Archive for June, 2010

(Thanks to CrimsonKing and his new blog Brain Damage)

Second studio album of the Von Zamla incarnation features an expanded lineup of six, including Univers Zero reeds man Michel Berckmans. “No Make Up!” is undeniably an avant progressive tour de force.

Throughout the album, it’s once again Lars Hollmer’s familiar accordion, that drives most of the Nordic European style folk melodies. The ensemble work is tight, in typical chamber music fashion, with the aggressive rock edge provided by guitarist Eino Haapala, the same role he played for the Zamla clan prior.

It’s fair to say that most of the groups in the Rock in Opposition camp find it hard to avoid some crazy improvisation, sort of their bitch-slap to the establishment. Here Von Zamla only utilize one piece for that, the unbelievably irritating (and mercifully short) ‘Voice Improvisation’. Fortunately the remainder of the tracks remain composed, energetic and satisfying.

The album opener “Forge Etude”, is a rework from the Zamla Mammaz Manna incarnation’s final album “Familjesprickor”.

Line-up:
- Michel Berckmans / bassoon, oboe
- Eino Haapala / guitar, vocals
- Lars Hollmer / keyboards, accordion
- Hans Louhelainen / keyboards, melodica
- Wolfgang Salomon / bass, guitaron
- Marten Tiselius / drums
with
- Kalle Eriksson / trumpet (4), percussion

Track List:
01. Forge Etude – 4:07
02. Soon Series – 7:25
03. Fur Munju Indojazz – 6:01
04. Gilmit – 4:31
05. Hopeful – 4:35
06. Endanko – 3:51
07. Piece of Antsong – 2:45
08. Voice Improvisation – 3:49
09. After Smrt – 5:14
10. Cancion de Bi-Me-Mela – 3:25

Link in comments.

Michel Berckmans, Samla Mammas Manna, Von Zamla, Zamla Mammaz Manna

Von Zamla – Zamlaranamma (1982) (@256)

28 Jun 2010

(Review from progarchives.com)

Von Zamla (translating Son of Zamla) is an evolution of Samla and then Zamla Mamma Manna. It is also in the musical continuity of its pedecessors. Von Zamla has Haapala and Hollmer from the band’s previous incarnation, with the addition of two other musicians from Albert Marcoeur’s band.

Their sound’s main bet is on multicolored melodic motifs, extravagant tratments, heavily relying on dissonant chord progressions and pretty recurrently sustained on counterpoints regarding the arrangements. The music is deeply challenging while not being particularly aggressive – their compositions and style bear the heritage of Zamla Mannas Manna (ZMM) but with a more light-weight attitude toward the interactions between all musicians. The absence of a drummer, or more precisely, a specialized percussive section, allows the ensamble to focus more enthusiastically on the amalgamation of keyboards, guitars and woodwinds, although the rhythmic basis still plays a solid role at ordaining the aforesaid amalgamation. The strong position of the accordion helps the band to elaborate a folk-based depth within the confines of the band’s overall vision.

The opener “Harujanta”, bearing a pletoric aura of celebration with various hints to Northern Europe folk, is a definite proof of their sound. Later on, ‘Clandestine’ includes an effective melodic twist that leads to a werid musical box-like final motif and ‘Original 13/11′ is headlong for the delivery of overwhelming exotic ambiences; both persevere with the special, bizarre magic that Von Zamla instill on their particular approach to RIO.

‘Rainbox’ displays a more melancholic mood, sweet and suave, but not without its proper touch of mystery. ‘Doppler’ is a definite highlight with its sinister spirals of neurosis and spacey cadences. In many ways the somber spirit in this track is a reminder of the sophisticated tension so clearly illustrated on ZMM’s swansong “Familjiesprickor”.

Other notable tracks include the nocturnal ‘Temporal You Are’ and the last two numbers ‘Antsong’ and ‘Tail of Antsong’, genuine brainstorms of atonal colors. ‘Ten Tango’ brings back the band’s softer, althoug displaying more intensity and mystery than ‘Rainbox’, particularly due to the hypnotic use of texturial ornaments in a weird confluence of tango-fusion, Stravinsky and gypsy folk.

Line-up:
- Eino Haapala / guitar, bass, cello, mandoline, percussion, vocals
- Lars Hollmer / keyboards, accordion, percussion, glockenspiel, lead vocals
- Denis Brely / bassoon, oboe, voice, baryton sax, Soprano flute
- Jan Garret / bass, bass pedals, guitar, percussion, vocals

Track List:
01. Harujanta – 7:51
02. Rainbox – 3:15
03. Doppler – 4:34
04. Clandestine – 5:46
05. Temporal You Are – 4:34
06. Original 13 11 – 4:49
07. Ten Tango – 5:44
08. Antsong – 5:12
09. Tail Of Antsong – 2:04

Link in comments.

Samla Mammas Manna, Von Zamla, Zamla Mammaz Manna

Zamla Mammaz Zanna – Family Cracks (1980) (@256)

26 Jun 2010

(Review from allmusic)

Familjesprickor (Family Cracks) was the last album recorded by this incarnation of the band. The original drummer, Hans Bruniusson, left the group in early 1980 and was replaced by Vilgot Hansson, for tours in France and Belgium. In the liner notes, the group states that Familjesprickor was made during a period of transition, and the music is therefore not as “optimistic and happy” as that on previous Zamla/Samla releases. Indeed, this album is the darkest and most aggressive of any album by any incarnation of the group.

