Thursday, June 28, 2007

Man - "Back Into The Future" {Wales} [1973] (Rock - Slight Progressive Slant)

Back Into The Future is a decent enough album that was warmly received at it's time of release in 1973.

Deke Leonard had left the Man Band and was touring as Man's support with his excellent Rock outfit Deke Leonard's Iceberg.

Although 'at times' a bit quirky this album features some excellent and different rock tunes.

Perhaps the most progressive are 'Never Say Nups To Nepalese' and 'Aint Their Fight' from side 2 of the original vinyl, which at the time seemed far too short for us guys into Man - We wanted 25+ minutes per side from them!

Deke was replaced live by Tweke Lewis (of Wild Turkey) and Clive John too had left to be replaced on keyboards by ex Eyes Of Blue keyboard player Phil Ryan. Phil Ryan's influence is all over this. I have all the Eyes Of Blue stuff and also the Big Sleep release which I tried twice to upload but unsuccessfully.

Micky Jones is the lead guitar player on most of this, with Terry Williams on drums. I love the Man Band (recalling a gig in Peterlee = North East UK) when they passed joints into the crowd so we could all share in the high they had.

I have almost every release related to this band including radio shows and DVD's - so if anyone has requests - I will try and fulfill.

The LIVE version of C'mon is excellent however, the Jam = Jam Up And Jelly Tight which progreses into Spunk Rock is not as good as the version of Spunk Rock that appears on the Greasy Truckers Party 1 release (when related to the track Spunk Rock - In itself Jam Up And Jelly Tight is a lovely live track - I am biased I was seeing them on at least 3 appearances of every tour between 1971 and 1976). That Spunk Rock is 22 minutes of excellent TWIN GUITAR from Micky and Deke with a real tight backing from Martin Ace and Terry Williams.

This rip has full HQ scans and is 320 throughout.

Feel free to ask for Man related stuff from me. Oh. I am away on holiday for a week. Never mind - I can always control my PC from an internet cafe. . . LOL (Yes - This thing is ALWAYS ON).

Tuesday, June 26, 2007

Aera - "Turkis" {Germany} [1979] (jazz fusion)

Aera from Munich belonged to a group of bands with tight connections to Embryo (others were Missus Beastly, Munju, Real Ax Band, Snowball and some more). Several members of these band frequently exchanged between each others bands during their existence. Not surprisingly they all played a similar and typical musical style, a kind of German fusion/jazz rock with strong sax and flute. Turkis is an album of rather mellow, non-angular yet powerful and richly sounding jazz rock. Fans of European fusion will probably find it delightful [based on GEPR].

The link is to be found in the comments.

Sunday, June 24, 2007

Phil Keaggy - "On The Fly" {USA} [1997] (Instrumental)

Here is Phil Keaggy with the distinctive Parker Fly guitar that this album is named after. If you choose this you will hear some real Virtuoso and inspirational guitar music.

Many should know that Phil was leader of the late 60's early 70's band Glass Harp. In fact their first album was recorded at Electric Ladyland studios (after Jimi Hendrix was impressed with Phil when Glass Harp played support act to the Jimi Hendrix Experience). They gained a contract with Decca, toured the country several times, and had a growing base of devoted fans, many of whom were knocked out by Keaggy's lightning-fast guitar riffs and experimental sounds. At their pinnacle, Glass Harp was opening for such major acts as Iron Butterfly, Yes, Traffic and Chicago. Previously, at the age if 16 Phil had appeared on 2 singles for the Squires and New Hudson Exit.

Phil was to leave the Glass Harp after a bad acid trip coincided with a car accident which killed his mother. However, he does still join up with ex members for various Glass Harp ventures.

Phil's solo output is quite large and 'On The Fly' is one of my favourites.

Walking Sequence 1
Interspersed throughout and among the tracks are special, reflective moments (performed on the Fly, and in the case of Track 3, with the E-Bow), each serving to express the moods of the pieces that follow, as well as to calm and settle the anxious and weary. Also heard are the walking sequences, recorded after a Tennessee rain and accompanied by the atmospheric sounds of bells, wind, thunder, and distant fog horns--all familiar sounds to our intrepid traveler.

