Sakalli
Freedom to Music
Anyone’s Daughter – Danger World (2001) (@256)
11 Aug 2011
(Review from progressiveworld.net)
Anyone’s Daughter reformed in 2000, only guitarist Uwe Karpa and keyboard player Matthias Ulmer remain from the original line-up, so you will detect some of the original sound, yet by adding a black singer and a black bass player the music has been injected by a dose of funk rather than go back to their roots. They also returned to English vocals.
Tucked away in “Good Gone Bad” is some glorious organ playing. The heavy guitars in “Danger World” almost lift the song towards the sound of “Living Colour”. There’s a wonderful synth solo in “I’ll Never Walk That Road Again” though, and the electric violin in “Wheel Of Fortune” certainly introduces an eastern feel.
There are many good songs around here, yet they’re more pop oriented than progressive. Even the revamped versions of classics such as “Moria” or “The Sundance Of The Haute Province” can’t help that. “Moria” now sounds like a leftover from the “Neue Deutsche Welle”, augmented with an extra disco beat. “The Sundance Of The Haute Province” still has the glorious Fender Rhodes however the vocals of Andre Caswell needs getting used to.
The almost all instrumental “Helios” is what we really want to hear. This is clearly a battle between Ulmer and Karpa taking us back to the heydays of the band.
Line-up:
- Uwe Karpa / guitars
- Matthias Ulmer / keyboards, backing vocals
- Peter Kumpf / drums
- Raoul Walton / bass
- André Carswell / lead vocals
Track List:
01. Nina – 3:44
02. Good Gone Bad – 3:41
03. Danger World – 5:40
04. I’ll Never Walk That Road Again – 5:31
05. Ebony White – 3:47
06. The Glory – 4:30
07. Wheel Of Fortune – 5:10
08. Helios – 3:35
09. Moria – 4:46
10. No Return – 5:45
11. The Sundance Of The Haute Provence – 4:01
Link in comments.
Anyone’s Daughter – Last Tracks (1986) (@192)
10 Aug 2011
(Review from progarchives.com)
The first five tracks are from a revised edition of the group that recorded an aborted, unfinished album in 1985 before disbanding for good. These tracks are 80′s pop music full of plastic electronic drums and horrid digital keys/DX7.
The real reason to have this album is for the last 26 minutes, comprised of a demo tape from circa 1977, before the band’s debut “Adonis” was recorded. The sound quality is deplorable, it sounds as though the tape had spent the past nine years under water with a pile of magnets stacked on it. But the music is some of the band’s finest ever.
The highlight is definitely “Ma Cherie Marquise de Sade”, the song has grown to legendary status in their live act, so it’s good to finally have a recorded version of the piece. It’s an absolute stunner, a fusion-tinged instrumental in jackhammer 17/8 time, rather like a more symphonic version of a National Health tune (complete with fuzzed-out organ).
“Window Pain” is a great epic, a precursor to the “Adonis” suite. “Sally The Green” is simply an early version of “Sally” again from the Adonis album. “I Hear An Army” is sort of progressive-pop, fanfare-y but still trapped by song-forms.
Line-up:
- Uwe Karpa / guitar
- Matthias Ulmer / keyboard, vocals
- Goetz Steeger / drums, vocals
- Michale Braun / lead vocal, keyboard
- Andi Kemmer / bass
Track List:
01. Friday The 17 th – 3:00
02. Stay With Me – 3:08
03. Much Too Late – 4:47
04. Echoes – 3:07
05. Move On – 4:29
06. I Hear An Army – 4:42
07. Sally The Green – 3:34
08. Ma Chère Marquise De Sade – 8:38
09. Window Pain – 8:50
Link in comments.
Anyone’s Daughter – Requested Document Live 1980-1983 Vol 2 (@256)
09 Aug 2011
(Review from progarchives.com)
Volume 2 mostly of material that already appeared in a superior version on the “Live” album, or in the case of the song “Anyone’s Daughter”, on Volume 1.
Its highlights are “Puppenspiel”, a German language version of UK’s “In the Dead of Night” called “Schwarzer Als Die Nacht” which helps one trace the late progressive/neo lineage of Anyone’s Daughter, the pretty “Nach Diesem Tag”, and a fiery version of “Another Day Like Superman”.
