Ptolomy Psycon - "Loose Capacitor" {UK} [1971]

"Ptolomy Psycon - Loose Capacitor (EP). 1971 private. (catalog number HAT 1306 A).
This one has been on my curiosity list for a very long time. At least since Amber Soundroom had announced their intention to reissue it on vinyl (guessing this was around 2003/2004?). Leave it to The Alaskan Connection to have it on hand. And this one lived up to its reputation.
Ptolomy Psycon practically defines the raw UK underground of the early 1970s. I suppose the 99 count Holyground albums, or the hyper rare Dark album* can give you an indication of the recording quality. But the music is definitely influenced by the upcoming progressive rock movement, especially Hawkwind, Steel Mill, Jethro Tull and King Crimson. The AC also offers "Ptolomy Psycon has lots of that UK psychy proto-prog flavor. This was released as a 10" EP, in an edition of only 50 copies with homemade covers. The band were from the Birmingham area, and were supposedly all students in the same school (around 16-17 years old, I think). In fact, all the "orchestral" stuff you'll hear on this was apparently done by their school band, who they hired to play on the recording!"
Hopefully they recorded more than the 22 minutes found here, as this is a really good example of the early 70s UK deep underground scene." by Tom

01 Azrael...
02 Shadow Bright...
03 No One To Blame...


Thanks to Fusionaut and Tom! :o)

Link in comments...

Tempo e Modo - "Um Mundo a Construir" {Portugal} [1980]

Um dos discos mais raros do rock progressivo português, prensagem privada de 300 cópias.

Banda oriunda de Riachos (Concelho de Torres Novas, distrito de Santarém)
- Pedro Ferreira (bateria e coros)
- Pedro Clara (guitarra eléctrica, guitarra acústica de 12 cordas e voz)
- João Lopes (guitarra baixo)
- Júlio Silva (sintetizadores, piano eléctrico, piano acústico e strings)
Convidado:
- Pedro Rocha (piano acústico, strings e sintetizadores).

Gravado nos estúdios JORSOM - RCS, Lda - Lisboa - Portugal Produção: Tempo e Modo e D. C. Rios
Capa - "OMEGA" Óleo de Antero Guerra Inácio

A1 Um Mundo a Construir
A2 Águas Sem Margens
A3 Instrumental I
A4 À Procura
B1 Castelos no Ar
B2 Putos Vadios
B3 Voando no Tempo
B4 Imaginação (Instrumental II)

more info

A1 Um Mundo a Construir...
A3 Instrumental I...
B3 Voando no Tempo...
B4 Imaginação (Instrumental II)...

link in comments...

Birdland - History of Love and Belief 1980

This album features Yugoslav musicians who created a band in Switzerland where they recorded three albums. Their first magnificent mahavishnu-hard rip-roaring fusion is an unforgettable supersonic smash through the ears, full of majestic and satanic guitar riffs and thundering basslines all momentumed to phenomenal crashlandings, not a single boring slow throwaway in sight. Their second from a year later which is featured here is not quite as good and energetic though it without doubt stands comparison, using the same high-energy and modal style chords (cf. McCoy Tyner in late sixties, with Miles Davis). Unfortunately both master Shige and myself obtained copies by an odd cosmic coincidence or alignment of the z-list stars and as a result we are spoiled here with two versions of rippery hereby enclosed beneath the fold, again I defer to master Shige for the musical quality of his equipment and care of his time.

Back of album includes credits as follows:
Borivoje Vukadinovic - bass
Predrag Bankovic - guitar (responsible for most of the composition, not surprisingly)
Peter Humi - drums
Boris Relja - piano (no slavic band complete without a boris)
Beat Rauch - percussion

Recorded live at sinus studio berne, Helvetia, Feb 28-29 1980...

First track, Birdland 1 starts off in either A minor or B minor (I can't tell) with a very chromatic and angular riff on guitar then abruptly descends to the minor second tone below, for some arpeggiated chords. Great modulation there. Unfortunately we are then 'treated' to about 8 minutes of virtuoso soloistic noodling.
Second Track, "Pureheart" is obviously keyboardist-written starting with an obbligato piano which passes into some really nice structured jazz sampling but after three minutes we can fast forward all the way through unless interest is to be left lost and bereft at the bottom of an oceanic ridge of meaningless notes.

Side 2 starts with Firebird (dedicated to Christy Doran, probably a pretty interesting lady by the sounds of it) some very McCoy-esque modalities intro into a high-nitro dzyan-like riff. It amazes me that 5 talented and super-fast musicians can create such orchestral music with just their instruments and psycho-energy alone in probably a few takes with no overdubs.
The continuation of Birdland ensues, at this point mentally following the relentless guitar becomes a bit wearying. The minor descending chord pattern is hard to enjoy when so overused in rock music (A minor - G - F - E as in Led Zep Babe I'm gonna leave you). In this case I think in B minor though I might be mistaken.
The last song again from pianist Relja starts with Kentonesque piano dissonances and moves into some acoustic guitar soloing... A little disappointing an ending, but there is another, a third album, which they did a year later (In a temple of silence).

Mention as usual must be made of the amazing cover photograph showing a picture of a white beach with a cliff or mountain almost evoking a post-nuclear holocaust scene, complementing well the title of 'history of love and belief' i.e., post-communist nothingness - ? evolutionary depredations of a windswept radioactive desert in five fusion riffs - ? I won't get into how soviet ecocide destroyed the Aral Sea, once the fourth largest lake in the world, by diverting all rivers for irrigation projects (mostly to make cheap cotton for domestic clothes) until today it is a tiny salt-swept cesspool of pesticide contaminations-- and sure you'll be grateful for that.