Praise Dance
"On The Fly`s" puerto de partida is the flamenco-flavored fling, "Praise Dance". With this tune, Phil demonstrates how the contribution of Spanish musical thought, intermingled with the celebration of dance and cinematic beauty, go quite hand in hand. The result is the very stuff that makes good stories and music a cherished memory. In creating this piece, Keaggy found himself inspired by the idea of giving music as a gift, as well as the communion of shared joys and experiences. The piece announces itself with bold percussive statement, which makes way for a suite of guitar, mandolin, and fretless bass tracks against backdrop of texture and chordal space. Eric Darken tastefully augment`s Phil`s programmed drum tracks with multiple passes of live, vibrant percussion showcased in the well placed breakdowns. I have added a copy of Praise Dance (Radio Edit) which does not appear on the album.

Jack Ballard`s original musical sketch, "Firewalker", provides the setting for a veritable Parker Fly guitar exhibition. A pair of rhythm guitar parts completes the stage for a vintage Keaggy solo, while Lynn Williams` energetic drumming propels the piece. Multi-instrumentalist Wanda Vick Burchfield (of "Prime Time Country" notoriety) turns in a brilliant fiddle solo, while Jack Ballard contributes keyboards and electric bass.

The Way Of The Pilgrim
"The Way Of The Pilgrim", a suite for acoustic guitar(s), recalls Phil`s earlier "Acoustic Sketches" project. Playing his Langejans acoustic, and aided by a Lexicon JamMan, all multiple guitar parts occur in "live" settings, progressing from quiet contemplative moments that eventually yield to the dazzling, percussive adventures that lurk around each corner. Thematically, the piece traces the pilgrim`s journey, from his original vision to ultimate return, complete with moments of doubt, trepidation, confidence--and triumph.

In Memorium
We witness another side of Phil Keaggy with his composition "In Memorium". Perhaps more evident here than "Phil the guitarist" is "Phil the composer". The opening moments feature a haunting Vaughan Williamsesque theme played on guitar with Keaggy`s trademark volume swells. The harmonizing lines are accented with pizzicato figures, creating the feel and atmosphere of a small orchestra. A string quartet (emulated by Phil with a Korg keyboard), accompanied by a McCartney-ish acoustic guitar part, sets the stage for the movements to come. A tasteful and melodic classical guitar line emerges, and the piece begins to blossom. As the intensity develops, a lead played on the Parker Fly (with a sweet dose of distortion) comes in to take the listener away as it continues to paint its aural pictures. A particularly moving segment features the E-Bow, a hand-held device that magnetically excites the guitar`s strings, creating a beautiful, if not eerie effect. Rhythmic punctuation is provided courtesy of Lynn Williams, whose wonderful work can also be heard on Keaggy`s instrumental Sparrow release "220".

Inspired by the duet work of classical guitarists Julian Bream and John Williams, Keaggy proves that two guitars are definately a party, as he lays down the two tracks for "Homecoming". From the liner notes of the Bream/Williams collaboration, and echoed here by Phil, comes Chopin`s words: "Nothing is more beautiful than a guitar, save two." The guitar heard in this "duet by one" is the delightful Paul McGill resonator. "I think this guitar is a gem," says Keaggy, "with a sonic character all its own. You`ll not find this kind of tone just anywhere." Like other moments on this album, "Homecoming" prefers to take the long route home, stopping to visit old musical friends on the final leg of this journey. One such companion is Phil`s 1981 tune "Town To Town", themes of which are suggested here. Other moments include both Spanish and Celtic flavors, along with a good measure of the folk tradition.

The Sojourner
A Weather Report-inspired groove lays the foundation for "The Sojourner", a "Churchill" of a guitar piece. Recorded in a single, non-stop session late one night, Keaggy found the setting ripe for an uninhibited and spontaneous creative musical stream of consciousness. "I don`t think I`ve ever played so continuously and felt so much of it feeling so inspired," says Keaggy. "I was totally caught up in the event. To me, this was one of the most satisfying half hours ever spent with my instrument." It wasn`t until Phil saw the 30-minute tape coming to an end of its spool that he locked into a motif that would take the piece out. The end result is a wonderful journey--an adventure replete with explorations and discovery. It is as much a study in extemporaneous expression as it is a library of musical ideas--the latter being fodder for long-time friend, bandmate and producer, Lynn Nichols, who suggested another title for the piece: "I Never Met A Riff I Didn`t Like". Phil later laid down the bass track--punching in each section with his "trusty and dusty" Gibson G-3 as he "learned" the piece--providing a low-end melodic counter-balance to his inspired guitar lines. Percussionist Eric Darken overlaid his rhythmic genius, thoroughly complimenting the programmed track that started the whole adventure. Keaggy gives much of the credit for the creation of this piece to the special guitar he played that night--and on much of this album. "Since I had been doing so much acoustic work," he says, "playing the Parker Fly was such a refreshing experience. It enabled me to feel excited about the textures and possibilities of an electric." Indeed, the piece is a testament to Ken Parker`s instrumental brainchild. "The Parker Fly," says Phil, "is a great achievement in guitar technology. If you ever play one, you`ll find it difficult to put down, as I found in the case of "The Sojourner"!