Line-up:
- Mattias Ulmer / keyboards, backing vocals
- Harald Bareth / vocals, bass
- Uwe Karpa / guitars
- Kono Konopik / drums, percussion
- Peter Schmidt / drums, percussion
Track List:
01. Konsequenzen – 4:23
02. Puppenspiel – 5:21
03. Schwarzer Als Die Nacht – 5:34
04. Neue Sterne – 4:25
05. Lands End – 4:51
06. Pegasus / Fellgewitter – 10:15
07. Wieder Weiter – 3:58
08. Sundance Of The Haute Provence – 4:38
09. Nach Diesem Tag – 4:09
10. Anyone’s Daughter – 12:00
11. Stampede – 3:46
12. Another Day Like Superman – 7:44
13. Viel Zu Viel – 4:27
Link in comments.
Anyone’s Daughter – Requested Document Live 1980-1983 (@256)
08 Aug 2011
(Review from progarchives.com)
Carved into two equal parts, one an English prime rib and the other a German sauerbrauten, “Requested Document Live” is an eclectic mix of concert recordings from the early 80s version of this Stuttgart based band that toured constantly during their existence.
Disk 1 showcases the earlier material such as the entire “Adonis” suite, the glorious harmonics of “Superman”, “Between the Rooms”, “Moria” and “Anyone’s Daughter”. There is no star or showstealer in this group. They all play together and take their turn to shine, and they are a remarkably tight ensemble even when subject to the unpredictable environment of the concert hall.
Disk 2 includes the later German language songs, with crunching versions of “Sonnenzeichen-Feuerzeichen” and “Nichts für mich”, but also delicate acoustic songs like “Sonne” and “Für ein kleines Mädchen”. It’s all good, or better. “Tanz und Tod I-III” show how versatile the band could be as an ensemble and in more solo format. The overriding quality is the symphonic sound, with subtle jazzy undercurrents. The influences of Genesis, King Crimson, Camel and Eloy are all apparent but enhanced and incorporated into a greater whole.
Line-up:
- Mattias Ulmer / keyboards, backing vocals
- Harald Bareth / vocals, bass
- Uwe Karpa / guitars
- Kono Konopik / drums, percussion
- Peter Schmidt / drums, percussion
Track List:
CD1 (1980)
01. Between The Rooms – 5:40
02. Adonis I: Come Away – 8:35
03. Adonis II: The Disguise – 3:58
04. Adonis III: Adonis – 8:43
05. Adonis IV: Epitaph – 5:54
06. Superman – 4:11
07. Blue House – 8:03
08. Thurday / Solo (Drums + Bass) – 15:08
09. Moria – 4:56
10. Anyone’s Daughter – 11:34
CD2 (1982-1983)
01. Sonnenzeichen-Feuerzeichen – 6:21
02. Nichts fur mich – 7:44
03. Der Plan – 3:48
04. Sonne – 5:33
05. Carrara – 7:31
06. Tanz und Tod I-III – 16:25
07. Fur ein kleines Madchen – 6:15
08. Lala – 3:25
09. Ilja Illia Lela – 7:07
10. In zerbrochnem Glas – 3:36
Link in comments.
Anyone’s Daughter – Live (1983) (@256)
07 Aug 2011
(Review from progarchives.com)
A rare beast is a live album that actually surpasses all studio recordings for a band — which is the case with this Stuttgart band’s “Live” album.
Anyone’s Daughter here plays a sophisticated brand of symphonic progressive with all the suspect influences but with a penchant for melodic inventiveness rarely heard before or since. All the instruments sizzle and the vocals, although uncommon, are ideally suited to the music.
The gentle essence of “Sundance of the Haute Provence” simply screams classic ballad, while “Adonis Part 1″ and “Anyone’s Daughter” contain far more pointed soloing by Uwe Karpa. The one two punch of “Der Plan” and “Moria” belongs together, and the keyboard/guitar exchanges of the latter far surpass the original. “Der Plan” is one of the most adept blendings of progressive and pop.