The opening track, “Five Single Combats”, drives hard and fast right out of the box, and the intensity barely lets up through the rest of the album. There is a bit of a rest on “Ventilation Calculation,” where keyboardist Lars Hollmer has brief and wistful solo interludes, but “The Forge” (reprised as Forge Etude by Von Zamla on No Make Up! kicks back up again. The album’s only vocals are on “Pappa,” a demented folk tune with none of the sweetness of the band’s earlier work.

Line-up:
- Lars Hollmer / keyboards, accordion, song
- Eino Haapala / guitar, song
- Lars Krantz / bass, song
- Vilgot Hansson / drums, percussion
- Hans Bruniusson / drums, percussion (8)

Track List:
01. Five Single Combats – 5:54
02. Ventilation Calculation – 5:06
03. The Forge – 5:11
04. The Thrall – 5:08
05. The Panting Short Story – 3:53
06. Pappa (With Right Of Veto) – 4:29
07. The Farmhand – 7:36
08. Kernel In Short And Long Castling – 5:48

Link in comments.

Samla Mammas Manna, Zamla Mammaz Manna

Sonicsphere Festival Organization Misery

25 Jun 2010

7 comments

I was at the Sonicsphere Festival today. Rammstein was certainly fabulous.

Yet the festival organization was really shitty. I carefully studied the forbidden items list of the festival before going there. At the entrance, the festival security confiscated my umbrella, my food (though I told them I was diabetic) and my music player; telling me these items weren’t allowed in the stadium. I could retrieve none of them later.

As you may guess, none of these items were specified by the organization to be disallowed. Why can’t I just enjoy a rock concert like civil people…

In a heavy rainy day, it’s a brilliant idea to confiscate people’s umbrellas (which is not a cheap item btw).

Kudos Sonicsphere Organization! >8-(

Zamla Mammaz Manna – Mystery of Popular Music (1978) (@256)

25 Jun 2010

(Review from allmusic)

Side one of “Schlagerns Mystik” (translating as Mystery of Popular Music) is a series of quirky folk songs, sung relatively straightforwardly. Although the band have always included at least one track with vocals on most of its albums, the vocals were typically shouted, buried in the mix, or sung in falsetto. This time, the lyrics are completely comprehensible (in Swedish), and the arrangements are subdued. Yet they retain all of the tunefulness for which the band became famous, and even through the strange elements, the melodies are truly charming.

The second side of the album contains the long instrumental “The Fate” — structurally similar to Pink Floyd’s “Echoes” from its album Meddle — has a clearly stated theme, a spaced-out improvisational section in the middle, and a return to the theme.

Line-up:
- Hans Bruniusson / drums, xylophone, chimes, vibraphone, song
- Eino Haapala / electric guitar, acoustic guitar, vibraphone, song
- Lars Hollmer / electric piano, Korg polyphonic, Hohner-symphonic grand piano, accordion, song
- Lars Krantz / electric bass, double-bass, acoustic guitar, song

Track List:
01. At Ragunda – 1:38
02. Seasonsong – 3:46
03. Proffesion Is The Amateur’s Glue – 2:19
04. Buttonless – 2:18
05. Not Margareta – 3:49
06. Little Karin – 4:17
07. Asphaltsong – 1:53
08. Joosan Lost – 0:31
09. The Fate – 16:55

Link in comments.

Samla Mammas Manna, Zamla Mammaz Manna

Zamla Mammaz Manna – For Older Beginners (Live Improvisations 1977) (@256)

24 Jun 2010

(Review from squidco.com)

After Coste Apetrea left, Samla Mammas Manna reformed as the subtly renamed Zamla Mammas Manna in January 1977 to indicate a new start and a new style with much more fiery and distinctly RIO type of rock fusion. Songs moved to the background as instrumental music took the lead, fed from a vast palette of styles that always anchored on rock, often in intensely sophisticated yet melodic ways. They have a wide range, from straight rock grooves to experimental textures.

When the band went on tour that summer, they played all improvisations, to the point where at one show a fan cut off their power because they wouldn’t play their well-known songs. Chris Cutler, drummer of Henry Cow, remarked that they were one of the best improvising rock bands he’d ever encountered, and showed it by inviting them to the first Rock in Opposition festival at New London Theatre in England.

The band recorded all the improvisations, and took the best ones for this album, For Aldre Nybegynnare (“For Older Beginners”).

Line-up:
- Hans Bruniusson / drums, pinochet, chimes, xylophone, radio, voicet
- Eino Haapala / guitars, voice
- Lars Holmer / electric piano, Korg polyphonic, Hohner-symphonic grand piano, Farfisaorgan, voice
- Lars Krantz / bass, trumpet

Track List:
01. Watchmaker 1 – 3:41
02. Watchmaker 2 – 2:31
03. The Funktrap – 2:49
04. Short Inheritance – 1:55
05. The Modern – 6:18
06. Temporal You Are – 2:36
07. Harness In Memoriam – 12:30
08. To The Oval Meter – 3:47
09. Do You Think Like Me? – 5:14

Link in comments.

