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27 Feb 2017

Images “Le Jeu De Robinson” 1977 France Prog Folk Rock

Images “Le Jeu De Robinson” 1977 France Prog Folk Rock

Extremely rare French Prog Rock album with some Folky Elements 

Bass Guitar – Jean-Pierre Haure 
Drums – Marc Girard 
Guitar [Guitars], Flute, Harmonica, Vocals – George Valat 
Guitar [Guitars], Mandolin – André Dion 
Keyboards – Marc Peyret 
Percussion – Titus 

A1 Chanson De Myriam 2:03 
A2 Tempête De Robinson 6:10 
A3 Flore 1:10 
A4 Chanson De Robinson 
Vocals – André Dion 
A5 La Femme En Rouge 2:58 
A6 Myriam 2:01 
A7 Tempête De Vendredi 2:59 
A8 Final 0:58 
B Klauss Et Mina 15:00 

The Storm “The Storm” 1974 Spain Heavy Psych,Hard Rock

The Storm “The Storm” 1974 Spain Heavy Psych,Hard Rock
full….log in..
Known as "the Spanish Deep Purple", The Storm (most Spanish people know them as just Storm) were formed in the Andalusian city of Sevilla in the late 60's by twin brothers Angel and Diego Ruiz (guitar and drums respectively and both sharing the duties as lead singers), their cousin Luis Genil (organ & backing vocals) and Jose Torres (bass & backing vocals). Their original name was Tormentos meaning Torments, but while doing gigs in Madrid the manager of the concert venue Barbarella suggested them to look for a more English-sounding name, and since the very similar Spanish word Tormenta means Storm the choice was made.
Storm became loved for their powerful live performances, they supported Queen in Barcelona in December 1974 and Freddie Mercury had only praises for them and was surprised that they did not have international exposure, he and Roger Taylor went personally to their dressing room to congratulate them and after having seen Diego's drum solo Roger did not dare playing his on that evening's show. Diego was indeed a great drummer and his solos were spectacular, he would leave the drumkit and continue soloing tapping with his feet and drumming on anything he could find with the drumsticks, and Angel's guitar solos were no less of a show, emulating Hendrix, Page & co playing his Strat with his teeth, a drumstick or a glass.

They played proggy hard rock much in the style of Deep Purple, Led Zeppelin or Atomic Rooster, with the interplays between guitar and Hammond and a very powerful drumming being their signature features.

In 1974 they finally released this debut album, recorded basically live at Madrid's Audiofilm studio in a record time of 4 and a half hours. Most lyrics are in English interspersed with a bit of Spanish but clearly the lyrics were not the focus point. The original vinyl is highly priced in the collectors world.

I've Gotta Tell Your Mama and It's All Right are just hardrockers, not bad but not too interesting from a prog perspective. Then we have some hard rocking songs but which add some juice by incorporating some time signature changes or interesting shifts, these include I'm Busy, Woman Mine and I Don't Know. Great songs.

And then we have the three great instrumental tracks which are the real meat for proggers: Un Señor Llamado Fernandez De Cordoba (dedicated to their eccentric manager Jose Luis Fernandez De Cordoba) and Crazy Machine are all about great interplays between guitar and Hammond (Crazy Machine including a 2 min drum solo), and the closer Experiencia Sin Organo (Organ-less Experience) which is pure guitar delight in a Zeppelinesque style.

Fans of the best Deep Purple will love this one. Unfortunately the compulsory military service prevented them from staying alive from 1975 to 1978, and by that time the music scene had changed a lot, they would release a 2nd and last album in 1979 but with a rather different style and little success.

You can watch a 30 min performance on a 1975 spanish TV show here, just add http:// in front of this Gerinski ...........

A dark cloud hangs over the music of The Storm, an Andalusian outfit that never quite made it. The band was formed in Seville in 1969 by brothers Angel and Diego RUIZ - Angel on guitar and vocals, and Diego on drum's with Luis GENIL on organ and Jose TORRES on bass. However, the band did not release their self titled debut until 1974; the record was quite well received as an energetic example of the link between late 60's psychedelic fuzz and bluesy 70's metal.

Although the band gained further acclaim touring - most notably from fellow flamboyant art rocker Freddy Mercury during a concert in Barcelona - a record deal with EMI fell through. The Storm was plagued by censorship issues (which had led the band to record its debut in English); as tensions grew tempestuous, the band released its second album, 1979's The Day Of The Storm (this time in Spanish). The album was criticized for dropping many of the debut's merits, and was to be their final work. Since the death of Genil in 2004, the chances of a reunion record seem slim, although the band has since reunited on stage.