Plenty of space is left for experimentation, including a few pieces that never appeared on a studio album, such as “November”, “Sambucca” and “Land’s End”, which all reveal a slightly jazzy more improvised tendency and enhance the whole effect of the album.
“Carrara” contains little segments of the outro to the “Neu Sterne” album but with embellishments, reminiscent very much of classic Camel with other German influences such as Grobschnitt and Eloy, with more than a little John Wetton in Harald Bareth’s excellent voice.
Line-up:
- Harald Bareth / bass, lead vocals
- Uwe Karpa / acoustic & electric guitars
- Peter Schmidt / drums, percussion
- Matthias Ulmer / keyboards, vocals
Track List:
01. Konsequenzen – 4:01
02. Der Begleiter – 5:22
03. Viel Zuviel – 6:26
04. Sundance Of The H.P – 4:01
05. November – 2:47
06. Sambuca – 1:50
07. Carrara – 6:00
08. Land’s End – 4:37
09. Come Away (Adonis I) – 8:17
10. Peterchens Mondfahrt – 5:41
11. Neue Sterne – 4:11
12. Der Plan – 3:54
13. Moria – 5:19
14. Anyone’s Daughter – 11:09
Link in comments.
Anyone’s Daughter – Neue Sterne (1983) (@256)
06 Aug 2011
(Review from progarchives.com)
“Neue Sterne” accentuates the pop influence that was always around, but again without sacrificing any musical integrity. Several tracks certainly could have had hit potential in those early 80s, but still present alot of fine chops.
The two openers, “Der Plan” with its sinewy tune and the title cut parlay the band’s natural melodic instinct into concise expressions. All the trademark playing remains, just in a more conventional structure.
“Viel Zu Viel” is built around a monster hook that openly competes with contemporary bands but with Anyone Daughter’s added soloing skills. “Wieder Weiter” is more rock than pop to be sure, and allows Ullmer to really let er rip on organ, while “Puppenspiel”‘s minimalist keyboard figure is absolutely haunting, marred only by a sense that it could have developed a bit further.
The latter part of the album includes more than a few morsels for the old fans and is almost entirely instrumental. It starts with an ode to Tangerine Dream in “Conzequenzen”, followed by the classically structured near-instrumental “Illja Illja Lela”. The latter in particular is a master’s patchwork of related ideas and contrasting tempos, some heavy, others spacey.
The album closes with “Reprise” which fittingly draws on themes from some of the previous tracks and includes sparkling jazzy playing by Ullmer and one of Krupp’s best solos on the album. Some of it was recycled in a cut called “Carrara” that appeared on concerts.
Sadly, the band split up shortly after.
Line-up:
- Harald Bareth / bass, lead vocals
- Uwe Karpa / acoustic & electric guitars
- Peter Schmidt / drums, percussion
- Matthias Ulmer / keyboards, vocals
Track List:
01. Der Plan (… Und Das Eis Zerschlagen) – 3:57
02. Neue Sterne (Des Poppers Unglckliche Liebe) – 4:09
03. In Zerbrochenem Glas – 3:14
04. Wieder Weiter – 4:28
05. Das Puppenspiel – 4:34
06. Viel Zuviel – 3:56
07. Konsequenzen – 3:57
08. Illja Illja Lela – 7:00
09. Cafe Einstein – 0:53
10. Reprise – 5:02
Link in comments.
Anyone’s Daughter – In Blau (1982) (@256)
05 Aug 2011
(Review from progarchives.com)
Buoyed by the commercial success of their live “Piktors Verwandlungen”, and by their first use of native vocals, Anyone’s Daughter switched to German for their next two albums. They also spread their stylistic palate wide, hoping to catch any listeners who happened to be about.
To illustrate their adeptness and versatility, one need only listen to the first 2 tracks, the pounding “Sonnenzeichen – Feuerzeichen” with its heavy bass and searing guitars, followed by the acoustic celtic sounding “Fur ein kleines Madchen”.