Samla Mammas Manna, Zamla Mammaz Manna

Samla Mammas Manna – Snorungarnas Symfoni (1976) (@256)

23 Jun 2010

6 comments

(Review from gibraltar, allmusic)

“Snorungarnas Symfoni” is a collaboration with composer Gregory Allan Fitzpatrick, an album of four long pieces, all extremely diverse with very complex yet melodic arrangements, the result being a positively brilliant album that defies categorization yet defines the word progressive.

The band’s familiar twisted folk tunes, calliope keyboards, soaring guitar excursions and Zappaesque time signatures are enhanced perfectly by Fitzpatrick’s own quirky compositions. The album has a much more jazz-oriented flavor to it, in a way it might be considered the next logical step after “Klossa Knapitatet”.

You’ll laugh, hum along, tap your feet and shake your head in amazement, all at the same time.

Line-up:
- Coste Apetrea / acoustic & electric guitars, balalaika
- Hans Bruniusson / drums, percussion
- Kalle Eriksson / trumpet
- Lars Hollmer / keyboards
- Lars Krantz / bass
- Artan Wallander / saxophone

Track List:
01. Forsta Satsen – First Movement – 11:52
02. Andra Satsen – Second Movement – 5:40
03. Tredje Satsen – Third Movement – 7:46
04. Fjarde Satsen – Fourth Movement – 8:49

Link in comments.

Samla Mammas Manna

Samla Mammas Manna – Klossa Knapitatet (1974) (@256)

22 Jun 2010

(Review from progarchvies.com)

How could Samla Mammas Manna better their work after the astounding Maltid? Well they certainly tried very hard to duplicate the success without making a carbon copy of their previous oeuvre or reproducing exactly the recipe and succeeded in bringing us something almost as tasty as “Maltid”. “Klossa Kuapitatet” is an excellent album, that was recorded the following year with an unchanged line-up and it was granted another weird freak artwork, again with no obvious relation with the music, even with the track titles translated.

Staying more or less in the same musical realm than with Maltid, Klosa Knapitatet actually dare goes a little further in jazz (or jazz-rock as in the superb and lengthy “Liten Dialektik”), or in the burlesque (the yodelling of Kaninhal) or even in the dissonant and absurd (“Influences”) or in the festive folk and circus-like music (“Mousemilkingmachine”) and sometimes Crimsonoid deviations (“Influences” again). The Zappa stature is probably less present here than on “Maltid” though, and while the vocals remains strange, we can also say they’re less Focus-like as well. Elsewhere the band’s giving us some accordion with a guest musician on the title track, while the closing “Ramlosa Kvallar” is a fitting closing bit for such a crazy album, like Crimson playing Moonshine or Providence and after that returning to some brilliant polka music.

Line-up:
- Coste Apetrea / acoustic & electric guitars, backing vocals
- Hasse Bruniusson / drums, backing vocals
- Lasse Hollmer / piano, accordion, yodelling, vocals
- Lasse Krants / bass, backing vocals
- Brynn Settels / accordion (8)

Track List:
01. Ingenting (Nothing) – 2:10
02. Liten Dialektik (Small Dialectics) – 10:08
03. Sucken (The Sigh) – 1:14
04. Langt Ner I Ett Kaninhal (Way Down A Rabbithole) – 4:15
05. Kom Lite Narmare (Come A Little Closer) – 1:29
06. Musmjolkningsmaskinen (The Mousemilkingmachine) – 6:36
07. Influenser (Influences) – 7:00
08. Klossa Knapitatet – 1:22
09. Ramlosa Kvallar (Framless Nights) – 5:25

Link in comments.

Samla Mammas Manna

Samla Mammas Manna – Maltid (1973) (@256)

21 Jun 2010

(Review from progarchives.com)

Some three years after their debut, Samla Mammas Manna (SMM) lost percussionist Oberg, but gained guitarist Coaste Apetrea, but this didn’t alter much their direction, even if there were obvious sonic changes. Unlike its predecessor’s and its chicken shack, Maltid was recorded in a real studio during the fall 1973 and received a strange third-age picnic artwork.

Starting out on some very obtuse bowels sounds, the quartet attacks their second opus on the almost 11-mins “Dundrets Frojder”, a constantly evolving track with some crazy percussions, weird vocals astounding overall musicianship and a Zappa-esque mastery and humour, but SMM has their own distinct sound. There is no way you could mistake it for Zappa, but it is damn well inspired, but never copied, as SMM is really giving priority to the instruments, as opposed to Zappa’s often too wordy musical scheme. SMM’s vocals are often weird but actually closer to Focus.

Further down the album we have some really superb tracks like “Oforutsed Folossning”, some more experimental or dissonant “Aterupplivate Laten”, the burlesque and wordy “Svackorpoangen” and the slightly ethnic sounding Minaretten (with some incredible drumming) etc.. The mood always remain positive, humorous, joyous, even festive, that Maltid is actually fairly accessible despite its complexity.

This album comes with three bonus tracks, two of them from this same 1973 session, and “Circus Apparatha” from the chicken shack sessions and the debut album. One of the tracks “Minaretten II” is absolutely vocally bonkers and it may introduce a certain reject reaction, but manages to blend in enough with the album’s overall mass of work. Blending much better in (although you can hear the major production difference between the shack and the studio) is “Circus Apparatha”, while the final “Probably” should’ve made the original cut.