What is so odd about The Storm is that they seem to have come onto the playing field a bit late. Their Spanish contemporary Triana was deep into symphonic rock, whereas The Storm seems to fit in much more comfortably with the earlier heavy blues of LED ZEPPELIN and DEEP PURPLE, or the freaked out, organ dominated grooves of ATOMIC ROOSTER and PROCOL HARUM. The debut, a prized item among vinyl collectors, is punctuated by passages of deep psychedlia, virtuoso keyboard work and blistering blues, and fans of such sounds in Spanish should seek it out. ....Colin (The Whistler)....Progarchives.....

Practiced a very progressive hard rock influenced by Deep Purple (listening to the group’s keyboard is inevitable to think of them). They were formed by brothers Angel and Diego Ruiz and his cousin Luis Genil, which respectively touching the guitar, the drums and keyboard, and Jose Torres on bass and vocals.
Born in 1969, as the stormy, but a developer decided to rename a day that went to Madrid to accompany the singer Blume of the Storm.
Many people know them to dry by Storm, but I’ve seen many times the name of the band as The Storm, so, as you call them.
This LP is very psychedelic, with rudimentary English and Spanish at the time some titles (in the letters could not, censorship is not …), forgetting that the instrumental .. A curious fact that suffered and many groups of the era was that they had to sing in English to be free from censorship.Also curious is the anecdote for veáis as was the era, which counts Jose Carlos Molina (nu) had to change the name of one of his first bands Dust, censorship was bad because they are called Dust.The fact is that the disc contains songs like the rabid ‘I’m busy,’ ‘Woman mine’, ‘It’s all right’ or the instrumental “One man called Fernandez de Cordoba, ‘obviously dedicated to one of the greatest entertainers of the scene at the time, or the impressive displays of virtuosity of ‘Crazy machine.Leaving on tour and get a major success, particularly in Madrid and Bilbao which become their adoptive cities, but not to forget his beloved Sevilla, which are in love.It is in this era when sharing cartel with the mythical Queen in Barcelona. It was at a performance at the Palacio de los Deportes, where the band was a major feat. The battery personally congratulated them and told them that “what am I going to do one? After your performance, it goes” and even Freddie Mercury fell to congratulate them, and liked him so much the performance of the band, which they wanted to carry on world tour with them, a view supported their manager.Offered them a juicy contract with EMI, but due to problems with Fernandez de Cordoba, was not carried out eventually.............

Last Sunday, November 8, Cachitos de Hierro and Cromo de La 2 de Televisión Española dedicated the program to the world of heavy and rock music. Under the title of 'Buscando Rock' and with the hashtag #CachitosJevi, during the 58 minutes of the program, numerous groups with well-sharpened steel ropes were paraded. In his traditional TORP, I was pleasantly surprised by the number 5 that came to Sevillians The Storm, a band that was born in the late sixties under the name of Los Tormentos, got drunk on the hard rock of people like Deep Purple , Its clearest influence, sifting it somehow by the idiosyncrasy of its Andalusian rock (more accused in the second delivery, sponsored by the triumph of Triana), always marked by the psychedelic and progressive cut. Thus, in 1974 German Basf decided to publish their debut album, with an eponymous title. Eight cuts and 33 minutes of tumbling and impressive vigor and freshness.
The album opens with two trallazos sung in a rather clumsy and troubled English, perhaps suited to live with a sonorous waste of keyboards, guitars, hyper bass and solid battery. The group that records this first album is formed by two brothers, a cousin and a friend. Luis Geniz Rodríguez to keyboards and voice (as Jesus de la Rosa, from Triana, curiously), passed away in 2004, Ángel (so Hendrix) and Diego Ruiz Geniz on guitar and vocals and drums respectively, and José Torres Alcoba as Bassist and voice (they all sang here, as in Mastodon), replaced in the second work El Día de la Tormenta, captivatingly commercial, in 1979, by Pedro García. 'I've Gotta Tell You Mom' and 'I'm Busy' are two urgent and accelerated issues. Pure rockyrol. The experimental poses arrive in 'A man named Fernandez de Córdoba' (a title song, dedicated to his manager José Luis), an extensive instrumental improvisation where they temper the forms and handle the spatial concept that will reflect especially in the texts of his second delivery.

'Woman Mine' has a darker base with a bluesy ancestry in the main melody accented, more patent in the main solo, of the most brilliant of the ensemble. The subject plays between the storm and the calm constantly, even lowering the volume notoriously in the final part, before the last explosion. If the album accelerates the heart, live had to be a pass, so it is not uncommon for Freddy Mercury to bet on taking them on tour as a support, something that finally did not go ahead by decision of the British manager. More hedonism and attitude in 'It's All Right', of less than three minutes, of which it is noticed that Rosendo took good note in its day. For its part, 'I Do not Know' presents more zeppeliana, even in the groans that populate the instrumental break.