Apart from presaging the “Neu Deutsch Welle” in which teutonic bands increasingly sang in their mother tongue, Anyone’s Daughter must have been listening to global rhythms as well, as evidenced in the beats of “Nichts für mich”, which features a delightfully jazzy change of pace and sharply polite tradeoffs between Karpa and Ullmer. Then a bluesy section with oodles of crunching organ prevails, eventually topped by more of Karpa’s best licks. Finally the song returns to its mellow beginnings and a reprise of the vocal melody before fading out. While a modest 6:30 in length, it is an example of how much Anyone’s Daughter could cram into a relatively short space.
“Nach diesem Tag” points to the dignified prog-pop direction in which the band was heading, and features Bareth’s caressing vocals over mellow drums and what sounds like electric piano. Even here they manage to include a well developed lead guitar solo and some soothing harmonies. “La la” is a rousing wordless track featuring more aggressive yet melodic organ and synths amid Bareth’s pronunciations on the title. It was particularly suited to their live shows but works well as a high energy interlude amongst the generally slower paced proceedings. “Sonne” is yet another chrystalline acoustic number that sounds as much Alan Stivell – sans harp – as it does Anyone’s Daughter. The extended closing instrumental section keeps the unplugged substrate but includes electric guitars and keys, and drips with feeling.
The album ends with the three part “Tanz und Todd”, and the three segments could not be more different, from Genesis like progressive pop to technically brilliant piano solo a la Keith Emerson to narrated section featuring a buildup and finale worthy of Mike Oldfield.
Line-up:
- Harald Bareth / bass, lead vocals, voice
- Uwe Karpa / acoustic & electric guitars
- Peter Schmidt / drums, percussion
- Matthias Ulmer / keyboards, vocals
Track List:
01. Sonnenzeichen-Feuerzeichen – 5:20
02. Fur Ein Kleines Madchen – 5:24
03. Nichts Fur Mich – 6:33
04. Nach Diesem Tag – 4:09
05. La La – 3:18
06. Sonne – 4:46
07. Tanz Und Tod – 15:11
Link in comments.
Anyone’s Daughter – Piktors Verwandlungen (1981) (@256)
04 Aug 2011
(Review from progarchives.com)
“Piktors Verwandlungen” is a fairy tale/love story written in 1922 and inspired by Hermann Hesse’s future wife. It is about changes in life perhaps mirrored by those in nature, no doubt filtered through the author’s lifelong fascination with fantasy.
The album consists of mostly short and mostly symphonic instrumentals alternating with calmly narrated passages with appropriately sedate accompaniment. One of the appealing aspects of the music is that all instruments are equal participants. Guitars like those found in the “Adonis Suite” and the group’s namesake track alternate with electronic keyboards reminiscent of the group’s “Sundance of the Haute Provence”. Several succinct melodic themes repeat, while some seem incomplete, even more angular than one would expect from the group, but after several listens the flow and transitions become more apparent.
It’s an album that must be heard in its entirety. Several longer tracks glisten with the slightly jazzy side of the group’s palette, without ever getting lost in themselves. The last few show a greater progression and climactic buildup, particularly the transition between “Dritter Teil der Erzahlung” and “Sehnsucht”.
In the finale, Harald Bareth actually sings in German for the first time on any album, and this exercise provides the template for the next couple of albums.
Line-up:
- Harald Bareth / bass, lead vocals, voice
- Uwe Karpa / guitar
- Kono Konopik / drums
- Matthias Ulmer / keyboards, vocals
Track List:
01. Piktor – 2:13
02. Erstes Vorspiel – 0:38
03. Erster Teil der Erzählung – 2:22
04. Purpur – 2:55
05. Zweites Vorspiel – 0:55
06. Zweiter Teil der Erzählung – 2:19
07. Der Baum – 7:14
08. Dritter Teil der Erzählung – 2:37
09. Sehnsucht – 5:26
10. Vierter Teil der Erzählung – 4:29
11. Piktoria, Viktoria – 0:26
12. Funfter Teil der Erzählung – 0:42
13. Der Doppelstern – 4:30
14. Piktors Verwandlungen (Bonus Demo 1977-78) – 26:43
Link in comments.