Birdland 1


Firebird

Paul Nash - A Jazz Composer's Ensemble 1979

An absolutely brilliant long-lost classic private pressing from the US, composer Paul Nash's first record, and inevitably his best work. Mostly Mingus-style cool west-coast jazz with outstanding ensemble playing and serious classical overtones and harmonies. In a few self-written paragraphs on the back cover Paul Nash dedicates the album to Charlie Mingus himself (who sadly was to die a month later of amyotrophic lateral sclerosis). He mentions he usually begins his composition with solo guitar and singing, oddly enough.

Subtitle to the album "Featuring Mark Isham, with Eddie Marshall and Art Lande. "

A1 Marigail-Marigold 11:19
A2 Passing Glance 3:25
A3 Our Time Is Numbered 7:59
B1 Tamalpais Night 8:56
B2 The Joy 6:41
B3 Full Spiral 8:43

Many of the compositions were written by Paul in the early seventies, probably as compositional exercises. He is a graduate of Berklee College of Music in Boston although he wound up in San Fransisco after his education. Prior to starting his own band in 1977, he wrote music for these two formations: Jerry Granelli's septet, Canyon, and Noel Jewkes Jazz Octet, then called Jewkes and the Dr Legato Express. Perhaps in a later post these artists will show up-- certainly they sound well worth seeking out.

First track starts with what to me is a bit hackneyed chords of Dflat on top of C bass moving up a minor third. This progresses a bit but flounders in my opinion in incessant soloing for ten plus minutes.
Passing Glance features the inevitable rhumba-style beat we find on these old jazz records.
Our time is numbered finishes out side 1 with some wonderful almost big band ensemble playing, very majestically sublime, a nice carla bley-style descending melody evokes some kind of sunset feeling.

Side 2 opens with Paul's guitar intro into Tamalpais Night which jumps into chromatic and angular structures. Abruptly the song slows down to a crawl before hopping to the prokofieff sounds again.

Track "The Joy" is very much Mingus happy-bus style slinky riffs with a modulation every 2-3 chords winding its bubbly way downstream.

Highlight for me is the last track with its remarkably angular opening as if out of a movie soundtrack from film noir of the fifties. A gorgeous G minor melody then opens the zoo gates to the usual interminable soloing...

This is my christmas present for myself (owing to high cost), please enjoy in the so-called blogosphere.

Our Time is Numbered:


Full Spiral:

hello Google+, hello Twitter!

Harry Sabar Friends "Lentera" (1979,Indonesian sympho )

I believe "Lentera " is one of the best prog singers' albums that ever released all over the world.

Harry Sabar is a singer in Indonesia,and released three albums.I listened to all of them.As the result,his first album "Lentera " is the  best of the three.
Most of the tracks are full of mellotron and fantasy,so many of the prog fans will surely be impressed  with this album.

As you know ,once, most Indonesian people listened to music with the cassette,not  the record.

Most artists released their albums as cassettes.

Of course,some records existed because only some sample record copies were made for the radio station in Indonesia.But usually there were no sleeve covers....

This rip was made from a cassette .(I also have DJ copy record,however,it doesn't include all of the tracks,so to speak,is a real "sample record" for  DJs in  radio stations.

(musicians)

Harry Sabar...vocals,roger drum,paiste,ziljan symbals,Ludwig snarr,tamborine

Marusya Nainggolan...fluegel piano,mellotron,harpsichord

Debby Nasution....mellotron,arp,bass synthe,harpsichord,hammond organ,solina string,bass guitar,acoustic piano,Roland SH 2000,

Keenan Nasution...rogers drum,paiste ziljan symbals,Ludwig drum,Fluegel piano,electric piano,mellotron,Roland SH 2000,
Adhie...Fluegel piano,mellotron,Roland SH 2000,Korg synthe bass,electric piano,solina string,vibraphone,
Odink Nasution...Gibson guitar,black box,Gibson ripper bass,
Gauri Nasution....Gibson guitar,black box
Jerry...ovation string
Eddy Danferry...drum
Usya....harpsichord
Jati...acoustic guitar
Chandra Darusman....fluegel piano,electric piano,solina string,clavinet,Roland SH 2000
Matise...Fender jazz bass,Gibson guitar
Nana Noor,Vanthy Noor,Rini Noor.....swara latar

Sisi A
1.Lentera (5:32) Harry Sabar
2.Kala Daun Berguguran (3:56) HS
3.Kitaran Warsa (4:48) HS
4.Lazuardy (6:10) HS
5.Kemarin Dan Hari Ini (6:26) HS

Sisi B
1.Terbenci Tapi... (6:55)  HS
2.Khalwat Jiwa (4:02)Keenan Nasution,HS
3.Sekiranya'... (4:36) HS
4.Disejuk Malam (5:24) HS
5.Resah (4:36) HS,Adhie,Odink Nasution

A-5 Kemarin Dan Hari Ini (remastered version,extract)


ripped from the original cassette .

Equipments I used are....
cassette player.....Nakamichi DRAGON
CD recorder....Pioneer PDR-D5
stereo graphic qualizer....Technics SH-8075
sazanami......scratch noise remover(PC software)
sound engine .....PC software to change the sound quality of WAVE files.

BTW,
I have uploaded music with WAVE and mp3.
You can burn WAVE file to CD-R (for data CD-R,not music CD-R) using pc software "JetAudio"(free software) easily.
First ,install JetAudio,and try to make WAVE CD-R.
It is really easy  for you to use JetAudio to burn WAVE into CD-R.