In 'Crazy Machine' we arrive at an accelerated presentation of an instrumental cut that will give space to the lucimiento of the four musicians, even with airs of jazz in its central part, to close with a brutal solo of battery, that seems extracted of a concert ... Or almost, the record was recorded in only four and a half hours, hence the feelings of immediacy. Madness, as the title advances, which shows the out of the ordinary of his proposal for a country still sleepy. The last cut, 'Unlearned Experience', is also instrumental and presents a basis reminiscent of the early Sabbaths. The beat of the battery is once again an explosive locomotive that leaves you ... only 33 minutes later ... completely exhausted..........

Bass – José Torres
Co-producer – Fernández De Córdoba
Drums – Diego Ruiz
Guitar [Electric] – Ángel Ruiz
Organ – Luis Genil

A1 I've Gotta Tell You Mama
A2 I Am Busy
A3 Un Señor Llamado Fernández De Córdoba
A4 Woman Mine
B1 It's All Right
B2 I Don't Know
B3 Crazy Machine
B4 Experiencia Sin Órgano

Elektriktus “Electronic Mind Waves” 1976 Italy Prog Electronic,Experimental,Avant Garde

Elektriktus “Electronic Mind Waves” 1976 Italy Prog  Electronic,Experimental,Avant Garde 
  full log in first….
Originally released in 1976 this album was one of the first cosmic rock examples in the way of German groups like Tangerine Dream, Popol Vuh, Klaus Schultze and others. With 18,000 plus dedicated pages on the web, this album became a cult classic and now is released as a CD on Ictus Records........

From 1976, "Electronic Mind Waves" is the single LP from the awesomely-named Elektriktus. The name was a pseudonym for Italian avant-garde and free jazz composer Andrea Centazzo. The album has just been reissued on vinyl by Spanish label Wah Wah Records. From Wah Wah:

Originally released on the PDU label, the LP Electronic Mind Waves offers a collection of 8 synth fueled songs that sound very close to what kraut/cosmische heads were doing at the time, think of Conrad Schnitzler, Deuter or Cosmic Jokers, and also other European experimentalists like Richard Pinhas' Heldon, Spacecraft, Didier Bocquet, Seesselberg, F.G. Experimental Laboratory, Roberto Cacciapaglia or Hydrus. Along with Cacciapaglia and Hydrus, Elektriktus shows the most adventurous experimental sounds under a kraut/cosmische music influence to ever come out of Italy.

Centazzo was already a highly experienced musician when he produced this LP in his home studio in 1976. He had been the drummer on Giorgio Gasslini's Quartet, with whom he also recorded several LPs, and also on his own jazz band Ictus (actually the name Elektriktus came out of melting his electronic experiments with his former band's name). He's actually one of the key names from the italian improv / free-jazz scene and the driving force behind the ICTUS Pescovitz.......

 ELEKTRIKTUS is the project of one Andrea Centazzo who hails from Italy. "Electronic Mind Waves" was released in 1976. In the liner notes he talks about the times in the early to mid seventies not only in Italy but across Europe where there was this cultural revolution going on. It was a time of riots and extreme political tension.There were bombings and terrorism and in this climate bands would show their support for the left by playing Jazz or Avant- garde music. Certainly the lyrics were also a way to show support as well.They were not going to conform.Andrea immersed himself in all of this between 1973-1977. While he was a free Jazz percussionist he had a great admiration for the Electronics movement, especially with what was going on in Germany. With the money he had earned from being a musician he bought one of the first four track recorders and a couple of primitive analogue keyboards. In the silence of his own studio on the hills of Friuli he started composing, playing and overdubbing. ELEKTRIKTUS was born.The name is a combination of the name of his free Jazz trio (ICTUS) and the word electronic. He talks about the joy he felt in being able to express himself with a new media like the synthesizer.
"Frequencer Departure" is really only one of two tracks where the sequencer is prominant. In fact i'd wondered what i'd got myself into after listening to this first track. It starts off with a door slamming then a car starting and leaving then the sequncers come in and absolutely dominate in a way I hadn't heard before. It does settle right down after 3 minutes as spacey sounds take over and hover.Very atmospheric to the end. "Flying A Day- Break" has these pulsating sounds as these twitterings join in.Some bass guitar also joins in then percussion as it builds. "First Wave" has a dark and eerie vibe to it. Sounds echo before 2 minutes then that earlier soundscape returns as contrasts continue. Great track !