01 - Walking Sequence 1 00:59
02 - Praise Dance 06:53
03 - Reflective Moment 1 01:16
04 - Firewalker 04:53
05 - Reflective Moment 2 02:10
06 - The Way Of The Pilgrim (14:45)
a) - Vision 01:08
b) - Longing 02:42
c) - Pursuit 02:59
d) - The Journey 03:11
e) - The Return 01:54
f) - Rest 02:55
07 - Reflective Moment 3 02:37
08 - In Memorium 06:03
09 - Homecoming 04:55
10 - The Sojourner 24:21
11 - Reflective Moment 4 00:59
12 - Walking Sequence 2 00:40
Bonus: Praise Dance (Radio Edit) 04:31
Note: The sample rates vary but Solourner is 192. Very listenable to.

Some samples can be heard here:

Phil's official website has some samples of recent releases here:

I may well post some selective PK acoustic or blues posts if anyone shows interest.

Finally - I've been away from the net for some time (wont bore anyone with the reasons why). But, I am back again so Hello folks!!!

Friday, June 22, 2007

Stromboli - "Shutdown" {Czech Republic} [1989] (prog rock)

Info from GEPR: "Czechoslovakian progressive rock band led by multi-instrumentalist Michal Pavlicek, with exceptional female vocals by the seductive Bara Basikova, who at once can belt out the lyrics with amazing power and intensity, or deliver shivers with whispered poetics. Michal Mavlicek's guitars have similar powers, influenced by mainstream rock, jazz, electronics, and a progressive ideology. The first album is a double: One disc studio, one disc live, all different material, with lyrics in Czech. Shutdown, with lyrics in English, is a little more hard-edged in parts, but overall every bit as good as the first one. Both are excellent".

The link is to be found in the comments. Enjoy!

Thursday, June 21, 2007

Etna - "Etna" {Italy} [1975] (jazz fusion)

Citing Gnosis 2000: "From 1975, Etna's sole album is a gem for European jazz rock/fusion fans. What's really surprising about this, is the fact that this line-up is exactly the same as the band Flea that recorded the classic hard rock album Topi O Uomini in 1972. There are no other musical similarities. I used to have a couple of the tracks from this album tagged at the end of a tape of the Transit Express album Couleur Naturelles and couldn't really tell the difference, so that should give some idea of the quartet's sound. If you like Mahavishnu Orchestra, Iceberg, Return To Forever, Didier Lockwood's Surya, Zao and other mid-70's fusion outfits or are a Goblin completist (!) then this one is for you as it's a definitive example of the style."

The link is to be found in the comments.

Sven Grunberg - "Mess" {Estonia} [1976] (symph prog)

"One of the biggest groundbreakers in Estonian progressive rock history is Mess. This band, spearheaded by keyboard guru Sven Grünberg, paved the way for symphonic prog to expand in Estonia. The intricate symphonic nature of the music, alongside intricate playing and soothing atmospherics, made Mess recordings much sought-after a quarter of a century after their recording..." [more here].

The link to this wonderful album is to be found in the comments.

Wednesday, June 20, 2007

David Bowie - "Outside Outtakes" {UK} [1994] (avant/neo-psych)

This is a bootleg release of some of the material which David Bowie intended to use in his 1.Outside album of 1995. Most of the tracks, however, were rejected by the recording labels as too uncommercial. They were indeed too weird by all means to make their way to pop-charts - and that is exactly why I think that the compilation of rejected
tracks would be worth sharing here. In a nutshell, the Outtakes are about 40 minutes of rather adventurous cyber-punkish avant/psych improvisations intermingled with chants, recitations and few more or less conventional rock-style sung pieces. Although this effort does not fall straight into the category of progressive rock, I believe that some friends of PNF will appreciate it.