Ronaldo Garcia - "Pra um Moleque" {Brasil} [1982]

very nice and obscure psychedelic folk record featuring Ronaldo Garcia issued on a private label at 1982. Musically similar to the early works of artists like Lula Cortes, Ze Ramalho, Alceu Valenca.. while most of the songs on the album stands for its good portuguesse sung lyrics, there are some musically rich ones as Janaína, Pra um Moleque.. as far as we know Ronaldo is preparing a new album years after

some more info can be found here
"um belo trabalho de Ronaldo Garcia
O cantor, compositor e violonista Ronaldo Garcia lançou, em 82, Pra um moleque, álbum que traz canções suas, como Pra um moleque, Moinho, Na trilha do som, Menina de Minas, Janaína, Salve os quarenta, O lado bom e Largo ao sol. Há também as parcerias com Fabio Pentagna (Morte e tempo) e Juca Filho (Barranco).
Esse trabalho conta com as presenças do grupo Viva voz (coro em várias canções), de Zé Renato e Claudio Nucci (vocais em Morte e tempo) e Belinha Santiago (Largo ao sol, com vocais de Cláudio Nucci).
Os arranjos do álbum foram feitos pelo maestro Roberto Gnattali, que com Ronaldo Garcia fez todos os arranjos de base, com exceção da faixa Salve os quarenta, que contou também com a participação de Paulo Gomes e Osvaldo Garcia.
Ricardo Silveira, Jaques Morelembaum, Lúcia Morelembaum, Ricardo Medeiros, Luiz Otávio, Marcelo Salazar e Roberto Gnattali são alguns dos músicos que participaram desse disco".

a1. Pra um moleque (Ronaldo Garcia)
a2. Moinho (Ronaldo Garcia)
a3. Na trilha do som (Ronaldo Garcia)
a4. Morte e tempo (Ronaldo Garcia e Fabio Pentagna)
a5. Menina de Minas (Ronaldo Garcia)
b1. Janaína (Ronaldo Garcia)
b2. Salve os 40 (Ronaldo Garcia)
b3. Barranco (Ronaldo Garcia e Juca Filho)
b4. Lado bom (Ronaldo Garcia)
b5. Largo ao Sol (Ronaldo Garcia)

a1. Pra um moleque...
b1. Janaína...
b4. Lado bom...
b5. Largo ao Sol...

link in comments...

Orexis (Germany, 1977)

Continuing on with the Orexis completion, we have their first album from 1977, entirely composed by the amazing Georg Lawall, who plays not just guitars but percussion and sitar. Back of the vinyl describes his musical formation, he was in Total Music Association (free jazz I believe) which produced the LP Walpurgisnacht, then formed the Georg Lawall Trio before Orexis. He was educated in the Munich conservatory and played concert guitar as soloist (not surprisingly given his virtuosity). The other members are Erik Erker, bass, and Gert Kilian on percussions. Erik plays I think cello with a bow in the track 'Tombstone' -- as usual giving it a plaintive funereal sound especially when playing in a very light way on the highest notes. Erik played music by Bartok, Webern and Stravinsky, as well as with Albert Mangelsdorff the great german jazz musician, and other jazz combos in Frankfurt. The percussionist played with the "Ensemble for new music" in Stuttgart as well as multiple jazz groups.

In general this is acoustic music with a great many jazz and classical elements in the composition. Similar to Contact Trio, for those familiar. In my opinion Lawall's writing is not quite as proficient as the two later albums, Inspiration and Reflection. Several songs meander with the acoustic guitar soloing with no real direction. A couple of tracks are marred by monotonous sitar.

Finally, I include in the comments a new good quality rip of Reflection (1979), which to me is the big masterpiece of Georg Lawall. I can't help but mention the incredible photo cover, in which the mirror shows a lovely blonde topless german girl (Lawall is holding a small mirror inside the wall-mounted mirror). Again Lawall is responsible for all compositions except Bassart, by Wolfgang Lauer the bassist on this record. Trilok Gurtu plays tablas and percussions, along with Gert Kilian. Dieter Bihlmeier plays flutes and Bruckdorfer oboe on the second side, called the Catalan Suite. Side one is the Reflection Suite.

Track 1 Unter-rock


Track 4 Tombstone

Gideon "eight reasons why" (1981,Canada,progressive hard rock)

Gideon is an obscure Canadian progressive hard rock duo.
As you know,Gideon is introduced here.

I was interested in this album,and the blogger sent me the mp3 file,and much pleased with the music.

Then,I found the album in the used record shop by chance and bought it.
It took much long time to make remixed version.Spread sound space,Volume control was done little by little at each part of each track.Again and again,finished files were thrown away to the dust box because I didn't like it totally. So the remixed version is better than the original version for just this once .

(members)
David Smalczewski.......Electric and acoustic guitars,Bass guitars,Bass pedals

Mark Smalczewski........Keyboards,Vocals,Bass pedals

(guest player)
Terry Hicks......drums

(tracks)

Side A

1.The Mechanic (6:52)   Lyrics...Mark/ Music....Dave and Mark

2.Winners and Sinners (3:02)  lyrics and Music....Mark

3.Auf Weidersehn (3:55)   Lyrics and Music....Mark

4.A Preaching (4:51)   Lyrics...Mark  Music....Mark and David

SideB

1.Spend Some Time (3:50)   lyrics and Music...  David

2.I Will Never Forget You (5:33)    lyrics and Music....Mark

3.Payoff (4:23)   Lyrics...Mark  Music....Dave and Mark

4.Awaken To You (5:49)   Lyric...Dave ,Music.....Dave and Mark

trackA4 ..A Pleaching (remixed version)


ripped from original LP.