"Power Hallucination" has a good beat to it as spacey sounds and synths help out. A definite favourite. "Second Wave" has this beat with spacey synths.This is the third straight track that is absolutely fantastic. And they keep coming with "Implosion" where we get these spacey sounds that come in waves. "Third Wave" starts with a beat as the synths blow in sounding almost like orchestral strings. "Flying A Sunset" has these almost sparse sequencer sounds but not really in a rhythm as a somewhat dark and spacey atmosphere joins in.That car is back as it pulls up and is shut off as the door is open and closed. "Freequencer Arrival" is the dreamy and spacey closing number.

This was a pleasant surprise to say the least. Love the cover art as Mellotron Storm ............

 Elektriktus' sole album is an eclectic foray into early electronic music.
A lot of electronic releases from this era have a tendency to be only one type of electronic music, but Elektriktus has created Electronic Mind Waves in an obvious effort to make music that is different and to incorporate his influences seamlessly.

Some of this album sounds similar to some of Karlheinz Stockhausen's more aggressive early electronic tape recordings like "Japan", specifically the first half of "Frequencer Departure".

"First Wave" was the first track on this album to really make an impression on me because it has a very unique sound: very krautrock-oriented but with intermittent jazzy upright bass playing that sounds like a precursor to nu-jazz as played by the Norwegian Eivind Aarset.

For fans of Maurizio Bianchi, "Power Hallucination" will be a pleasant surprise as it is composed of the powerful industrial harsh noises that the aforementioned Italian uses predominantly in his early works, but coupled with short bursts of a calming and eerie emptiness.

The remaining tracks are all displays of unique krautrock and Stockhausen/Parmegiani compositions that are all fun to listen to while providing an great amount of variety while maintaining a comprehensible flow between tracks.

Electronic Mind Waves is an album that I feel would appeal to fans of artists like Gila, Cluster, Heldon, Klaus Schulze, Agitation Free, and Dzyan. But also I think that anyone wanting to start the listening experience of '70s electronic music could find this album to be a great starting place, because it's considerably active compared to some of the obvious classics in the genre.... by colorofmoney91 .........

 ELEKTRIKTUS was a one-off solo project founded by an Italian electronic fanatic Andrea CENTAZZO who had tried to drench this creation named "Electronic Mind Waves" in an obscure electro-trippy ocean with slight delightful flavour typically in Italian Rock scene I imagine. Fine, funky, and easygoing texture can be heard in the second tune "Flying A Day- break", flooded with brilliant danceable comfort and fantastic electronic sound gems ... this superb groove can move us naturally. On the contrary, we can enjoy fresh electronic atmosphere all through this album, as if we would run by an open car through a green forest with green air in the first track "Frequencer Departure". Also such a cool mint may be seen in Italian human nature I guess at the same time.
"First Wave", for me one of the most challenging stuffs in this album, might be much influenced by some Krautrock / Electronic hoaxes raging in early 1970s, I feel. Dark ambiance with hypnotic electro-dread can blow us away from the real world gradually. Much appreciated as one of textbooks of Progressive Electronic. While the following "Power Hallucination" might be, as the title says, a musical hallucinogenic agent in the middle of this album, though this track might be one of Andrea's mischiefs possibly. :)

"Second Wave" and "Third Wave" cannot be felt so experimental as "First Wave" above mentioned, but something quirky via electronic effects (in the Second) or comfortable hypnose wave (in the Third) is definitely left here and there, that can amaze us. Through a dark / drone madness "Implosion" or so, we can get to the last scattered electric sounds heretic "Flying A Sunset" and fall asleep upon a quiet bed "Frequencer Arrival" after driving through the electronic forest filled with Italian green.

What do you feel this eccentric gem that has aroused a controversial typhoon in RPI scene? An interesting one, even as a Progressive Electronic stuff and simultaneously as an Italian Progressive Rock one. DamoXt7942 .......

With just an album under this name, and no mention of the musicians' identity, Elektriktus was a mysterious group that only appeared with an LP on the PDU label in 1976. The album, called "Electronic mind waves", includes eight synthesizer-led compositions that show a great influence from the German cosmic music; in fact this is one of the most krautrock-inspired albums from Italy. Musically speaking the album will appeal to the keyboards fans, though some interesting variations can be heard in some tracks, as an upright bass part in "First wave". Finding more in common with Conrad Schnitzler than Klaus Schulze, Electronic Mind Waves sends shimmering waves of synthesizer patterns forward through a journey that is plotted out by flying, kicking off the voyage in "Frequent Departure Flying at Day-Break."....ByMeloMan.......

Finally on CD a unique progressive gem from 1976! Under the name Elektriktus hid Andrea Centazzo, musician and composer from Udine, who also released dozens of LP's mostly in the free jazz and avantgarde fields.
"Electronic mind waves", includes eight synthesizer-led compositions plus one unreleased bonus track that shows a great influence from the German cosmic music; in fact this is one of the few krautrock-inspired albums from Italy, and not unlike some of the early works by Roberto Cacciapaglia and Baffo Banfi. Excellent! Includes one bonus track!....BTF...records........