Citing Illustrated DB Discography: "On March 12 1994, David Bowie, Brian Eno, Reeves Gabrels, Mike Garson, Erdal Kizilcay and Sterling Cambell improvised a three-and-a-half-hour opus at the Mountain Studios in Montreux. This work formed the basis for the album 1.Outside. The recordings were mixed at Westside Studios, London in the summer of 1994 and were intended for release as a double-album. Reeves Gabrels wrote on his website: "We hoped that it would have come out intact and un-compromised by financial/commercial pressures. It would have been a very serious musical statement (and maybe even pissed more people off than Tin Machine)". However, Bowie was unable to interest any record label to release 1. Outside in its original form because it was considered too uncommercial. Somehow 70 minutes from these mixed recordings have escaped. The CD features tracks that can hardly be called songs, as they do not follow conventional arrangements with verses and choruses. They are more like sketches, often with changes in tempo and structure within a single track. Although only a few tracks ('I Am With Name' and 'Leon Takes Us Outside') ended up on 1.Outside, the story line set out throughout these tracks forms the backbone of the album".

The link is to be found in the comments.

Wednesday, June 13, 2007

Dialogue - "I am a Man" {Russia} [1982] (hard symph)

Dialogue were one of the first recognized professional art-rock formations in the USSR. The band's roots go back to 1974, when Kim Breitburg, a singer and a keyboard player, gathered his first band with more or less constant line up in Mykolaiv, Southern Ukraine. The four-piece band roamed about the country for a couple of years, until in 1978 it settled in Donetsk and became an official unit of the local philarmonic society. By that time, Dialogue almost completely abandoned performing covers of Western rock hits, and concentrated on Breitburg's own compositions which became the core of the band's repertoire. "I am a Man" is one of the earliest recorded efforts of the band. It features a 41 minutes long concept rock suite based on lyrics by Justinas Marcinkevičius, a contemporary Lithuanian poet. Somewhat evocative of art-rock epics by Yes or Genesis, the album has a distinctly symphonic feeling, but at the same time shows Breitburg's strong interest in hard-rock, space rock and new wave music. Surprisingly, although the marriage of symphonic art-rock with hard/new wave is what probably gave birth to neo-prog, "I am a Man" sounds nowhere like a typical neo-prog album.

To the best of my knowledge, this album hasn't been in circulation on anything other than tape until a couple of years ago the full anthology of Dialogue was released on CDs in Russia. The original cover (if it ever existed) is not available, the photo depicts the band's leader Kim Breitburg.

The link is to be found in the comments.

Banda Elastica - "1. Album" {Mexico} [1985] (RIO/Avant-Fusion)

Citing GEPR: "A very RIO sounding Mexican sextet, featuring guitars, drums, marimbas, bass, keyboards and sax/clarinet, with guests on violin/viola and flute. Their sound is a highly spirited blend of modern progressive, electrified jazz and ethnic influences. A few tracks feature vocals". An excellent avant-fusion effort from one of the finest Mexican bands which sounds pretty much like nothing else. This is their debute album, rather melodic and accessible compared to the band's more challenging and avantgarde subsequent works.


1. Infantes Terribles
2. Alto A La Caceria
3. Derrumbes En Almibar
4. Aun Pero
5. Salon Victoria
6. Pesadilla
7. Infrasapienz
8. Quepocalipsis

The link is to be found in the comments.

Monday, June 11, 2007

Södra Bergens Balalaikor - "Albums" {Sweden} [70s] (russian folk)

i thought i had an idea on swedish scene, after meeting with Ola, i learned many interesting bands from him..Some of them he sent me, some of them i found from my friends, as a folk lover i wanted to introduce this one;

"With perspective from our own southern mountains here in Stockholm we play folk music from differsnt parts from the Soviet union " This is how the group describes thier selfs on their first album donr and done.Södra gergens balalaikor were founded ca 1968 as a beginner class started by Embrik Underdal and Tomas lundquist. The intress for the class was big and over 40 members joined the group. During the summer of 1972 they went to CCCP to discover new music and new instruments." Some more copy/paste from in swedish:"Med perspektiv från de södra bergen i vårt eget Stockholm spelar vi folkmusik från olika delar av Sovjetunionen." Så beskriver gruppen själva sin musik på baksidan av första skivan. Södra Bergens Balalaikor bildades runt 1968. Det började med att Embrik Underdal och Thomas Lundqvist höll en nybörjarkurs i balalajkaspel. Intresset var stort och över fyrtio personer anmälde sig. När det blev dags för avslutningskonsert på Stadsmuseets gård i april 1969 hade de inget namn att uppträda i. I demokratins namn röstades sedan namnet "Södra Bergens Balalaikor" fram. Endast ett fåtal av dagens medlemmar kommer från denna nybörjarkurs. Vissa har aldrig musicerat förut, andra har mer musikaliska erfarenheter. Endast ett fåtal arbetade professionellt med musik. Medlemmarna är av skiftande åldrar och yrkesgrupper. "Eftersom vi inte alls lever på det här, spelar vi mest i sammanhang som vi tycker är roliga eller känns riktiga. När vi får in pengar köper vi instrument eller sparar till resor och andra gemensamma ändamål." Sommaren 1972 reste gruppen till SSSR för att skaffa nytt material och nya instrument. När de kom tillbaks till Sverige hade de med sig 17 nya instrument och en massa musik. Resultatet kan höras på deras andra LP som spelades in i maj 1973. Bäsa brukar dock deras första LP anses som men om man gillar den så gillar man säkerligen deras andra skivor. Södra Bergens Balalaikor släppte senast skivan Kamarinskaya på cd 1992 och som går att få tag på än idag. Gruppen är än idag aktiva och går bra att boka dem för spelningar. Besök gärna deras egna hemsida för mer information.