Equipments I used are....
turntable....DENON DP-47F
CD recorder....Pioneer PDR-D5
phono equalizer...ONKYO PE-155
stereo graphic qualizer....Technics SH-8075
sazanami......scratch noise remover(PC software)
sound engine .....PC software to change the sound quality of WAVE files.

HAZARD - Le Chemin de L'oubli (7 inch)

From the LA DISCOGRAPHIE DU ROCK FRANÇAIS book :

''One of the mythical groups from the early '70's. Throughout their career they played numerous concerts and festivals throughout France including one festival which featured the whole ARCANE label (headed by ANGE). Greatly influenced by ANGE they left a legacy of one single before disappearing in 1978 as a result of the media's incomprehension.''

This is a gorgeous cover as well, very typically french from theseventies, the compositions are remarkably crafty and energetic, sound could be better. A dreamy and at times harsh atmosphere pervades. The title means the road of forgetfulness.

All thanks to the incredible apps for this amazing upload, best wishes to him for the perma-crisis in his home country of Greece...

村岡実 『恐山』 Minoru Muraoka "Osorezan"(1970,Japanese jazz rock)

original edition

Minoru Muraoka was born in 1923,and began to studying shakuhachi  (=Japanese bammboo flute) officially in 1939.Later in 1959,he started to mix shakuhachi music with popular music.By playing with  Herbie Mann,a famous jazz flute plaer,in 1967,Minoru playing shakuhachi was known to  a lot of jazz fans.

This album "Osorezan" is a live recording.

The concert was held on April 7th ,1970 .
It had two parts.
First part was named "Soul shakuhachi" and tracks they played were American blues songs, Bossa Nova,Japanese traditional songs ,rock music....and so  on.

Second part was named "New Dimension  " and the tracks they played were "Take Five""Come Together""Oiwake""Kawanakajima""Ma""Kobushi" and so on.

And the last track they played was an epic "Osorezan".

In this album,"Osorezan"was the first track,but actually,was the last track at the concert.



second edition



In mid 70s,this album was released as the second edition with the different cover  .but one track called "Take Five"was deleted from the album.I don't know the reason.

For more information ,there are scans in the file.

I hope it will be released as the perfect live CD some day.

Some of Minoru Muraoka's albums are very interesting to prog fans ,however , most of them are too difficult to get for us......

You know them at these sites.
http://hccweb6.bai.ne.jp/~hfc81001/html/muraoka/muraoka.html
http://blog.livedoor.jp/imq/tag/Shakuhachi




Side A
1.恐山　Osorezan (15:58)....Takashi Ikeda
2.Take Five (5:50).... The Dave Brubeck Quartet
3.追分 Oiwake (6:54)....Japanese trad.

Side B
1.褐色のブルース　Blues de Memphis (7:00).....theme music from the French cinema
2.Bamboo Rock (10:05)...Japanese trad
3.間　Ma (6:47)...Japanese trad

Osorezan (Tr-1)

ripped from original LP (usung both 1st edition and 2nd edition).

Equipments I used are....
turntable....DENON DP-47F
CD recorder....Pioneer PDR-D5
phono equalizer...ONKYO PE-155
stereo graphic qualizer....Technics SH-8075
sazanami......scratch noise remover(PC software)
sound engine .....PC software to change the sound quality of WAVE files.

Francois Wertheimer

With Jean-Michel Jarre , comrade of the Lycée Michelet in Vanves , Francois Wertheimer begins music professionally. At the age of 19, he wrote and staged the musical . He released his first album in 1970 before going on tour opening for Johnny Hallyday . Alongside his music career (two more albums followed, the 45 towers, and numerous musical performances: Troupe John Lackland , Popéracosmic (1967) , Gomina , Magic Story , "The Flying Opera "...), he multiplies activities: mime , comedy , circus , music for ballet , directed short films for the ORTF , the development of numbers magic with Dominique Webb , creating a line of ready-to-wear , towards a recording studio , record production, or writing a novel , or City Barjo * Chronicles of a new barbarism . In 1973 , he wrote also to Barbara , where he was the lover, all the texts of his album The Wolf , whose song Marienbad .

In 1982 , he created with his partner, a production company and event-driven , Zygote , for which he blends his many talents. Therefore, it leaves its dormant career singer to concentrate on his business , now specializing in the production of stereoscopic films . In addition to the development of a new technique of virtual reality, the "Ectoplasmovision," he continues his production work, writing, composition , and of arrangements of music, including the films of Agnes Varda . For the record, François Wertheimer also holds roles in two films of the latter: One sings, the other not , and The Gleaners and Glaneuse (films which he also participated in the music ). He is currently working on a new form of entertainment all virtual. His long experience relief images make it one of the most popular stereographers the moment.

Well I gotta say, with the google translator, this guy sounds even more groovy than in the original bio. I love the html on the word "music" I think all social scientists and neurologists are completely flummoxed by the purpose of music in the human brain and in evolutionary theory -- is it just me or is that translation service absolutely the most fun you can have on the internet these days?

I've included two albums, the self-titled one with the really wacky lsd-inspired cover with 3 eiffel towers which makes it a masterpiece, and 'fermez les yeux' more composed in the chansonier style, actually in my opinion a little more subdued and bland

Si un jour

chanson des...

Beausoleil Broussard - Mutinerie 1977

I won't talk more about the band or style but refer you to the real highlight on this album, 'L'annee noire' (the black year). This song is quite beautifully written (lyrics by Jacques Savoie with music from the singer, Isabelle Roy) and stands with the best songs from Connivence and french-speaking Canadian folk-rock.