Line-up:
- Coste Apetrea / guitars, vocals (1-10, 12)
- Hasse Bruniusson / drums, percussion, backing vocals, glass
- Lasse Hollmer / acoustic & electric pianos, vocals
- Lasse Krants / bass, vocals
- Henrik Oberg / congas (11)

Track List:
01. Dundrets Frojder – 10:46
02. Oforutsedd Forlossning – 3:13
03. Den aterupplivade Laten – 5:59
04. Folkvisa I Morse – 2:09
05. Syster System – 2:29
06. Tarningen – 3:37
07. Svackorpoangen – 3:14
08. Minareten – 8:21
09. Vaerelseds Tilbud – 2:28
10. Minareten II (Bonus) – 4:41
11. Circus Apparatha (Bonus) – 6:05
12. Probably The Probably (Bonus) – 3:55

Link in comments.

Samla Mammas Manna

Samla Mammas Manna – Samla Mammas Manna (1971) (@256)

20 Jun 2010

(Review from progarchives.com, allmusic)

The Samlas were formed in Uppsala, Sweden, in 1969. Two years later, the band’s selftitled debut was recorded at the Chickenhouse, which was so named because it really was built on a former chicken house that had belonged to organist Hollmer’s mother.

Opening with a quirky electric-piano riff, ‘Circus Apparatha’ indeed sounds like a carnival – humourous riffs, vocals and silly voices, care-free organ and e-piano playing, with a competent rhythm section – it really gets this album off to a great, unique start.

The bulk of the album is instrumental, and the sound and instrumentation consistent throughout. There are some brief, but beautiful e-piano interludes at certain points, and there is a loose, jammy vibe to be heard on most tracks. Sometimes slow, sometimes fast, many tempo changes and tasteful progressions abound, always keeping things interesting.

The band would later get tighter, more avant-garde, and simply more skilled, but few of their recordings are as charming as this one. The production values leave a bit to be desired, but it kinda adds to the naivety and innocence of this wonderful bit of creativity.

Line-up:
- Hasse Bruniusson / drums, vocals
- Lasse Hollmer / organ, piano, vocals
- Lasse Krantz / bass
- Bebben Oberg / congas, percussion

Track List:
01. Circus Apparatha – 6:04
02. Pausus – 0:20
03. Broadened Condition – 3:19
04. Slayride to Satori – 4:17
05. Schenkina – 2:52
06. Overture to a Kind Horse – 2:55
07. The Girl in the Woods – 2:22
08. Manna Jamma – 6:07
09. At-One-Ment – 4:20
10. Shouts From Embassy – 2:29
11. Fittravisan – 0:58
12. E’ Pop Tai – 4:12
13. Cirkus Impala – 3:39
14. Lawrence in Sahara – 2:01

Link in comments.

Samla Mammas Manna

Charge – Charge (1973) (@256)

19 Jun 2010

(Info from sleeve)

Charge’s private pressed LP of 1973 is virtually cliched in their self tormenting guitar excess and psycho-hippie lyricism, lunatic heavy-rock. Occasional Hendrix-isms soon fall to the experimental idiosyncrasies.

Line-up:
- Smiley De Jones / percussion
- Ric Grech / violin, gtr, bs
- Ian Green / keyboards
- Rosetta Hightower / vocals
- Neil Hubbard / guitar
- Godfrey McLean / drums
- Alan Spenner / bass
- Lee van der Bilt / vocals, percussion
- Mike Woods / guitar

Track List:
01. Glory Boy – 4:04
02. To My Friends – 5:09
03. Rock My Soul – 3:48
04. Child Of Nations – 17:09

Link in comments.

Ric Grech

Ursa Major – Ursa Major (1972) (@256)

17 Jun 2010

(Review from amazon)

Ursa Major was an American hard-rocking power trio from Michigan.

There are no guitar pyrotechnics on here, but the riffs and the way Wagner plays are what make this such a good guitar album. They are heavy but with a good sense of melody. The vocals very much harken Mark Farner of Grand Funk Railroad.

Standout tracks include “Lay Me Down” and “Darkest Hour”. Silver Spoon is a live track, featuring the band in front of a crowd.

For a power trio, Ursa Major was a step above many of their contemporaries for complexity, style, and song quality.

Wagner would later find more success working with Lou Reed and Alice Cooper.

Line-up:
- Dick Wagner / Guitar, Vocals
- Greg Arama / Bass, Vocals
- Ricky Mangone / Drums

Track List:
01. Sinner – 7:31
02. In My Darkest Hour – 5:26
03. Silver Spoon – 6:16
04. Stage Door Queen – 5:27
05. Back To The Land – 6:47
06. Lay Me Down – 4:35
07. Liberty And Justice – 5:51

Link in comments.

Goodthunder – Goodthunder (1972) (@256)

16 Jun 2010

(Review from progarchives.com)

Good Thunder were a young, heavy progressive five piece from Los Angeles. Their short-lived existence produced only one album, 1972′s 8 track, eponymous debut.

Their album has a typical sound within the field of Californian bands writing hard, guitar oriented art-rock with a progressive/ psychedelic edge, during the early 70s. The musicianship behind the crunchy guitars, driving bass-lines and underpinning Hammond organ rhythms, demonstrate a more than competent level of proficiency. The construction of their more progressive tracks (such as ‘Barking At The Ants’, the stand-out track of the album) leave one wondering what might have been, with a couple more albums under their belts.