thanks to my friend montsegur for the albums :)

Osjan (Ossian) - "Some early albums" {Poland}

Like the Wawel dragon, this mysterious band emerged from a cave in Cracow.

Osjan is undoubtedly one of the most fascinating bands on the Polish stage. Formed 28 years ago, they still remain part of the underground. They play concerts infrequently and rarely release records.

Osjan's work can be described as an original synthesis of many traditions and music cultures. The group's strength lies in its enormous musical imagination, creativity and genuine message. The musicians have never attached importance to their public image. Osjan is surrounded by a mysterious aura, and facts about the band's activities merge with legend.

The history of Osjan dates back to the 1970s and Crocow's musical circles grouped around the Piwnica pod Baranami club, then the center of Cracow's artists and counterculture. At that time Jacek Ostaszewski, a well-known jazz double bass player, and guitarist Marek Jackowski, both from the band Anawa, decided to start a new project. Soon they were joined by painter and poet Tomasz Hołuj. The group's early rehearsals took place in many different places, most often hotel rooms. The name Osjan was chosen after the band heard it in an Ewa Demarczyk song version of a Bolesław Leśmian poem.

Soon the band's line-up changed, but for 20 years the core of Osjan has been Dimitrios Milo Kurtis, Wojciech Waglewski and Radosław Nowakowski, together with Jacek Ostaszewski. Numerous distinguished musicians have worked with them including the trumpeters Tomasz Stańko and Don Cherry. The band used to regularly perform with Black Horse Cheavers, a Cherokee shaman.

However, it is not the musicians, but the search for their own artistic expression that explains the Osjan phenomenon. In the 1970s, in an atmosphere ruled by banal rock on the one hand and complicated jazz structures on the other, Osjan looked for a different way, for a simplified form of expression: "For example, we would play for half an hour on two or three notes," remembers Ostaszewski. "What fascinated me, not only in the sphere of music, was the search for forms that would allow free expression, not limited to the conventions of jazz, pop or classical music." Osjan was looking for alternative solutions. The group used various elements of traditional Balkan, African, Slavic and Indian music and managed to combine them with free jazz and European classical music. An important influence on shaping the group's musical image were concerts with Don Cherry, as well as inspiration from Zen Buddhism.

Osjan belongs to the small circle of performers who have developed their own original style. The group's compositions, labeled as ethnic music, world music, and so on, reveal the extent of its members' musical quest, as do their performances. For them, playing music together is a form of communication and constant dialogue between themselves and the audience. That is why concerts, when they do happen, are so important to them-there is a dialogue between Waglewski's guitar and Nowakowski's drums, Ostaszewski's flutes and Kurtis's percussion, but the freedom of improvisation does not destroy the overall structure of the concert.

No wonder then that Osjan's rich experience was emvulated by other performers, for example, Maanam (a group formed by Jackowski and Kurtis) in its early days and Voo Voo, another unique Polish rock band, headed by Waglewski... read more here

ksiega deszczu vi..

thanks to sircyg :)

Futuro Antico - "Dai Primitivi All'elettronica" {Italy} [1980]

"An outstanding raga-like drone lp with a distinctive a cosmic vibe, Futuro Antico was a short living collaboration between Walter maioli (Aktuala) and Riccardo Sinigaglia. I love this album, the alternation between electronic drone, hypnotic passages and the eastern tinged acoustic sections gives the album a very pleasant, intrinsic flow. The synthesis betwwen ancient and electronic music is just perfect, the minimalist repetition with slight changes gives associations of a slow growth, of cyclic process, the persistent repetition gives the listener an opportunity to discover the sounds, to meditate, to go into the music, join the same journey trough ancient, primitive cultures and modern electronic soundscapes." info taken from here. Postmodern authentism. incence ready ,)

Piano Synt..