"I read in an old book
the name of a child born much too young.
It happened in 1794...
She was born in the black winter
that was so hard,
no one thought they would survive...

She never knew that life
could have some good times,
The best that she ever knew...
was to go to sleep one time for good
to a lullaby that her mother
still had the heart to sing to her."


Wow, what fabulous lyrics, and I said earlier, completely lacking in irony as typical of this era. Note the beautiful sustained violin background notes adding that note of pathos to the piano. On these vinyl rips the sound of the grand piano is so full, warm and gorgeous, I defy anyone to bring me a CD that sounds the same.

I should also point out the first track of side 2, Mutinerie (referring again to the annoying story behind namesake Beausoleil Broussard) which is a three-part suite, starting with another beautiful lullaby-like piece by Isabelle Roy, moving into folk jig territory, before evoking the wave-like feeling of 3/4 on piano arpeggios in the end and some gorgeous three-part harmony vocals on Isabelle's part. The little instrumental song "Pif et caribou" again is highly reminiscent of Connivence or L'engoulevent, wordless singing on some very nice minor chord changes, musique by Claude Fournier.

Mention must be made unfortunately of the cover wherein we can again laugh at the hairstyles of the seventies-- sadly, the haircut beautiful Isabelle Roy got was all too fashionable at the time.

L'annee noire


mutinerie

沖浩一（Koichi Oki) 『四季』"Shiki"(1974,Japan, prog jazz rock)

original edition (1974)

沖浩一　（Koichi Oki)  『四季』"Shiki"(1974,Japan, prog jazz rock)



second edition (release year ?)



沖浩一(Koichi Oki) is a very famous electone player in Japan since 1970s.And he also was an electone proffesor in a musical college during recent years .
He released various type of records and CDs ever.
One of the albums that prog fans are interested in is this album "四季"(Shiki=the four seasons,1974).
As you know ,Le quattro stagioni(1725)（The Four Seasons)is a very famous classical music by Antonio Lucio Vivaldi.
Oki arranged it and played as trio style(with giutar and drums).
As the result,it became a very thrilling ,exciting prog jazz rock.
Especially,if you are the fan of Keith Emerson, you will surely like this album. Enjoy !!!

(players)



沖　浩一　Koichi Oki ....Electone,Arp synthesizer
石川　晶　Akira Ishikawa.....Drums
矢島　賢　Ken Yajima.....Guitar
 




(Tracks)

SideA

1.Spring pt1,pt2,pt3
2.Summer pt1,pt2,pt3

SideB
1.Autumn pt1,pt2,pt3
2.Winter pt1,pt2,pt3

ripped from original LP.

Equipments I used are....
turntable....DENON DP-47F
CD recorder....Pioneer PDR-D5
phono equalizer...ONKYO PE-155
stereo graphic qualizer....Technics SH-8075
sazanami......scratch noise remover(PC software)
sound engine .....PC software to change the sound quality of WAVE files.

You can see his discography on this site.
Many of his albums might be moody instrumental electone music,....not prog.
http://electonemaniax.web.fc2.com/contents/catalog/130/list.html

Summer pt1  (remixed version)



Toru Hatano "Yoko" (1977,Japan,prog,electronics,psych)

"Yoko"（杳子）is a name of the Japanese cinema in 1977.(I have never watched it.)It was made by young stuff and private production.It seems an experimental cinema when I read the plot.They decided to use synthesizer music in the cinema from the start ,just like "MORE"(Pink Floyd) and German electronics..

Then Toru Hatano (畑野亨）was asked to make the music.At that time ,he was 23 years old ,and he made the OST without watching the cinema for one year (from 1976 to 1977).

Hatano was a drummer of legendary group ESCAPE (Masayoshi Takanaka went to FLIED EGG), the ESCAPE appears on the album titled "BRUSH!?"(1971) .

http://www.vasiliska.com/music/rock_m/35012-brush-brush-1971.html



Toru Hatano 





Brush:
Toru Hatano (vocals, guitar, keyboards, drum)
Masayoshi Takanaka (spoken vocals)
Hitoki Goto (guitar, piano, bass guitar)
Takefumi Yoshida (sitar)
Michio Ara, Tushio Tsukagishi.

After the release of several albums and singles,he stopped using the name of Toru Hatano in 1983 and changed his name into Toya Hatano .
And he has been the boss of a sound equipment company now.

He played all of the instruments and vocals in this album.It contains  brilliant tracks all over the album. 

To the fans of Mike Oldfield,German electronics,Pink Floyd.

Thanks to Kohsaku for the information about Brush.

Side 1.
1.LOVE FOR YOU(6:42)
2.歓喜　Kanki (5:19) ....means rejoice
3.紫雲　Shiun (1:50) .....means purple clouds
4.水晶　Suisho (13:33)....means crystal

Side 2.
1.回想　Kaiso (5:22)......means recollection

2.サムサーラ　Sumsara (6:48)
3.ただ青空になりたい Tada aozorani naritai (15:39)......means I just wanna be a blue sky

ripped from original LP.

Equipments I used are....
turntable....DENON DP-47F
CD recorder....Pioneer PDR-D5
phono equalizer...ONKYO PE-155
stereo graphic qualizer....Technics SH-8075
sazanami......scratch noise remover(PC software)
sound engine .....PC software to change the sound quality of WAVE files.

