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Saturday, 11 June 2016

Elmer Gantry`s Velvet Opera"Untitled" Bootleg Lp BBC Radio 1,UK January 27, 1968.

 Elmer Gantry`s Velvet Opera  "Untitled" Bootleg Lp BBC Radio 1, UK January 27, 1968 bootleg

full album

“This session predates the first album by six months, and finds the band still relying on some excellent cover versions, as well as group originals. The line up was changeable. Colin Forster would be replaced for the second album by Paul Brett. Hudson and Ford spent a little time in the Strawbs before becoming very successful and commercial with their ‘Hudson-Ford’ collaboration.”
Taken from the back cover of a bootleg LP.

Four of the BBC tracks can also be found on two unofficial releases ('Artefacts From The Psychedelic Dungeon’ and 'Hard Up Heroes #2 - When The Beeb Was Cool’), but here is the entire session, complete with a brief interview. Another batch of studio outtakes from around this time can be heard on 'The Electric Lemonade Acid Test’, vols. 3 and 4 on Tenth Planet and both comes highly recommended.

01. All Along The Watchtower
02. Mary Jane
03. Somethin’ Else
04. Short Interview with Brian Matthews
05. Flames
06. Mother Writes
07. Flames (acetate)

Kim Fowley “Love Is Alive And Well”1967 US Psych Pop Rock flower power

 Kim Fowley “Love Is Alive And Well”  1967 US Psych Pop Rock flower power“Love+Is+Alive+And+Well”++1967

Julian Cope.

I believe this to be Kim Fowley’s first full-length album ever (although it was an extremely short ten-track-anything-but-long-player that caught Fowley in full L.A. ‘flower power’ mode…mere months before his switch to ‘Canyon People’ culture.) But Fowley was a man on the scene and already used to fully embracing all things new in the swirling musical trends, promptly adapting them to his own mysteriously teenage agenda. By one listen – no, look – of this record, you’d think he invented ‘flower power’ single-handedly. There he is, grimly staring directly into the camera on the front cover, stuffed into a Spector-ish velvet jacket with his hands pressed together in prayer around a flower as flower children cavort in the background in the late evening summer sun. And almost all the titles have the words ‘love’ or flower’ in the title, to prove how sincere he is about the whole thing. Is Kim Fowley sincere on this record? Is he ever? As usual, there’s enough ammunition on both ends of the scale to neither tip it either for or against, and besides, who cares. Because even if you don’t buy Fowley’s gambit for one single minute, you got to admit that it took unfeasibly big balls to foist this platter upon the public.
I suppose it’s not beyond the realm of reasonable doubt to assume that Fowley’s previous songwriting connections with young L.A. record producer Mike Curb landed him this one-off record deal with Tower Records. But the majority of the input on this record–producing, arranging and co-songwriting—is not from Fowley, who just sings and narrates, but from his teenage chauffeur and apprentice, Michael Lloyd (Lloyd later fell in with Curb during his reign at MGM, producing many a record for The Osmonds, among others. But enough with the twisted tendrils of the Los Angeles record biz in the sixties…)
“Love Is Alive And Well” does have many ludicrously funny moments, like in the chutzpah to record a song called “Me” with a co-written songwriting credit, no less! Or to even release a track called “Super Flower.” Especially when it has no music, no singing, but only Fowley interviewing a group of Sunset Strip teenyboppers with questions like: ‘Why do you love Kim Fowley?’ or ‘You, flower child; what’s your opinion?’ It would be magnanimous if it wasn’t such an obvious set up, with ‘…he’s beautiful, kind, considerate…generous…’ or ‘wonderful, marvelous’ the only answers! But the album is Kim’s deck, and as usual, it’s loaded to the gills, and so the rest of the world and its rules will have to wait another day.
And if there’s ever anyone influenced by the old saying “Amateurs borrow, professionals steal” it’s Kim Fowley (PS: I have absolutely no problems with this behaviour – and you shouldn’t, too – as long as it doesn’t head into derivative limpsville, OK?) “See How The Other Half Love” manages to shanghai the Beatles’ “She Said, She Said” guitar riff, while “Heatwave” is oddly woven into Beethoven’s “Ode To Joy” on “Flower City,” but it’s a really shook up punker, so who cares who he’s ripping off if it’s done with this amount of passion and (dare) devil may care attitude, it’s no crime. And if Fowley had the above saying tattooed on his chest then his other one on his ass would read ‘If you got it, FLAUNT IT!’ because he does in a really big way by ripping off The Seeds, who spent a good third of their time in the studio re-writing “Pushing Too Hard” or “Mr. Farmer”! This man will stop at nothing: ripping off a group that ripped themselves off blind!!! But the track he creatively stakes Sky’s domain as his own is the absolute best song on the album, “Reincarnation”. Remember it, as it’s one of Fowley’s best ever. Organ and tambourine open, then a “Paperback Writer” punctuating guitar braaang, and Fowley’s off, Sky Saxon-ing it up to the hilt. And the lyrics are incredible, detailing what the afterlife has in store for him:

“I’ll be back
As a brown paper sack,
A wretched guitar
Or a Chinese car…”

Or perhaps

“I’ll reappear
As a reindeer
Or a tin can full of
Ice cold beer…”

Why this never appeared on a garage punk compilation is puzzling: it’s snot-snot-snotty, barely coherent and has that kinetic teenage Vox-Continental a-go-go rhythm that many tried for and only glimpsed for a moment. As for Fowley, he caught it barehanded and wrestled it to the studio floor in one take. “Reincarnation” is well worth the price of admission, and has recently surfaced on Rev-Ola’s “Mondo Hollywood: Kim Fowley’s Jukebox” compilation.
I’m sure “Love Is Alive And Well” was cut within a week’s time as Fowley was known for his economy in the studio – contrasted by the self-penned liner notes that take up a good portion of the back sleeve:
”Love is alive an’ well. Our return to the innocence of childhood is the only flash of beauty and light upon the cropless field of life on which many of us may live.”
You see what I mean with that earlier ‘sincerity’ thing? It’s impossible to sum up Kim Fowley. But I’ll try: he’s a rock’n’roll enig-maniac like Iggy Pop meets Guy Stevens on the corner of Z-Man Barzell and Phil Spector who worked with The Soft Machine and appeared onstage at the Roundhouse in 1972 during a Deviants reunion gig singing “Pappa Ooo Mow Mow.”

 A1 Love Is Alive And Well
Producer – Michael Lloyd

A2 Flower City 2:07
A3 Flower Drum Drum 2:58
A4 This Planet Love 2:10
A5 War Game 3:07
B1 Reincarnation 2:08
B2 See How The Other Half Love 2:00
B3 Flowers 1:45
B4 Super Flower 1:59
B5 Me.  

Aum:1969 Live in Avalon Ballroom San Franjisco CA (Unreleased) Ksan Broadcast Sounboard.(1st generation tape) US Psych Blues Rock.

Aum:1969 Live in Avalon Ballroom San Franjisco CA (Unreleased).. Ksan Broadcast  Sounboard.(1st generation tape) US Psychedelic Blues Rock.

full album only on dailymotion

Wayne Ceballos - guitar, organ, lead vocals, harmonica
Ken Newell - bass, vocals
Larry Martin - drums, vocals

One of the great lesser-known San Francisco bands, AUM was a classic rock power trio, inspired by the likes of the Jimi Hendrix Experience and Cream, and led by the talented multi-instrumentalist and singer Wayne Ceballos. The band was first brought to the attention of Bill Graham by San Francisco’s premier photographer, Jim Marshall. With one album under their belts in the early days of 1969, the band was slotted for one of Graham’s “Sounds of the City” live auditions, commonly held on Tuesday nights at the Fillmore West. On their first night performing, however, AUM veritably knocked the audience off their feet, earning three encores and the longest standing ovation in the history of those auditions. They soon became a popular opening act during 1969, and always put on a high-energy set.

This set, recorded at the Avalon Ballroom on a bill with The Flying Burrito Brothers and the Grateful Dead, is no exception. Opening the set with an unreleased track, “I Need You,” Wayne Ceballos immediately cuts loose and commands the audience’s attention. The remainder of the set includes a hot live take on “Little Brown Hen” and a highly improvised jam on “Bye Bye Baby” - two tracks from their Fillmore Records release Resurrection, - in addition to a 13-minute exploration on “A Little Help From You,” a track featured on their debut album, Bluesvibes.

Writing about this particular night, influential music critic Ralph J. Gleason is quoted as saying “AUM came on and broke it up with a wild, swinging set. There is no getting around it; this is an exciting group with the same kind of turn-on going for it that Santana had when they first appeared.”