"This is a PDU release, an Italian label that in the 70s was responsible for distributing German music released by labels such as Ohr, Pilz, Die Kosmischen Kouriere or even Brain in this country, It is thought that Elektriktus also came from the region in the form of a boot. In fact the identity of the musicians is unknown since this LP released in the year 1976 did not contain any information about the interpreters, and this coupled with the fact that This was the only release under this name, wraps a little mystery to this album. "

"Composed of 8 tracks in which the synthesizer is a base element, this is a recording with a great influence Krautrock, Kluster, Cluster, Harmony and Tangerine Dream come to mind when I listen to it, although it also has very own elements."
From 1976, "Electronic Mind Waves" is the single LP from the awesomely-named Elektriktus. The name was a pseudonym for Italian avant-garde and free jazz composer Andrea Centazzo. The album has just been reissued on vinyl by Spanish label Wah Wah Records. From Wah Wah:

Originally released on the PDU label, the LP Electronic Mind Waves offers a collection of 8 synth fueled songs that sound very close to what kraut / cosmische heads were doing at the time, think of Conrad Schnitzler, Deuter or Cosmic Jokers, and also other European Experimentalists like Richard Pinhas' Heldon, Spacecraft, Didier Bocquet, Seesselberg, FG Experimental Laboratory, Roberto Cacciapaglia or Hydrus. Along with Cacciapaglia and Hydrus, Elektriktus shows the most experimental adventurous sounds under a kraut / cosmische music influence to ever come out of Italy.

Centazzo was already a highly experienced musician when he produced this LP in his home studio in 1976. He had been the drummer on Giorgio Gasslini's Quartet, with whom he also recorded several LPs, and also on his own jazz band Ictus (actually the name Elektriktus Came out of melting his electronic experiments with his former band's name). He's actually one of the key names from the Italian improv / free-jazz scene and the driving force behind the ICTUS label................

Goodness, I wonder if this is one of those awful “drug” records? You would be correct in assuming this, reader; a one-off of exceptional rarity (so obscure not even Spacefreak seems to know much about these guys), this is also a superbly hypnotic Electronic composition that is about as Kosmiche as you can get; my version was ripped straight from vinyl, and has 30+ years of awesome bacon-frying static that only makes the proceedings more trippy and dark. Why nobody makes music like this anymore baffles me, but thanks to the Internets there is plenty of the vintage stuff available, and this Italian rarity is one of the best examples of the type you will find..............

Line-up / Musicians
- Andrea Centazzo / all instruments

A1 Frequencer Departure - Flying At Day-Break 7:30
A2 First Wave 5:40
A3 Power Hallucination 4:30
B1 Second Wave 2:26
B2 Implosion 5:40
B3 Third Wave 5:20
B4 Flying At Sunset 3:50
B5 Frequencer Arrival 3:50 

La Mosca (The Fly) “Npk 2” 1970 Spain Prog Psych reissued by Guerssen records

La Mosca (The Fly) “Npk 2” 1970 Spain Prog Psych reissued by Guerssen records
full log in first…

“LA MOSCA (The fly ) released his unique album in 1970, sung in perfect English. Musically is psychedelic rock, sometimes groovy, sometimes soft, always very well executed and with great Hammond organ work along withfantastic guitar and vocals. All tracks are written by the band (though signed by Alfonso Sainz - Pekenikes -who was not in the group but was the producer) and include the terrific ” Once upon a time’’ , an incredible six minute psychedelic dancer, as well as the Hammond instrumental “ Dreamy sleeper” and the cool soft psych track “ Warning signals” among others" …Studio Band features Ray Gomez and his brother Jean Pierre, Bob Thackaway and the drummer Matt………..

Somebody definies it ‘psychedelic rock’, others 'heavy progressive’, anyway a very nice record of the spanish rock scene, dominated by the guitar and the organ. Unfortunately there is not line up and we can only get to know that the tracks are all composed by Pekenikes and A. Sainz…………..

Libre = Free
Chemin De Fer
Dormilon = Dreamy Sleeper
Pajaro Amarillo Volando = Yellow Flying Bird
Erase Una Vez = Once Upon A Time
Señal De Peligro = Warning Signals 

Ypsilon “Metro Music Man” 1977 Greek Prog Symphonic

Ypsilon “Metro Music Man” 1977 Greek band released in France 
full log in first……….