Sumsara

Beausoleil Broussard ST (1976)

As promised here is the first Beausoleil Broussard album from Nova Scotia 1976. This album is more folkloric and simple, almost the whole of side 1 to me is fast-forward material, pockmarked by a load of choreiform folk jigs and assorted folks songs which some might appreciate but I am not too partial to (apologies to those who differ). At the end of the side however a nice folk-rock track called "Restons la terre est belle" (Let's stay the earth is beautiful) sung by the wonderful Isabelle Roy talks about the history of the namesake. In fact inside the gatefold a little blurb elucidates the meaning of the title: "Joseph Broussard, named Beausoleil, was one of the chiefs of a movement that conducted by sea first through the Antilles, then from there to the country of the Bayous, hundreds of prisoners either from the ancient fort of Beausejour or from the camps of Halifax. The boat that served for these adventures was torn from the hands of the English during a mutiny organised by him, at the moment of the deportation."
Right, and I think that clears it all up.
At any rate, it seems from the lyrics the album is a kind of document song cycle about the adventures of Beausoleil.

The second side is more varied and interesting. Track 2 starts promisingly with a gorgeous 1700 minuet on harpsichord and flute, unfortunately it segues into the shrieky babbling fiddle music again. The next song "La femme de l'ivrogne" (The wife of the drunk) is a conversation song between these two typecast protagonists, and in my opinion well worth listening to, beginning to end. There is nothing unconventional about the lyrics, with the usual platitudes about the wife's role and the man's role presumably from the point of view of the 18th century. A complete lack of irony makes this very typical of 70s music. Ignore the lyrics though, the melody and acoustic guitars are sublime. Here the balance between traditional song and pop is absolutely spot-on perfect.
Next track starts with organ (the acoustic or church kind) "Les vepres et le reel..." before tragically moving into the fiddles again. This album as well closes out with two amazing compositions, Mouvange, an instrumental with wordless singing, and La revanche des berceaux (Revenge of the cribs -- great title).

Again the masterpiece sits at the very end of the album, with some ingenious chord changes and such intense emotional singing on the part of Isabelle as to give me chills up my spine. As well note how artistically the two acoustic guitars play off each other, strumming different arpeggios and melodies behind her voice with the occasional cymbal crash providing really intense drama.

The wife of the drunk--


Revenge of the cribs--

Peter Schickele and Joan Baez - Silent Running OST 1971

I wanted to share this record because the movie is one of my favourites from the seventies with its completely implausible attempt by caretaker Bruce Dern to save earth's biosphere on a large spaceship heading out to nowhere... the combination of beautiful 2001-like special effects and achingly idealistic earth-day ecology is unmistakably seventies. Two really remarkable songs were included in this soundtrack, which was composed by Peter Schickele, sung by Joan Baez, "Rejoice in the Sun" and the title track, "Silent Running" -- the latter in particular really deserves to be played on satellite radio, it's a lost masterpiece without doubt. It features a really odd chord progression (F - A minor - E min - G - C - B min - D - F sharp min - A7 - D) and a very melancholy A minor slow refrain about weeping over the death of the earth.
"Earth between my toes, and a flower in my hair,
that's what I was wearing when we lay
among the ferns...
Earth between my toes, and a flower I will wear
when he returns..."

Ouch! those painfully innocent 70s!!!
(Btw when is the last time you saw ferns except in a botanical garden? And yet I recall my mom picking fiddleheads in our childhood backyard when we were very small, for us to eat.)

Most of the remainder of the album is typical orchestral soundtrack music, quite well composed... what a shame he spent so much time on a score that is completely lost to all human CN-VIII auditory nerves, with a couple of noticeable tracks: "Drifting" with its few progressive rock moves.

Let's not even consider the probability that a large spaceship could transport an intact biosphere (remember the biosphere 2 experiment?) through outer space with its deadly cosmic rays and the anachronistic consequent naivete in exploring the topic, and just enjoy the beauty of these compositions...

Rejoice in the sun


Silent Running

Trance●Form "Stranger In The Same Land" (USA,1982,Symphonic prog)

Trance●Form "Stranger In The Same Land" (USA,1982,Symphonic prog)

 This is an obscure USA sympho prog gem.
To the lovers of YES,GENESIS,GG,Hackett,Camel.






SideA
1.Wonderous Woman(3:38)
2.Within You(4:52)
3.Please Wave To Me(7:13)
4.Disconnected(5:12)

SideB
1.Shining On(3:26)
2.The Way She Dances(3:58)
3.Petrushka(3:22)
4.Stranger In The Same Land(10:34)


(members)
Bob McPeek.....Acoustic Guitars, 12-string Guitars, Electric Guitars, Bass, Synthesizers, Vocals, Miscellaneous Noises ,Concoctions

George Tortorelli......Bass, Vocals, Recorders, Bamboo Flutes, Shruti Box,Tablas, Drone Awareness,Guitars, Mandolin,

Ralph Gray.....Drums, Percussion, Tablas,Patience

Ric Kaestner........Lead Vocals, Acoustic Guitars, Bowed Psaltry,More Vocals,Tape Effects,Autoharp, Synthesizers,Giggles

Dave Smadbeck......Piano, Synthesizers,Sparks

Paul Pavelka.....Chief Engineer,Production Guidance,Erased Mouth Harp

Recorded at: Mirror Image Recording, Gainesville, Fla.
Mastered at: Criteria Studios,Miami

ripped from original LP.

Equipments I used are....
turntable....DENON DP-47F
CD recorder....Pioneer PDR-D5
phono equalizer...ONKYO PE-155
stereo graphic qualizer....Technics SH-8075
sazanami......scratch noise remover(PC software)
sound engine .....PC software to change the sound quality of WAVE files.

