophone into their core, but then fashions the result to resemble the band's true heritage. Each song conjures up a certain African mysticism with its stressed rhythms and semi-primordial tempos. The most impressive track, "Music for Gong Gong," became a minor hit in the U.K. thanks to the well- balanced vocal charge and the beauty that's felt in the shingled layers of guitar, organ, and drum work. In both "Ayiko Bia" and "Akwaaba," Osibisa's Ghanian and Nigerian roots come alive through the use of the flute, flugelhorn, and trumpet -- not exactly the traditional instruments of West Africa, but they are transformed and molded to take on the band's fundamental sound. What may be the most predominant aspect about Osibisa is that the vast blend of instruments and the playful lyrics inject just enough of a modern element into the album that it's properly kept from being labeled as world music or as new age. ~ Mike DeGagne, All Music Guide http://www.mmguide.musicmatch.com/album/album.cgi?ALBUMID=1100088&AMGLENGTH=full#review


1 - Dawn (7:03)
2 - Music for Gong Gong (5:29)
3 - Ayiko Bia (7:53)
4 - Akwaaba (4:20)
5 - Oranges (4:40)
6 - Phallus C (7:14)
7 - Think About the People (4:21)


Line-up
- Teddy Osei / Flute, Saxophone, Sax (Tenor), Vocals, African Drums
- Wendel Richardson / Guitar, Vocals
- Spartacus R / Percussion, Guitar (Bass)
- Mac Tontoh / Trumpet, Flugelhorn, Kabosy
- Loughty Amao / Conga, Sax (Tenor), Sax (Baritone), Saxophone
- Sol Amarfio / Drums- Robert Bailey / Organ, Keyboards, Piano, Timbales
- Roy Bedeau / Bass


1 - Dawn ...
3 - Ayiko Bia ....


Link for download "Osibisa - 1971 - Osibisa" in comments ...

Osibirock - Osibisa made its greatest inroads into British and American popularity in the early '70s. By the time of 1974's Osibirock, the band was in transition, moving from one record label to another (this disc was released in the U.S. on Warner Bros. following a long stint on Decca) as musical tastes changed. At first, Osibisa's rock/highlife hybrid was a welcome change of pace from prevailing trends, and Americans whose ears had been opened to world rhythms by Santana's blend of rock with Afro-Cuban jazz heard a similar exotic, danceable music coming from the Ghanian-by-way-of-London band. Much of that appeal is still apparent on Osibirock, especially as the album goes on, although the record starts out with the vocal novelty tune "Who's Got the Paper," which sounds like a typical West Indian party hit. Osibisa was still reaching the U.S. charts, barely, by 1974, but it was about to be swamped by purer native styles on a worldwide basis, particularly Jamaican reggae. Nevertheless, the band's music retains considerable appeal here. ~ William Ruhlmann, All Music Guide http://www.mmguide.musicmatch.com/album/album.cgi?ALBUMID=643883&AMGLENGTH=full#review


01 - Who's Got the Paper (2:24)
02 - Why (5:37)
03 - Osibirock (2:58)
04 - Kelele (5:15)
05 - Atinga Bells (:34)
06 - African Jive (3:59)
07 - We Belong (4:18)
08 - Komfo (High Priest) (4:42)
09 - Kangaroo (2:46)
10 - Home Affairs (4:56)

Line-up
- Jean-Karl Dikoto / Mandengue Bass
- Teddy Osei / Flute, Sax (Soprano), Percussion, Sax (Tenor)
- Mac Tontoh / Percussion, Flugelhorn, Trumpet
- Sol Amarfio / Percussion, Drums
- Kofi Ayivor / Percussion, Conga
- Paul Golly / Guitar
- Kiki Gyan / Percussion, Keyboards


02 - Why ....

07 - We Belong ...


Link for download "Osibisa - 1974 - Osibirock" in comments ...

to enjoy the album more, it is better to listen all of the tracks in order. here is the copy/paste: Ladies and gentleman, please attach your seatbelt as we expect a storm of madness, a hurricane of notes and a typhoon of progressive rock for the duration of the flight disc. Please note that there are no parachutes aboard this plane and you can jump but at your own risk, however for those brave (or crazy enough) to hang on till the dénouement, we have a one way ticket to the Hotel Progifornia - you will never want to check-out and leave your wallet to the first bum on the street.

Right from the first track you will know that you are in a special ride with the classical being superseded by a screaming Zeppelin-esque guitar. Some 15 short tracks (only three of them above the 3 minute mark and them three just barely over 5 min), most of them linked to each other will take you in a gigantic swirl of sounds, an endless barrage of tempo changes and strange time signatures.