The Greek trio Ypsilon (not to be confused with the German band Epsilon) was formed by former Aphrodite's Child drummer Loukas Sideras together with brothers Axis and Lakis Vlavianos. Musically they were quite different from other keyboard-based trios. Instead of complexity and breathtaking instrumental passages, they focused on tightly structured and song-oriented sophisticated pop/rock. Some songs on their first and only album "Metro Music Man" are fairly comparable to Procol Harum, especially "Morning Sunrise", "The President" and "Tender". But they also managed to develop a style more of their own on the more synth-dominated tracks, such as "Day of the Dove" and "Gambling Daddy". "Silver Swan" is a fully orchestrated song with a grandiose finale, and stands as the most symphonic moment on the album. The sweet and romantic "Corners of My Life" has a more typical Mediterranean feel to it, while the powerful "Ms. Lopez" and the almost danceable "Losing Sight" shows the trio from their most upbeat side. The title-track is a song about the hard life of a street-singer in Paris, and the mood and sound of the song fits perfectly to that. The impressively consistent and even songwriting together with good musicianship makes "Metro Music Man" a little gem of late '70s high quality pop/rock.........

Ypsilon - the Greek trio was formed in France, ex-drummer APHRODITE'S CHILD Lucas Sideras. The group includes: Dimiris Katakouzinos - bass, vocals; Lakis Vlavianos - keyboards, Loukas Sideras - drums. The Ypsilon musically very different from other music trio, with the basis for its construction leading role keyboards. Rather than issue a complex and exciting instrumental passages, team members focused on the performance of strictly structured and yet very complex songs focused on an unusually beautiful and melodic pop-rock. In general, it is quite soft and light progressive rock style rapolagalis somewhere between Barclay James Harvest, later Moody Blues and the Alan Parsons Project. The most interesting tracks is not the record, in my opinion, are the "Morning Sunrise", "The President" and "Tender".....................

ο Λουκάς Σιδεράς -ντραμς και τραγούδι - (εκ των καλύτερων Ελλήνων ντράμερ), ο οποίος μετά την διάλυση των Aphrodites Child to 1972 ακολούθησε μια σόλο καριέρα με σχετική επιτυχία, γράφοντας δυο δίσκους (περισσότερα για τον Σιδερά σε επόμενη ανάρτηση)
ο Δημήτρης Κατακουζηνός - μπάσο και φωνητικά- πρώην μέλος των Axis (που σχηματiστηκαν επίσης στο Παρίσι στις αρχές της δεκαετίας του 70), και ο
Λάκης Βλαβιανός - κίμπορντς πιάνο- πρώην μέλος της μπάντας του Ντέμη Ρούσου.

Το 1977 κυκλοφόρησε το πρώτο και τελευταίο τους άλμπουμ (από την Philips στην Γαλλία) με τίτλο Metro Music Man (Philips -9101 145). Την ίδια χρονιά η εταιρία κυκλοφόρησε και το single Morning Sunrise / Metro Music Man (Philips, Phonogram -6172 019). Το άλμπουμ αν και ενδιαφέρον μουσικά δεν έτυχε της προσοχής και της επιτυχίας που (ίσως) του άξιζε. Μετά την κυκλοφορία του το γκρουπ διαλύθηκε και τα μέλη του τράβηξαν διαφορετικούς δρόμους.

Το σχήμα διέφερε αρκετά από άλλα γκρουπ που είχαν επίσης κύριο στοιχείο τα keyboards. Πολλά κομμάτια Metro Music Man μπορούν και κατά καιρούς έχουν συγκριθεί με τις συνθέσεις των Procol Harum, με κυριότερα τα "Morning Sunrise", "The President" και "Tender". To "προσωπικό" στυλ του σχήματος είναι εμφανές στα κομμάτια "Day of the Dove" and "Gambling Daddy". Το "Silver Swan", με το ιδιαίτερο φινάλε, αποτελεί αδιαμφισβήτητα το πιο συμφωνικό μέρος του άλμπουμ.

Hints and Tips
Το κομμάτι του τίτλου αναφέρεται στην ζωή ενός μουσικού του δρόμου στο Παρίσι.
Ο Σιδεράς λίγο μετά την διάλυση του σχήματος επέστρεψε στην Ελλάδα όπου και έκανε παραγωγές σε δίσκους άλλων.
Ο Δημήτρης Κατακουζηνός και ο Λάκης Βλαβιανός υπήρξαν μέλη των θρυλικών We Five (όπως και ο Ντέμης Ρούσσος).
Κυκλοφόρησαν επίσης σε 7'' single στην Γαλία το Corners Of My Life (Philips 6172 070) και το Day Of The Dove (Philips ‎– 6042 330). ......................