Within You

OLIVE (1976.heavy sympho prog,Japan)

OLIVE (1976.heavy sympho prog,Japan)

About one month ago,my dear friend ,Isabel uploaded legendary Japanese prog "OLIVE".

After that,I borrowed the original LP from my friend.

The most surprising fact is  tracks' name and order of the album is partly different from Isabel's file.

Maybe ,Isabel got it from someone,so she didn't notice that it is the wrong order.

I ripped from the original LP ,so enjoy it again ,prog friends all over the world !!!!!!
Without Isabel's devotion to prog and effort,I couldn't reach here.Thanks a million....(^^

(members)
大塚敬子　vo
中野渡正光　read guitar & vo

(guest players)
石嶋利和　g & vo
川村一森　ds
萩野溙 　b
宮沢謙　key

Side one
1.ピエロ (5:29)　lyric・大塚敬子　music・中野渡正光
2.伝説 (7:55)　lyric・石嶋利和　music・中野渡＆石嶋
3.黒の魅惑 (4:11)　lyric・渡辺哲夫　music・石嶋
4.時は風のように (7:30)　lyric・大塚　music・石嶋＆大塚

Side two
1.魔奏曲 (10:00)　lyric・大塚　music・中野渡
2.オリーブ (4:55)　lyric・olive
3.遺書 (8:53)　lyric・石嶋＆大塚　music・中野渡
4.蜃気楼 (7:13)　music・中野渡

ripped from original LP.

Equipments I used are....
turntable....DENON DP-47F
CD recorder....Pioneer PDR-D5
phono equalizer...ONKYO PE-155
stereo graphic qualizer....Technics SH-8075
sazanami......scratch noise remover(PC software)
sound engine .....PC software to change the sound quality of WAVE files.

Elastic Rock Band - Faruk's Traum 1980 (Germany)

Here is another long-lost jazz-rock from Germany; despite the band name, this is definitely typical 70s fusion jazz-rock. First check out the outrageously humorous cover art of a dog wearing snoopy-style aviator sunglasses, as if he was undergoing a bizarre misfit experiment in abnormal animal psychology involving elucidating the dreams of canines under the influence of-- progressive jazz?
I don't understand why this style is so reviled today and so utterly abandoned, those of us who love music will understand how our art is like plato's world of ideals offering a release from the incessant wheel of suffering into a universe of perfection that is attainable and usual with the help of headphones and a record such as this.

Though it's described as average by many in the community even an average from this period is pretty good music. And this is almost to the level of the incomparable Missus Beastly (in my opinion!). To me standouts are Glolock's Dance with its definite National Health chord changes and Hopperesque bass soloing, the ensuing title track with its very Chick Corea keyboard patterns moving to acoustic piano then again electrified, and the first 2 tracks on the second side. Notice in particular how well composed these progressions and patterns are as compared to the average fusion record.

On "Point of View" we have that heavenly breeze of space-synth sound performing arabesques above a guitar melody. Suddenly a minor chord appears, out of the blue as if a shadow. "Fur Carlos" uses the same keyboard as Carol Ann from Soft machine 7 (or is it 6), the almost pure tonal bliss of outgoing spacecrafts to Plato's world of perfection and ideal forms, for me. An interesting part of this track is the riveting chords being rapidly and gently strummed on electric guitar behind the melody. (That fast beat under slow melody combo has been overused to death in tv soundtracks to convey an aura of mysterious suspense.) Later the track moves into traditional and overdone jazz rock territory. At least the first minute of this one is worth listening to!

Hope you can enjoy this lost lost classic of the genre. Credit for this particular rip to master Shige.

TRACKS:
1 Sommertag
2 Für J.H.
3 Gloloks Dance
4 Faruks Traum
5 Point of View
6 Für Carlos
7 Unsere Altbauwohnung

MUSICIANS:
Fahr, Wolfgang (1) (electric guitar, ovation guitar)
Grünwald, Alex (2) (keyboards) Munju
Krüger, Mathias (2) (electric bass, percussion) Schittenhelm, Julius
Zelinka, Jan (3) (drums, gong, timbales) Missus Beastly; Schittenhelm, Julius

Guests:
Zadlo, Leczek (4) (soprano & tenor saxophone (1, 6, 7)) Anima; Music Community; Sunbirds

Gloclock's Dance:



Point of View:

Freeport - Alternating Current and Duanelessness (Germany)

An absolutely stunning discovery by the mighty and incomparable osurec, apologies for the side-long rip (perhaps we can ask our master shige to divide and conquer this one except I hesitate knowing he is overloaded with his work).

Barebones description on rateyourmusic:
Formed 1977, Germany Members Michael Berger (keyboards), Michael Sievert (tenor saxophone, soprano saxophone), Manni Naumann (drums), Jens Ahlers (drums)

I find the first album, with the odd title of Duanelessness (1980), to be superior in composition, and more accessible. The pianist reminds a lot of the incomparable W. Dauner (he is comparable this one time). The second album, AC (1983), is more free, more improvised, and more atonal in melody, similar to the inconstant sol albums for those who are familiar with the blog. We are in the tradition of European acoustic jazz with a high energy dynamic almost to the point of fusion.

Beausoleil Broussard - Le mitan du siecle qui s'en vient... 1979

Long long ago this very website introduced us to a remarkably unknown french-canadian folk band called Beausoleil Broussard, hailing from the east coast of Canada in the form of a compilation album. Now we are going to cover the original discography of this long-lost band, that stands comparison favourably to quebecois artists Connivence, L'engoulevent, or ontarians CANO. I'm sure I'm not the only one who prefers the warm full and harmonious sound of vinyl records over the remastered cd, especially in a case like this where some lost tracks, often very well composed, inevitably were left off the compilation. The band's name can be discovered from wikipedia.