Line-up:
- James Cahoon Lindsay / lead vocals, percussion
- John Desautels / drums
- David Hanson / guitars, vocals
- Bill Rhodes / bass
- Wayne Cook / keyboards

Track List:
01. I Can’t Get Thru To You – 3:18
02. For A Breath – 5:38
03. Moonship – 2:50
04. Home Again – 6:51
05. Sentries – 2:39
06. P.O.W – 6:53
07. Rollin Up My Mind – 4:14
08. Barking At The Ants – 6:40

Link in comments.

Jerusalem – Jerusalem (1972) (@256)

15 Jun 2010

(Review from headheritage.co.uk, rockadrome.com)

Jerusalem was an early 1970s British raunchy heavy rock five piece outfit.

Rough, raw and doomy; the band carve their own strong identity on their only album. The music is a menacing combination of over-the-top vocals and screaming lead guitars. The material is almost crude – but still immensely powerful in content.

This edition of the album also features pre-album demos, alternate mixes and a non-lp single track as a bonus.

Line-up:
- Lynden Williams / vocals
- Bob Cooke / guitar
- Bill Hinde / guitar
- Paul Dean / bass
- Ray Sparrow / drums, percussion

Track List:
01. Frustration – 5:18
02. Hooded Eagle – 4:49
03. I See the Light – 3:55
04. Murderer’s Lament – 3:40
05. When the Wolf Sits – 4:57
06. Midnight Steamer – 4:42
07. Primitive Man – 5:55
08. Beyond the Grave – 6:09
09. She Came Like a Bat From Hell – 5:35
10. Kamakazi Moth (Bonus Single) – 2:46
11. Primitive Man (Bonus Demo) – 6:56
12. Beyond the Grave (Bonus Demo) – 7:15
13. Hooded Eagle (Bonus Single) – 4:04
14. I See the Light (Bonus Mono) – 3:58

Link in comments.

Excalibur – First Album (1971) (@256)

14 Jun 2010

8 comments

(Review from rateyourmusic)

Hailing from Monchengladbach, Excalibur were a very British sounding hard rock trio with unique German touches. Their sound can be described as as a mixture of Birth Control with the boogie of American groups of the early 1970s, such as Ten Years After, Grand Funk Railroad.

The keyboard of Hartmut Scholgens shines through the album, establishing typical passages and melodies from those early days of hard rock. Highlights include the single “Get Me, If You Want” and the instrumental “Zamuno”.

Line-up:
- Charlie Terstappen / Drums
- Werner Odenkirchen / Guitar, Vocals
- Hartmut Scholgens / Organ, Vocals
with
- Achim Reichel / bass
- Lemmy / percussion
- Hans Lampe / percussion

Track List:
01. Light In The Dark – 6:10
02. Get Me If You Want – 2:55
03. Zamuno – 3:00
04. Run Through The Past – 4:04
05. Sure You Win – 4:29
06. Hollywood Dreams – 3:31
07. Questions – 4:09
08. Don’t Look Backwards – 5:03
09. Feelin’s – 6:37

Link in comments.

Trilogy – Here It Is (1979) (@256)

13 Jun 2010

(Review from amazon)

Trilogy (naming themselves after the 1972 Emerson, Lake & Palmer album of the same name) were a German band from Dorsten, formed in 1977 and recorded “Here It Is” in early 1979. Their all instrumental sound is heavily influenced ELP (obviously), Triumvirat and Genesis.

“Venice” is a great opening piece, with some truly great Moog sounds, and some really intense passages. The next two piece, “Breakthrough” and “Changing Scene” are a bit mellower, showing a more Genesis-influence. “Andy”, in honor of their road manager, is back to a more intense piece.

Yet the highlight has to be “Crowded”. The music builds itself around the nice organ theme with some great Moog solos and lead guitar work.

This edition of the album has a bonus cut “Treibsand”, a 1981 recording of what they originally meant for Here It Is, but never made it due to lack of space. This one has a bit of that 1981 sound, especially since the band replaced the Roland string synth with some early 1980s polyphonic synth. It had originally appeared on a label compilation album.

Upon listening to Here It Is, you would never think this was recorded in 1979. If someone told you it was recorded in 1975 and you didn’t know, you wouldn’t have any reason to question it. It didn’t appear the band used any instrument made after 1975 (you hear lots of Hammond organ, Minimoog, Roland string synth, and Hohner clavinet).

Line-up:
- Jochen Kirsten / keyboards
- Guido Harding / keyboards
- Detlef Deeken / guitars
- Ludger Samson / bass
- Martin Breuer / drums

Track List:
01. Venice – 4:38
02. Breakthrough – 6:11
03. Changing Scene – 9:26
04. Andy – 6:17
05. Crowded – 12:50
06. Encore – 0:42
07. Treibsand – 5:46 (Bonus 1981)

Link in comments.

Creepy John Thomas – Brother Bat Bone (1970) (@256)

12 Jun 2010

(Review from rateyourmusic.com)

“Brother Bat Bone” sounds at times like a mixture of Captain Beefheart and the Pink Fairies.