While not really RIO or not being jazz-rock either, the feel is somehow a bit Canterbury (the humour certainly is), but I chose to place them in Avant-prog. To actually tell you which track are the best or most representative is almost impossible as all these tracks are fairly de-structured (it is still relatively simple when you have a CD at hand, but I pity the ones having bought the vinyl, trying to find out where the hell they are on the album. Clearly the structures evolved Zappa’s Mothers albums even if they do not sound the same. Only the relatively structured Last Train To Rhythmania can actually give you a hint of how the album is progressing. The aptly titled “….And The Producer Got Mad” (I think I can understand why even if I could eventually guess is the he WENT mad ;-) is simply awesome, Glove Story finding the punch, to knock you on your arse. Nothing’s Holy is another aptly titled track and might just be considered as the centrepiece of the album (a bit of Strauss) and the other stand out is War Business with its deadly bass line (and good guitar improvs) and short national anthems as interludes. Remember these guys, although a KB-lead trio, sound NOTHING like ELP, but a lot more towards Egg.

Ladies and gentlemen, thank you for flying, know you will be back and now welcome to Insanity Beach and it is only a very short swim to the desert island, where this album will be on your top ten. (Review by Sean Trane taken from progarchives)

Links in comments..

muSic fOr yOUr DoG..

No valuable review around. Think of 4-5 some good musicians met in a bar for the first time and then they went to studio to record some tunes for heaten up. This is like that. Good work and collectible. Keep listening.

links in comments..

African Boogie..

In Turkey there happened to be 70's Swedish progg like era that we call it: (70's) Anatolian Rock. Musically and lyrically there are many similarities with anotlian rock & swedish progg.. Most known artists/bands of this era for Turkey are: Erkin Koray, Moğollar, Cem Karaca, Selda (Bağcan), Edip Akbayram, Fikret Kızılok.. Lyrics stands for revolution, human rights, social issues, relationships, collectivism..

it is a honor for me that, i met with Cem Karaca a few times when he was onlife, and i spoke some about music with him. well english not my main language so i have a lot to tell but it is hard for me. To put it simple he was indicating "rock is more than a music style..it is a life style (that every rocker may accept) rock itself have something progressive inside."
Folk is a powerful style in Turkey. People who more into Turkish music can see every style smells traditional folk..in 70's rock is psychedelic folk rock pop is folk pop..jazz is folk jazz..my passion for music is (prog/psych) folk (rock)..so i am happy with this situation :)

Cem Karaca produce many albums but 2 of them is noticible for me..the one is Safinaz album, (released in 78) first theathral prog rock of Turkey..the other
other one is Bindik bir alamete (1999) as many says when a band/artist getting older not only the band/artist become popular but also the work becomes popular.
you can hear some traditional instruments like zurna,davul,ney in this album.Also some of the well known musicians like Uğur Dikmen, Cahit Berkay (moğollar), Engin Yörükoğlu (moğollar), Ahmet Güvenç (kurtalan express) took part of this album. One of my favorite..keep listening.

links in comments..

ObuR DunYa..

TRIUMVIRAT is a classic seventies German prog band. This German trio was most often referred to as an ELP clone and one of the most talented progressive rock groups ever. Led by 'maestro' keyboard genius Jürgen FRITZ, TRIUMVIRAT stunned even the most casual rock fan with its virtuoso performances featuring the legendary vocal work by both Barry PALMER and Helmut KÖLLEN, and technically superior drumming by Hans BATHLET and Curt CRESS.

This band performs a kind of higly technical progressive rock dominated by emphatic and pompous keyboards that strongly evoke EMERSON, LAKE & PALMER. Granted their vocals were a little cheesy at times (English with heavy German accent) but they improved with each release and "Spartacus" (1975) was a masterpiece. All their releases are now available on CD. http://www.progarchives.com/Progressive_rock_discography_BAND.asp?band_id=392


1 - I Believe (7:52)
2 - A Day In a Life (8:14)
3 - The History Of Mistery (Part One) (7:50)
4 - The History Of Mistery (Part Two) (4:00)
5 - A Cold Old Worried Lady (5:50)
6 - Panic On Fifth Avenue (10:31)
7 - Old Loves Die Hard (4:28)

Bonus
8 - Take a Break Today (3:44)


Line-up
- Jürgen Fritz / Steinway Grand piano, Hammond C3 organ, Moog synth., Fender-Wurlitzer hohner-piano string ensemble
- Barry Palmer / lead vocals
- Hans Bathelt / Slingerland percussion
- Dick Frangenberg / Fender bass


5 - A Cold Old Worried Lady ....



Singles - Gift from ProgNotFrog :o)

Barry Palmer
- Dear John ...

Barry Palmer & Mike Oldfield
- Crime of Passion ...
- When The Nights On Fire (Demo) ....



Thanks to my friend Arthur for his recommendation.


Link for download "Triumvirat - Old Loves Die Hard" in comments ...