"Joseph Gaurhept Broussard (1702–1765), also known as Beausoleil, was a leader of the Acadian people in Acadia; later Nova Scotia and New Brunswick. Broussard organized a resistance movement against the forced Expulsion of the Acadians. In 1765, After the loss of Acadia to the British, he eventually led the first group of Acadians to southern Louisiana in present-day United States."

Of course this tells us this foursome hails from Acadia. The title of the disc means (in slang) "the middle of the century that's coming". I return to the same themes in each post, this music does not deserve to be forgotten, it could be played on 70s rock stations with the best of them, and always make sure to check out the album covers, in this case a gorgeous photograph of a girl looking through binoculars to the side, with a beach in the background. This is their last album and probably the most successfully and professionally composed. The first two will be coming shortly. Note the back of the album with its hilarious facial hair, and the female singer (Isabelle Roy, who has an amazing sparklingly clear and vibrato-strong voice) with the pippy longstocking hair. I can't help but laugh when I look at these old portraits.

Like the 2 aforementioned (Connivence and L'engoulevent) and Les Seguins, this album mixes jigs and trad. folk music with a lot of more progressive, sometimes classical elements, the last track in particular features a symphony orchestra backing. A very characteristic mix for the seventies as we all know.

A stand-out track on the first side is "Squall" (as in wind) which discusses loneliness in relationships.
"One is never as alone as when one is sleeping with one's lover.
One is never so vague as in the middle of the night."
The soprano sax at the intro and throughout clearly states its melancholy case with its swooping figures moving through E minor. The last track on side A, title track, is a masterpiece of progressive folk, an equal to the L'engoulevent album without a doubt with its chamber elements, its chanted folk refrain. I am not sure what the song is about, it discusses traveling to the ocean, to the rivers, nostalgia or foreboding, it's not clear.
Ignore the bizarre annoying dialectical (materialist?) talk on the fourth track's first minute to note the instrumental gigue which follows : it passes bizarrely from G major to B flat minor then E flat, an astonishing modulation for a folk record!

On side two we have three standout compositions, "Enfantaisie" which is a very gentle instrumental acoustic guitar lullaby-like piece again with some very interesting chord progressions, and the last two tracks. "La fuite en avant", meaning, fleeing towards, is a basically an evocative poem, mysteriously suggestive, sounds to me again like a relationship gone bad song.
"On the third day of the full moon
The night on purpose went full straight
Woke up late, woke up in remorse,
Stayed close to the walls to not be seen..."
How nice to see bona-fide poetry behind this music!
It's astonishing how singer Isabelle Roy hits those high E notes with a superlative vibrato, almost operatically pure and powerful.

The last track is the composed orchestral piece, "Tourterelles tristes" (sad turtledoves). Highly reminiscent of the instrumental Connivence pieces from their magnificent three albums, this song suggests again what potential the combination of classical music, rock, and folk can achieve in a synthesis that takes music farther than it ever went before or since, a perfect synergy where the whole is so much more than the parts. Sadly this track was left off the compilation cds.

Anyone with much info on the band will be welcome to add something in the comments, it's difficult to find online due to the (relative) commonness of the band's namesake. And stay tuned for more from the same act.

8. Enfantaisie...
9. La fuite en avant...

Georg Lawall Orexis Live 1981

Long time ago this very website introduced me to the incredible Orexis via the albums Inspiration and Reflection. To me here is a genre that is truly lost: progressive ethnic folk, not just simply composed, but filled with the complex european synthesis of classical composition on a background of folk instruments. This group is the brainchild of german guitarist George Lawall, who is responsible for most of the composition and (obviously) plays all guitars, as well as the sitar on some tracks. He is accompanied by flautist Knut Rossler and 2 percussionists. Amazingly Orexis produced something like 6 albums, including the self-titled debut, Inspiration and reflection, a spanish suite, communication, and this live album which has an absolutely fantastic sound quality for a live. As far as I know all these albums are lost to history except for a few vinyls here and there and the resurrection via internet and mp3 of the recordings we have tried to preserve on this website.

Please check out the other 2 posted albums if you don't know them already.

From discographies:
Profile: German world music crossover band, founded in 1975 by Georg Lawall and Gert Kilian, joined by various musicians for 8 albums until 1986. They received the German 'Artist of the Year' award for their first album in 1978 in the category 'newcomer band'.
Members (at different times): Büdi Siebert, Erik Erker, Georg Lawall, Gert Kilian, Joe Koinzer, Knut Rössler, Trilok Gurtu, Willi Kappich, Wolfgang Lauer

Link for wav and mp3 up later tonite

Credits:
Artwork By [Cover] – Georg Lawall
Artwork By [Layout] – Jeanette Fink
Engineer – Alex Mitchell (3)
Engineer [Assistant] – Achim Bosch
Flute, Soprano Saxophone, Tenor Saxophone – Knut Rössler
Photography – Roland Michalsky
Producer – Günter Marek
Producer, Composed By, Guitar, Sitar, Idiophone [Balafon], Percussion, Voice – Georg Lawall
Tabla, Bongos, Gong, Percussion, Flute – Dieter "Dizzy" Pandtle*
Xylophone, Idiophone [Balafon], Percussion, Voice – Gert "Medronho" Kilian*

Roses for Moses...
Fingerstyle...