Syrinx - "Syrinx" & "Long Lost Relatives" {Canada} [70,71] (electro)

John Mills-Cockell (piano, organ) founded the worldbeat group Syrinx in 1970 with drummer/vocalist Malcolm Tomlinson, percussionist Allan Wells and saxophonist Doug Pringle. The band released four albums: Syrinx (1970), Long Lost Relatives (1971), Neon Acclerando (1976) and Gateway: A New Music Adventure (1977). Syrinx broke up in 1979, but Mills-Cockell returned a year later with a new project, JFC Heartbeat.(

Coyote - "2 Albums" {USA} ['70/'71]

"Mid-1970s hard rock album that wastes almost seven minutes on a goof of a song called “Horney Coyote” and also includes an ode to a “Flat Chested Woman.” Even the straight hard rockers here include lyrics like “I think he’s a turd.” This would all be well and good if the novelty songs were funnier, or if they rocked, but they’re as lame musically as they are lyrically. There are also a few throwaways (including an organ-heavy instrumental). All of the above is just side one. It’s hard to imagine why anyone ever would turn the record over, but surprisingly there are some decent hard rock songs on side two. The rhythm section is solid, and the keyboardist is quite good too. The style’s a bit prog/AOR, though, and the album ends with a terrible attempt at a soul ballad. You’ve been warned. The album cover is pretty twisted, by the way. "
review taken from here. Review is for the second album, while the review says not so good,i like it overall.

I hope we don't get caught..

thanks to Greenbaum :)

KobChangJunGol - "Hello" {Korea} [1999] (hard psych/prog)

Well i couldnt find a good information in english to copy/paste. This is a good band, as i learn from my friends, they are quite popular in Korea. while listening to the album; it was a nice suprise to meet one of Kim Jung Mi's song cover. Informations welcome.


thanks to hwabian :)

Wednesday, June 06, 2007

Hansson & Karlsson "Man at the moon" {Sweden} [1969] (Jazz-Rock/Fusion/Psych, Organ Driven)

Ok I know that this one allready has been posted on another blog. But I think it would be nice to put all their albums on one site. This is their last studio album and its really good like their other stuff. Good organs an drum stuff from Bo and Janne I hope you will like it.

Bo Hansson Organ
Janne Carlsson Drums, Percussion

Best wishes from Sweden

Download link in comments

Monday, June 04, 2007

Hansson & Karlsson "Rex" {Sweden} [1968] (Jazz-Rock/Fusion/Psych, Organ Driven)

Another request coming up. This one is a little bit crackle cause its from a vinyl rip. And the dude that first did had rip thw whole A side and also included the 2 shorter tracks in that but no worry all songs are their. So I have put the two shorter tracks in the folder if you just want those two.
But anyway this is a live recording and their rarest issue. It is really great and more psycadelic with a lot of muddled parts specialy the long song on the B-side. Whoe are a collage of different songs that have been put together as one long track. Enjoy it!!

Janne Carlsson Drums, Percussion
Bo Hansson Organ

Download link in comments

Best wishes from Sweden

Sunday, June 03, 2007

Hansson & Karlsson "Monument" {Sweden} [1967] (Jazz-Rock/Fusion-Organ driven)

I have noticed some requests so here its one of them.
If you liked Sound Express and Bib Set you most like this. These two guys is the ancestors for all jazz, organ, drum, music that later will become a little bit of a swedish speciality. Who were they then? Janne Carlsson was the drummer that later becomed a famous actor here in Sweden. Bo Hansson that played organ is one of the famoused musicans ever from Sweden. His album "Sagan om ringen" or "Lord of the rings" from 1970 is one of the best selling albums ever from Sweden. And his other albums is also the best ever when it comes to organ music. But back to H&K, their way to play started the progressive era in Sweden. Cause it didnt sound like anything that have been recorded before. It wasen't jazz it wasent rock and not beat it was NEW. The funny is that they were bigger abroad then here in Sweden. Becuse when Jimi Hendrix toured in Sweden they were opening band ant the legend says that he liked there song "Tax Free" so much that he bought the rights for the song. Well in 1969 they disbanded and Bo did his famous solo albums and Janne did more and more acting.

Janne Carlsson Drums, Percussion
Bo Hansson Organ

Richard Lionheart
Tax Free
H.K Theme

Download link in comments.
Best wishes from Sweden