This is a rather irresistable progressive blues/boogie album. A totally inspired effort from start to finish with emotionally strong, at times deeply moving vocals, tremendous axework and a loose, groovy rhythm section.

Line-up:
- “Creepy” John Thomas / lead vocals, guitar
- Andy Marx / lead guitar, bass
- Helmut Pohl / drums
- Dave Hutchins / bass
- Roy O’Temro / drums

Track List:
01. Down In The Bottom – 5:11
02. What’s The Matter With The Mill – 3:16
03. Brother Bat Bone – 9:06
04. This Is My Body – 3:28
05. Standing In The Sunshine – 8:34
06. 100 Lib. Noomy – 2:29

Link in comments.

Creepy John Thomas, Helmut Pohl

Creepy John Thomas – Creepy John Thomas (1969) (@256)

11 Jun 2010

(Info from allmusic)

Born in Sydney, Australian John Thomas has been rockin’ around a long time. He’s been writing songs since his first successful venture into the music business, when as a member of Melbourne based band The Flies, he co-wrote their chart hits. During this time, they became famous in Australia for their wild and frantic live performances.

A guitarist named John Thomas seems to have as much chance of being recognized as an individual as a fire hydrant in an urban setting. So dubbed himself Creepy John Thomas after moving to London.

His heavy blues-psych debut album was issued in 1969.

Line-up:
- “Creepy” John Thomas / lead vocals, guitar
- Andy Marx / lead guitar, bass
- Helmut Pohl / drums
- Dave Hutchins / bass
- Roy O’Temro / drums

Track List:
01. Gut Runs Great Stone – 4:03
02. (Do I Figure) In Your Life – 2:46
03. You’ve Got To Hide – 2:34
04. One Way Track Blues – 2:09
05. Trippin’ Like A Dog – 4:19
06. Ride A Rainbow – 3:05
07. Green Eyed Lady – 3:35
08. Sun And Woman – 3:38
09. Lay It On Me – 3:21
10. Bring Back The Love – 3:23
11. Moon And Eyes Song – 3:43

Link in comments.

Creepy John Thomas, Helmut Pohl

Green Bullfrog – Green Bullfrog Sessions (1970) (@256)

10 Jun 2010

(Review from allmusic, wikipedia)

Carved firmly in the mold of the superstar jam sessions that fascinated the rock cognoscenti during the late ’60s/early ’70s, Green Bullfrog was an album resulting from a one-off studio project and recorded between February and May 1970. The album was the idea of producer Derek Lawrence who assembled a group of musicians with whom he had worked in the 1960s. For contractual reasons, the musicians were billed under pseudonyms.

A few originals (penned by Lawrence) were played, as well as many blues-inflected covers of rock songs. With Blackmore, Sullivan, and Lee involved, it is naturally a guitar-heavy event, and there’s certainly some searing playing to be found amid the good-time grooves and loose-limbed energies; the seven-minute title track is a particular tour de force.

Line-up:
- Rod Alexander (Vicar) / Guitar
- Tony Ashton (Bevy) / Keyboards
- Ritchie Blackmore (Boots) / Guitar
- Matthew Fisher (Sorry) / Keyboards
- Charles “Chas” Hodges (Sleepy) / Bass
- Earl Jordan (Jordan) / Vocals
- Albert Lee (Pinta) / Guitar
- Ian Paice (Speedy) / Drums
- Big Jim Sullivan (Boss) / Guitar

Track List:
01. Ain’t Nobody Home – 4:17
02. Bullfrog – 7:13
03. Walk A Mile In My Shoes – 3:47
04. My Baby Left Me – 3:18
05. Makin’ Time – 3:00
06. Lawdy Miss Clawdy – 3:18
07. I’m A Free Man – 4:37
08. Lovin’ You Is Good For Me Baby – 4:53
09. I Want You – 3:52
10. Louisiana Man – 4:10
11. Who Do You Love – 3:59

Link in comments.

Ian Paice, Matthew Fisher, Ritchie Blackmore, Tony Ashton

Reaction – Reaction (1972) (@256)

09 Jun 2010

1 comment

(Review from Cosmic Dreams)

This German trio was a loud and aggressive band, eager to surpass the blues-based guitar-rock of Cream and Jimi Hendrix.

Their sole album “Reaction” contains nine pieces of primitive blues-rock-boogie the way it used to be performed.

Line-up :
- Peter Braun / guitar, vocals
- Luigi de Luca / bass
- Holger Tempel / drums

Track List:
01. Mistreated – 3:57
02. What’s Going On Around – 3:19
03. Time – 3:29
04. The Mask – 2:42
05. Funeral March Of A Marionette – 3:14
06. My Father’s Son – 2:39
07. Live Is A Wheel – 6:23
08. Keep On Trying – 3:46
09. On The Highway – 4:21

Link in comments.

Halford – Winter Songs (2009) (@256)

08 Jun 2010

(Review from allmusic, ultimate-guitar.com)

At first glance, Halford’s entry into the crowded holiday market looks like a parody. Even the pastoral cover art — which depicts Rob Halford staring wistfully (with a goatee and shades) into a soft, snowy pine forest screams “Spinal Tap”.

The idea however works quite well, thanks to Halford’s careful selection of traditional Christmas songs that translate well to the metal genre, mixed in with a few original songs on the same subject. He approaches yuletide standards like “We Three Kings” and “What Child Is This?” with the same conviction that he applied to Priest classics.