The Greek trio Ypsilon was formed in France by ex- Aphrodite's Child drummer Loukas Sideras.
Loucas Sideras – Drums, Percussion, Vocals
Lakis Vlavianos – Piano, Electric Piano [Fender], Synthesizer [Moog], Keyboards
Dimitris Katakouzinos – Bass, Chorus

A1 Morning Sunrise 3:10
A2 Day Of The Dove
Guitar [Solo] – José Sour*
A3 Silver Swan 4:12
A4 Gambling Daddy 3:25
A5 Corners Of My Life 3:13
B1 The President 3:25
B2 Metro Music Man 3:25
B3 Ms Lopez 2:28
B4 Tender
Guitar [Solo] – José Sour*
B5 Losing Sight 3:00
B6 The End 1:10 

Tamalone “New Acres” 1979 Dutch Private Prog Rock

Tamalone “New Acres” 1979 Dutch Private Prog Rock
If JETHRO TULL had been more committed to the folk angle in their sound than just on “Songs for the Wood”, “Heavy Horses” and a few other glimpses, they would have sounded a lot like TAMALONE. I know I got things backwards, but hey, I’m a prog folk collaborator, accent on folk. 
At first listen this sounds much like a TULL clone, based on Cees van Aanholt’s Anderson-styled woodwinds and even his voice, but it’s less grating than that of the great Anderson. The guitars are more propulsive, reminding me more of MARK KNOPFLER, while even the driving rhythm section recalls DIRE STRAITS who were really the “it” group of the day. The first 3 tracks, “Triangle Tune”, and “Song for Ophilus”, are the highlights, with the remainder being somewhat hit and miss. In particular, “London Town”, “interpreter”, and the dreary “Epilog” lack any sort of character and distinction, even by the already established standards.  

While “New Acres” is a noble effort by a talented group, its derivative nature and dearth of truly engaging compositions prevents it from occupying prime territory. Still it is as good as anything along the periphery of this sub genre….by kenethlevine ……… 
Tamalone is a dutch band from late ‘70’s. Their music can be compared easely with Jethro Tull, both on voice and manner of interpretation. The album was released in july 1979 in only 500 copies, today is priceless item in everyone’s collection, specially for those who enjoy progressive music with a touck of folk.The comparations with Jethro Tull is made because the voice of Cees van Aanholt is sometimes one on one with Ian Anderson both in his vocal sound and the way that he sings, but finaly a pleasent voice who fits very well in the atmosphere of the album. The instrumental passages are not brilliant but is made with honesty and are good, sometimes they remind me Songs from the wood era of Jethro Tull. The flute arrangemts are close to Jethro Tull but with less improvised elements. The best pieces are the titled track , Interpreter. So, my rate is 3 stars, that’s mean a good album, and worth investigate if you listen to prog music. A forgotten bad of the late '70’s prog movement… b olariu …… 
'New Acres’ is a rather charming little album by an all but forgotten Dutch band from the latter part of the seventies. It’s also apparently the only thing they ever released, and has never to the best of my knowledge been legitimately reissued on CD although there is a Japanese mini of dubious authenticity floating around. The original vinyl was pressed to only 500 copies and fetches upwards of hundreds of dollars/euros. I saw a copy sell for $79 USD at auction a while back but it was apparently somewhat worn. There’s also a very rare 1971 Dutch single titled 'I Love You, I Leave You’ produced by Jan Akkerman and credited to the Tamalone who 'made his killer prog psych LP 'New acres’ in 1979’, but all indications are this Tamalone didn’t form until well after that and didn’t have the sort of connections needed for access to someone with the celebrity of Akkerman. 
Anyway, the debts to Jethro Tull circa 'Songs from the Wood’ are quite strong, obvious and undeniable. If the stories were a bit more English in nature and the flute a bit more prevalent I’d almost call it a tribute album. But while Ian Anderson is the voice and wind of Tull, flautist/vocalist/composer Cees Van Aanholt adds guitar to his repertoire and that tends to overshadow the flute for most of the album. The keyboards are also more noticeable here than on most Tull albums but include the same or similar mixes of organ and synthesizers that Tull employed in the same timeframe. 

For the most part the band seems to have taken the simple approach of emulating Anderson’s vocal phrasings (and folksy, sometimes bawdy lyrical style to a certain extent) as well as Martin Barre’s alternating heavy and soloing guitar style to yield a sort of 'lost’ Tull album that lacks the percussion skill of Barriemore Barlow and only hints at the range of Glascock’s bass prowess. In fact, other than flute the bass is the most noticeably missing Tull trademark on this album. 

The only song worth noting in my opinion is 'Song for Ophillus’ which, while Tullish in style and sound at least tries to come off like something that was recorded for a 1979 audience and not three (or five) years prior. Anderson pushed his luck releasing 'Songs from the Wood’ when he did given that style of folk rock was already in serious decline. Tamalone go even further by recording this as the seventies are winding to a close. Frankly the thing wouldn’t have had a chance even with a decent label and some promotion, neither of which was forthcoming. The band broke up in 1981. 