Anyone’s Daughter – Anyone’s Daughter (1980) (@256)
03 Aug 2011
(Review from progarchives.com)
For their second album, Anyone’s Daughter eschewed the side long suite idea in favour of shorter more accessible progressive songs. Though not very symphonic, this is an ultramelodic album with excellent songwriting and playing all around. A variety of moods and tempos are struck, and the balance between guitars, keys, and Harald Bareth’s warm tones is spot on.
Each of the 8 full length tracks is at least good, although it must be said that at 2 of the tracks are re-worked better on subsequent live recordings, those being the hits “Sundance of the Haute Provence” and “Moria”. “Thursday” features sparkling themes on lead guitar courtesy of Uwe Karpa. “Superman” is a dazzling critique on self dependence in which Karpa’s leads sound even more like Andy Latimer than usual. The definitive version of “Another Day Like Superman” comes closest to what Anyone’s Daughter were doing during the Adonis epic, and alternates between ballad and blazing, particularly Matthias Ulmer’s synthesizers. “Enlightenment” is a monster ballad, while “Between the Rooms” plies a jazzy furrow for which the group became known over time.
While this album might disappoint some who were hoping for another “Adonis”, it provides plenty of tasty licks and is if anything more consistent than the debut.
Line-up:
- Harald Bareth / bass, lead vocals
- Uwe Karpa / acoustic & electric guitars
- Kono Konopik / drums
- Matthias Ulmer / keyboards, vocals
Track List:
01. Swedish Nights – 4:54
02. Thursday – 4:01
03. Sundance Of The Haute Provence – 3:41
04. Moria – 3:55
05. Enlightment – 4:48
06. Superman – 3:57
07. Another Day Like Superman – 8:05
08. Azimuth – 1:25
09. Between The Rooms – 4:24
Link in comments.
Anyone’s Daughter – Adonis (1979) (@256)
02 Aug 2011
(Review from progarchives.com)
Formed in 1974, Anyone’s Daughter were a German band with a symphonic style — blending a Genesis-oid style with Camel-like touches and a touch of jazz-fusion.
The band managed to survive the pop/punk/disco wave that attacked progressive rock by that period of time. The band’s debut was recorded in 1979, which was really a bad year for progressive music.
There’s no better example of what they can achieve than the four-part, 24-minute title suite, which interpolates majestic adagio passages with soaring guitar against faster, intricate sections of fusionoid riffing. Matthias Ulmer absolutely screams on lead synth, and adds strong organ, piano and string-synth to the mix as well. Thoughtfully orchestrated, he is the highlight of an already strong band without dominating the field. Drummer Gunther “Kono” Konopik (ex-Pancake) keeps up with the faster changes well, yet knows how to subtly complement the softer passages. Singing bassist Harald Bareth is one of the more pleasant German progressive-rock vocalists.
The 9 minute closer, “Anyone’s Daughter” is the closest the album comes to the jackhammer intensity of the Adonis suite. “Blue House” is an adagio instrumental, a vehicle for Uwe Karpa’s emotional, Latimer-esque guitarwork. “Sally” is merely a bouncy pop number, cute but pretty inconsequential.
“Adonis” is a sad album, melancholic, an emotion transporter.
Line-up:
- Harald Bareth / bass, lead vocals
- Uwe Karpa / acoustic & electric guitars
- Kono Konopik / drums
- Matthias Ulmer / keyboards, vocals
Track List:
01. Adonis – 24:13
02. Blue House – 7:21
03. Sally – 4:21
04. Anyone’s Daughter – 9:09
Link in comments.
Deep Purple – Concerto for Group and Orchestra (1969) (@256)
05 Jul 2011
Request of OzOz.
(Review from allmusic, wikipedia)
Back in the early 70s, it seemed as though any British group that could was starting to utilize classical elements in their work — for some, like ELP, that meant quoting from the classics as often and loudly as possible, while for others, like Yes, it meant incorporating classical structures into their albums and songs.
In 1969, Deep Purple fell briefly into the camp of this offshoot of early progressive rock with the concerto Jon Lord composed: “Concerto for Group and Orchestra”.
It was performed with the Royal Philharmonic Orchestra on September 24th. The release was the first Deep Purple album to feature Ian Gillan on vocals and Roger Glover on bass.