While “Winter Songs” may not be mainstream enough for the department store Santa kiosk, it’s a surprisingly cohesive and listenable addition to the genre — and if skillfully disguised in an appropriate jewel case, it could make Christmas morning truly joyful.

Line-up:
- Rob Halford / lead vocals
- Roy Z / guitars, arrangements, production, engineering
- Mike Chlasciak / guitars
- Mike Davis / bass
- Bobby Jarzombek / drums, percussion

Track List:
01. Get Into The Spirit – 5:26
02. We Three Kings – 4:06
03. Oh Come O Come Emanuel – 4:38
04. Winter Song – 5:38
05. What Child Is This? – 4:27
06. Christmas For Everyone – 3:06
07. I Don’t Care – 3:14
08. Light Of The World – 4:13
09. Oh Holy Night – 4:09
10. Come All Ye Faithful – 2:27

Link in comments.

Halford, Rob Halford

Thunder & Roses – King of the Black Sunrise (1969) (@256)

07 Jun 2010

(Review from rateyourmusic.com, last.fm)

Thunder and Roses were an early power trio from Philadelphia/USA, making heavy bluesy psychedelic rock in the same vein of groups like Cream, Jimi Hendrix Experience and Blue Cheer.

Their only album opens with “White Lace and Strange”. It is a free-flowing, mind-boggling heavy psych piece; the musical equivalent to an amorphous, three-dimensional mirage of stunning iridescence viewed while stoned. The song was later covered by Nirvana in the 90s.

The band does well by varying the level of intensity with “I Loved A Woman”, which is rather mellow heavy psych marked by aggressively strummed major (and seventh) chords where you’d least expect them, and some extremely psychedelic harmonies on the chorus.

Other notable tracks include the cover of Hendrix’s blues rock classic “Red House” and then we have a wacky little psychedelic hard rocker called “Moon Child”. “Dear Dream Maker” is a more solemn, minor-key psych venture, preceding the peaceful, half country/half psychedelic instrumental title track, and then there’s the 7 minute-plus closer; a splendid amalgamation of the band’s sound.

Line-up:
- Chris Bond / guitars, vocals
- Tom Schaffer / bass, vocals
- George Emme / drums

Track List:
01. White Lace And Strange – 3:15
02. I Love A Woman – 4:42
03. Country Life – 2:46
04. Red House – 5:43
05. Moon Child – 4:13
06. Dear Dream Maker – 3:37
07. King Of The Black Sunrise – 3:51
08. Open Up Your Eyes – 7:23

Link in comments.

Marillion – Less Is More (2009) (@256)

06 Jun 2010

(Review from popmatters.com, progarchives.com)

“Less is More” is made up of acoustic or semi electric versions of selected tracks (post-Fish era), something the band have actually done before in the shape of a gig at Oswestry The Walls restaurant a few years ago.

The acoustic arrangements allow the band to throw in piles of extra percussion instruments to give the songs a more organic feel. Finger cymbals, glockenspiel, xylophone, autoharp, and hammered dulcimer all make multiple appearances throughout the album.

The album’s only new song is the simple “It’s Not Your Fault”, featuring Hogarth alone on piano and vocals. It’s a sad, beautiful song that doesn’t try too hard to be clever lyrically.

Line-up:
- Steve Hogarth / vocals
- Steve Rothery / acoustic guitars
- Mark Kelly / keyboards
- Peter Trewavas / bass
- Ian Mosley / drums & percussion

Track List:
01. Go! – 4:59
02. Interior Lulu – 7:32
03. Out Of This World – 5:07
04. Wrapped Up In Time – 3:40
05. The Space – 4:51
06. Hard As Love – 4:58
07. Quartz – 5:47
08. If My Heart Were A Ball – 5:11
09. It’s Not Your Fault – 3:32
10. Memory Of Water – 2:37
11. This Is The 21st Century – 5:40
12. Cannibal Surf Babe – 3:27

Link in comments.

Ian Mosley, Marillion, Steve Hogarth

Pluto – Pluto (1971) (@256)

05 Jun 2010

(Info from sleeve)

Taking their name from the Disney cartoon character, Pluto were formed in North London in 1970. The key members, Gardner and Alan Warner were two highly experienced campaigners from widely disparate musical backgrounds. Following extensive and exhausting auditions, the rhythm section was in place.

On the road; their bluesy, hard-rock set quickly won them a fair old reputation and a loyal following on the university/college circuit, which they quickly expanded upon, eventually establishing themselves as regulars at many of the more prestigious gigs. They toured with just about everybody, whose sound was clearly reflected in Pluto’s set. Finally, the Dawn label signed them for their only studio album, recorded in early 1971.

“Rag A Bone Joe”, the only track not written by Gardner/Warner in the album, features the bulk of their live set, albeit in a considerably less manic vein than their live performance.

Gardner’s material (on which he takes the lead vocals) tends to be the more mainstream rock material: “Down And Out” (with its typically powerful riffing), “Stealing My Thunder” (featuring some tasty slide guitar), “Cross Fire” (which brings to mind early Black Sabbath), and “Bare Lady” (ditto) all being outstanding.