Singer Ester van der Hoorn (who doesn’t sing enough but also plays flute) appeared on a record for the Dutch pop band Paragon shortly thereafter, and bassist Ad van de Staak recorded a couple albums for Savage Kalman & Explosion Rockets (never heard of them myself so don’t ask me what sort of music they played). Otherwise I can’t find much of anything the members did post-Tamalone. 

A decent album that is highly derivative, but I can’t bring myself to fault the band for that since they were clearly Tull devotees and seemed to do a pretty decent job of parroting the band’s sound with nonetheless original compositions. So I’ll go with (barely) three stars and a mild recommendation if you can find the album or some form of a reissue anywhere….by ClemofNazareth ………….. 
“… Imagine Ian Anderson and some other members of Jethro Tull taking a vacation in some rural farm, just before recording Songs from the wood and suffering from a post Minstrell in the Gallery melancholic sickness. Image him attending occasional folklore shows and living in perfect harmony with the calmness and soul healing effect of the green pastures. Imagine the unexpected company of Mark Knopfler, while young, still searching and discovering his distinctive guitar sound, pre-Dire Straits. If you can picture this set, you either have listened to this album already or will have a pretty good idea of how it sounds like. 
New Acres has this real rural feeling, just like it was recorded to be listened while in voyage we cross the fields, the woods and the pastures of the most deserted parts of the country. It kindly mixes some folk acoustic sounds with the electric components of 70’s progressive melodic music. 
Cees van Aanholt sounds exactly like Ian Anderson, both in his vocal sound and (especially) the way that he sings. And also in his flute kind of play, though the flute parts are comprehensively less than the ones we listen in a Jethro Tull album. His acoustic guitar sounds simply delightful, setting a very harmonious structure upon which his voice blossoms. 
The most curious element here is, in my opinion, the electric guitar, which rhythms sound a lot like the earliest works of Dire Straits. Even some Jan van Hout solos sound just like a rough Mark Knopfler version, before Sultans of Swing. 
If New Acres and Triangle Tune seem like songs just out of Songs from the Wood. Good Earth’s Wine and Song for Ophillus have a more Heavy Horses sound to it. They all have very beautiful melodic lines, perfect to fill your soul with refreshing and anti-stress thoughts. 
In Moment of grief you will clearly discover the Knopfler’s rhythm and solo alike sounds. 
The use of female vocals, gently provided by Ester van der Hoorn add some originality to this band. They are very clear and beautiful, enriching songs like Interpretor and Answers. In Homage to Life, only the vocals and the flute approximate Tamalone to the Tullish sound that prevail throughout the rest of the album. This song is much more straight forward in the rhythm department, sounding a lot like early 80’s rock’n’roll. 
The acoustic Epilogue has a bitter mood musicality, though the lyrics are pretty much the contrary as they are about hope and strength to carry on. Which, for our displeasure, they didn’t. This is the only work released by Tamalone, leaving us the impression that they could have had a pretty good future, for this album is an enjoyable display of kind and calm sounds. 
The fans of the most light, relaxed and simple Jethro Tull songs will appreciate New Acres a lot. So will those who like uncompromising prog, with a very acute harmonious sense…”…by…gnosis……….. 

Another band who released one album and then vanished without a trace. This time, the band comes from the Netherlands. 

This six piece band has obviously heard about Jethro Tull. There has been a lot of bands who has tried to bottle the magic of Jethro Tull. Tamalone and this album is the closest to the real thing I have heard for a long time. The difference here is that Tamalone uses a lot more acoustic instruments than Tull did. They also use some female vocals now and then. The use of Hammond organs sets them a part too. 

Yes, they sounds like Jethro Tull. Nevertheless, their songs are really good and this thirty-seven minutes long album is really a feast for those who likes folk rock a lot more than I do. This is a hidden gem and a good album who deserves to be heard by a lot of people…….. 

Cees van Aanholt: Accoustic Guitar, flute, vocals 
Jan van Hout: Guitar 
Ad van de Staak: Bass guitar 
Paul Pijman: Keyboards 
Rob van Belkom: Drums, percussion, backing vocals 
Ester van der Hoorn: Vocals, flute 

1.New Acres [5:13] 
2.Good Earth’s Wine [3:11] 
3.Moment Of Grief [4:32] 
4.Interpreter [2:59] 
5.Triangle Tune [2:25] 
6.London Town [3:59] 
7.Song For Ophillus [5:50] 
8.Homage To Life [2:41] 
9.Answers [4:40] 
10.Epilogue [1:47] 
11.Total Time 78:12 


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