For most fans, the album represented the nadir of the classic line-up of the band: minutes of orchestral meandering lead into some perfectly good hard rock jamming by the band. Ritchie Blackmore sounds great and plays his heart out, and you can tell this band is going to go somewhere, just by virtue of the energy that they put into these extended pieces.
The classical influences mostly seem drawn from movie music composers Dimitri Tiomkin and Franz Waxman (and Elmer Bernstein), with some nods to Rachmaninoff, Sibelius, and Mahler.
As a bonus, there are a pair of hard rock numbers by the group alone, “Wring That Neck” and “Child in Time” that were played at the same concert.
Line-up:
- Jon Lord / keyboards
- Ritchie Blackmore / guitar
- Ian Gillan / vocals
- Roger Glover / bass
- Ian Paice / drums
with
- Royal Philarmonic Orchestra
Track List:
01. Wring That Neck (Bonus) – 12:50
02. Child In Time (Bonus) – 12:27
03. First Movement: Moderato – Allegro – 19:05
04. Second Movement: Andante – 19:00
05. Third Movement: Vivace – Presto – 15:24
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Aquarelle – Live at Montreux (Vinyl 1979) (@256)
12 Jun 2011
(Review from progarchives.com)
After their artistically successful debut album, Aquarelle managed enough a notice to be invited to one of the biggest Jazz Festival in the world, in the city of Montreux. This second record is the recording from that gig, where they presented a whole new set of tracks bar one.
The least we can say is that their new set was already well-rehearsed and all tracks of an amazing quality. The line-up is almost the same but Sharon Ryan replaced the departing A-M Courtemanche.
From the opening Machine to the closing “La Nouvelle”, the first side of the slice of wax is simply astounding in tightness and Ryan’s occasional vocal wails bringing a wild twist to their music. Leader keyboardist and main composer Lescaut makes sure that everyone gets plenty of space to shine, and “Récital” is veering slightly to a more ethnic flavor (Bournaki’s violin inducing this, he sounds a bit like Ponty, Lockwood or an updated Grapelli), but we are in a very pleasant jazz-rock with some excellent musicianship, but nothing groundbreaking either. These guys sway from a high-energy jazz-rock to a cool fusion and sometimes some downright rock moments.
The second side opens on a adaptation of Albert Camus’ “L’Etranger”, then flies in to the slow-starting two-part “Esterel” and the lengthy closer (Sound Magic in English) is a very apt and energetic track to end the record with. There are a few duos with the violin exploring a jig and other instruments rocking the joint for all its worth.
The second (and unfortunately last) album from Aquarelle is much worth your investigation, as it is simply excellent.
Line-up:
- Pierre Lescaut / keyboards
- Stéphane Morency / guitar
- Pierre Bournaki / violin
- Jean-Philippe Gélinas / saxophone, flute
- Michel De Lisle / bass
- André Leclerc / drums
- Sharon Ryan / vocals
Track List:
01. Machines à Boules – 5:46
02. Second Réveil – 3:54
03. Récital Des Grenouilles – 4:06
04. La Nouvelle – 5:03
05. L’étranger – 5:27
06. Estérel: (Partie 1 & Partie 2) – 6:28
07. Magie Des Sons – 9:28
Link in comments.
Aquarelle – Sous Un Arbre (Vinyl 1978) (@256)
11 Jun 2011
(Review from progarchives.com)
In the second part of the 70′s, Quebec was going wild in terms of progressive rock undergoing a sort of cultural revolution/emancipation and a flurry of bands were seeing the light of day, a good deal of those not really caring about being commercial. Aquarelle is Pierre Lescaut’s project; he was the main composer, but everyone in the group had interesting and challenging role in the group, not least Bournaki’s violin work.
What we have here is a very honest and professional album, which fits the mould of what was being released at the time. Sounding close to Ponty’s albums of that same era, or many other groups, Aquarelle did not really manage to make a real dent in the market mostly because of the competitive market and the sheer amount of similar music being released, some group were bound to remain in obscurity.