Warner’s tracks (on which he sings lead) tend to be heavier and more menacing, notably “And My Old Rocking Horse”; “She’s Innocent” and “Road To Glory” with their power chords, riffing and liberal use of fuzzbox.

A few tracks find them experimenting with vocal harmonies, somewhat in the manner of early ELO: “Mr. Westwood”, “Beauty Queen” and “Something That You Loved”.

The standout of the outing is easily “I Really Want It”, built on a familiar riff (sounding remarkably like some of the early 70s glam rock), it’s easy to see why it picked up the airplay.

This edition of the album is completed with the band’s single appended to the original LP as bonus tracks.

Line-up:
- Paul Gardner / guitar, vocals
- Derek Jervis / drums
- Alan Warner / guitar, vocals
- Mick Worth / bass

Track List:
01. Grossfire – 3:15
02. And My Old Rocking Horse – 3:52
03. Down And Out – 3:09
04. She’s Innocent – 3:34
05. Road To Glory – 4:24
06. Stealing My Thunder – 3:29
07. Beauty Queen – 3:34
08. Mister Westwood – 4:39
09. Rag A Bone Joe – 2:52
10. Bare Lady – 4:07
11. I Really Want It – 2:53
12. Something That You Loved (Bonus) – 3:44
13. Rag A Bone Joe (Bonus Alternate Mix) – 2:38

Link in comments.

Minimum Vital – Capitaines (2008) (@256)

04 Jun 2010

(Review from progressor.net)

While still continuing to develop or rather modify the style they had for the first time revealed on their “La Source” album, on “Capitaines”, the legendary Frenchmen appear as a very lighthearted folk rock ensemble.

The music, upbeat and sweetly melodic throughout, bears an almost danceable character, from which it logically follows that it has near-nothing cerebral to it. Some shifts in theme and pace appear on all nine of the tracks, each of them seems to cry out for more diversity in its arrangement and rhythmic departments alike.

The primary soloing instruments are still both acoustic and electric guitars, organ, synthesizers and bass. There are noticeably fewer intense, classically bombastic, symphonic-progressive and related movements here. The brothers fairly often providing unison leads within those.

Either real (congas) or midi (sounding like an ordinary drum machine) — percussion at the bottom end of their music instead of a drum kit, the latter being deployed on about a half of the tracks. Jean-Luc Payssan shows himself as a pretty skilled conga player. Without a real drummer, the music on this recording appear to be lighter as well as straighter than ever before. Moreover, Sonia Nedelec provides only harmony vocals here, appearing for the most part as a third voice in the choir.

Minimum Vital broadens its genre spectrum by using Arabic and Turkish tunes. If on some songs the moves that sonically evoke the band’s classic style, European medieval music-inspired symphonic progressive, prevail over the ones referring to Middle/Near Eastern music; others are almost entirely woven of, roughly speaking, oriental fabrics. They easily switch between the two cultural aesthetics with first-rate instrumental performance.

Line-up:
- Jean-Baptiste Ferracci / vocals
- Sonia Nedelec / vocals
- Didier Ottaviani / drums, percussion
- Jean-Luc Payssan / guitars, mandolin, vocals, percussion
- Thierry Payssan / organ & synthesizers, vocal, percussions
- Eric Rebeyrol / bass

Track List:
01. She Moves through the Fair – 4:19
02. Avec Uppsala – 6:45
03. Mauresque – 5:50
04. En Terre Etrangere – 4:30
05. La Croix deBourghi Bando – 3:32
06. Le Chant de Gauthier – 7:26
07. En Superbo – 5:26
08. Capitaines – 6:55
09. La Route – 7:08

Link in comments.

Jean-Luc Payssan, Minimum Vital, Thierry Payssan

Dirty Blues Band – Stone Dirt (1968) (@256)

03 Jun 2010

5 comments

(Review from allmusic)

For their second album, a revised version of the Dirty Blues Band cut ten excellent numbers in a single session in April of 1968.

Rod Piazza is not only in great voice (as is his harmonica) but also seems a lot more comfortable here. The music surges and flows, mostly the reeds and trumpet are used with admirable restraint where they turn up at all, most successfully on a soaring rendition of “You’ve Got to Love Her with a Feeling.”

The highlight of the album is his “Sittin’ Down Wonderin’,” where Piazza and company sound uncannily like Albert King, and Lunetta takes a killer solo around Maloney’s brilliantly understated organ fills.

By the end of 1968, even this second lineup had collapsed and Dirty Blues Band was no more.

Line-up:
- Rod Piazza / Harmonica, Vocals
- Rick Lunetta / guitar
- Greg Anderson / bass
- Dave Miter / drums
with
- Pat Maloney / piano, organ
- Freddie Hill / trumpet
- Jimmy Forrest / sax
- Willie Green / sax

Track List:
01. Bring It On Home – 2:56
02. It’s My Own Fault – 5:15
03. I Can’t Quit You Baby – 5:42
04. Tell Me – 4:23
05. She’s The One – 2:48
06. My Baby – 4:37
07. Sittin Down Wonderin – 5:40
08. Six Sides – 2:58
09. You’ve Got To Love Her With A Feeling – 4:35
10. Gone Too Long – 3:10

Link in comments.

Dirty Blues Band

Kansas – There’s Know Place Like Home (Live 2009) (@256)

02 Jun 2010