Aquarelle were a very endearing unit that produced a very pleasant jazz-rock/fusion on their two albums. One of the more puzzling characteristics about their music is Courtemanche’s wordless high-strung vocals (which are often under-mixed) that add some unexpected flavour to the music.
Highlights of this album include the (unofficial) title track with the heavy piano work, and the three part eponymous track Aquarelle, where the group does not miss to introduce their wide scoped musical abilities.
Line-up:
- Anne-Marie Courtemanche / vocals
- Pierre Lescaut / keyboards
- Stephane Morency / guitar
- Pierre Bournaki / violin
- Jean-Philippe Gelinas / saxophone, flute
- Michel De Lisle / bass
- Andre Leclerc / drums
Track List:
01. La Magie Des Sons – 6:39
02. Francoise – 4:53
03. Bridge – 6:25
04. Sous Un Arbre – 4:31
05. Aquarelle – 8:20
06. Volupte – 4:34
07. Esperanto – 5:49
Link in comments.
Psiglo – II (1974) (@256)
08 Jun 2011
(Review from progarchives.com)
“Psiglo II” shows a more mature band, showing their most Progressive efforts, with line-up changes as César Rechac moving to guitars and Gustavo Mamut Muñoz replacing Cesar on bass. The lyrics started to have more of a political slant against the state of affairs in Uruguay – which delayed the release of their second and last album, “Psiglo II”, issued in 1981.
“Psiglo II”, however, was not as successful as “Ideación” had been. Moreover, the musicians had already chosen to leave the country following the military coup of June 1973.
Psiglo is one of the most important bands in the history of South American rock, and an interesting example of early heavy progressive.
Line-up:
- Ruben Melogno / lead vocals, percussion
- Gonzalo Farrugia / drums, percussion
- Cesar Rechac / guitars
- Jorge Garcia / keyboards, flute, vocals
- Gustavo Mamut Munoz / bass
with
- Alvaro Armesto / saxophone (6)
Track List:
01. Cambiaras Al Hombre – 4:34
02. Heroe De Papel – 3:44
03. Construir Destruir – 5:55
04. No Tiene Razon De Ser – 7:04
05. El Juglar y Yo – 8:49
06. Gil 1038 – 11:55
Link in comments.
Psiglo – Ideacion (1973) (@256)
07 Jun 2011
(Review from progarchives.com)
Hailing from Uruguay, Psiglo were formed in 1968 by Luis Cesio, Jorge García Banegas, Cesar Rechac, Julio Dallier and Carmelo Albano. Jorge proposed the name “Psiglo” by joining the word “siglo”(century) with the first letter of psychedelic, because he said they were hanging around in the psychedelic era. Their sound is indisputably strong, supported by the Vincent Crane/Jon Lord style of Hammond organ and the decisive Deep Purple guitar style. In 1973, Psiglo managed to release their debut, “Ideacion”.
There are the heavy organ-driven “En Un Lugar un Nino” and “Vuela a Mi Galaxia” which was originally intended to be a tribute to Uriah Heep as well as to Deep Purple, to other heavy numbers featuring some dated-Moog solos.
Soft tunes like the acoustic, candombe-style percussion, with “No Pregunten Porque” and the melancholic “Catalina” featuring a string quartet, really give you such melancholic feel.
We also have a semi-progressive blues song with “Es Inutil”, with a bit of King Crimson’s odd saxophone but mainly Uriah Heep (a la Lucy Blues).
Psiglo’s debut ends up with another heavy tune, mainly organ-driven, but featuring a decent drum solo.
Line-up:
- Ruben Melogno / lead vocals, percussion
- Gonzalo Farrugia / drums, percussion
- Luis Cesio / guitars, vocals
- Cesar Rechac / bass, vocals
- Jorge Garcia / keyboards, vocals
Track List:
01. Sienteme – 2:15
02. En Un Lugar Un Nino – 4:00
03. Catalina – 3:41
04. Vuela A Mi Galaxia – 4:31
05. Nuestra Calma – 4:29
06. Es Inutil – 9:04
07. No Me Pregunten Porque – 3:31
08. Piensa Y Lucha – 4:46
Link in comments.