1. I NEED YOU 5:30
4. BYE-BYE BABY 10:40  

Caravan “American Antarai” 1976 Thailand Psych Political Protest Folk

Caravan “American Antarai” 1976 Thailand Psych Political Protest Folk 
watch a little sample 

An album by the progressive Thai folk rock group featuring protest songs against US military actions in the mid seventies. The album was ready for release before the mass public protest, demanding for the withdrawal of all U.S. forces from Thailand by 20th March 1976 ....~

Reissue of one of the rarest and most sought after releases from the Thai scene. This isn't only a beautiful slab of ethnic folk rock, but it has become a landmark in Thai music history. Caravan was a folk-rock band that formed out of the country's 1973 democracy movement. Surachai Jantimatawn was the band's primary vocalist and songwriter. He also played guitar. Caravan was known for combining Thai and Western folk music in arrangements dominated by acoustic guitars, but spiced up with Uthok's use of traditional Thai instruments, as well as frequent use of Thai-style percussion. Most of their Thai-influenced songs took the form of folk ballads, but they also made frequent use of the faster and more percussive "Maw Lam" rhythms ...~

Remastered edition of this album from the Thai band, not to be confused with the British band of the same name. In May 1976, an incident involving the American container SS Mayaguez prompted the US forces, including 1,000 Marine Corps to use the U-Tapao airbase in Thailand as a base for a rescue mission against the Cambodian Government's (Khemer Rouge) forces. This was done without the permission of the Thai Government which said the act was a violation of Thai Sovereignty and sparked fierce protests outside the US Embassy. Caravan wrote political songs against the US and used them in a mass protest in March 1976. The band members all came back to work together amid the heated political atmosphere and protests to drive out the American Army base, during which there were many bombings, shootings, fatalities and much blood-shed. The Antarai American album was ready for release before the mass public protest to demand that the Kukrit Pramoj Government's promise of calling for the withdrawal of all US forces from Thailand by 20th March 1976 

In May 1976, an incident involving the American container SS Mayaguez prompted the US forces, including 1,000 Marine Corps to use the U-Tapao airbase in Thailand as a base for a rescue mission against the Cambodian Government’s (Khemer Rouge) forces.  This was done without the permission of the Thai Government which said the act was a violation of Thai Soveignty and sparked fierce protests outside the US Embassy. The US president only issued a very short ‘apology’ which acted as the catalyst for Caravan to join the public protest.  They wrote political songs against the US and used them in a mass protest in March 1976.  The band members all came back to work together amid the heated political atmosphere and protests to drive out the American Army base, during which there were many bombings, shootings, fatalities and much blood-shed.  The American Antarai album was ready for release before the mass public protest to demand that the Kukrit Pramoj Government’s promise of calling for the withdrawal of all US forces from Thailand by 20th March 1976.
This is the first re-release of the American Antarai album.  Heavy ‘paste on’ gatefold jacket and insert written by the band numbered by myself with pen.  1000 copies, 500 copies reserved for the Thai market…

Remastered edition of this album from the Thai band, not to be confused with the British band of the same name. In May 1976, an incident involving the American container SS Mayaguez prompted the US forces, including 1,000 Marine Corps to use the U-Tapao airbase in Thailand as a base for a rescue mission against the Cambodian Government’s (Khemer Rouge) forces. This was done without the permission of the Thai Government which said the act was a violation of Thai Sovereignty and sparked fierce protests outside the US Embassy. Caravan wrote political songs against the US and used them in a mass protest in March 1976. The band members all came back to work together amid the heated political atmosphere and protests to drive out the American Army base, during which there were many bombings, shootings, fatalities and much blood-shed. The Antarai American album was ready for release before the mass public protest to demand that the Kukrit Pramoj Government’s promise of calling for the withdrawal of all US forces from Thailand by 20th March 1976….. 
Caravan were a 1970s Thai folk group comprised of students who helped lead the opposition to their homeland's then corrupt and brutal military dictatorship, who for a brief time at least, beginning in 1973, managed to depose the dictatorship's leader, Field Marshal Thanom Kittikachorn. Between then and late 1976, when Kittikachorn returned to power in a military coup and declared martial law, and in the process massacred one hundred students and imprisoned several thousand more, the group had coalesced around four activist musicians influenced equally by the Western protest music of Bob Dylan and Joan Baez, as well as the songs and musical heritage of Thailand's peasant working class. Touring widely across the countryside and often appearing at political rallies, they wrote and performed songs with a deep political conscience sympathetic to the poverty of peasants, and which continued to courageously confront the corruptness of the lingering regime, in addition to American imperialism. Kon Gap Kwai (Man & Buffalo), recorded in 1975, was the group's debut, and it brilliantly melds Western folk music forms and melodies with indigenous Thai instruments like the phin, saw, and wut. Primarily acoustic, with intertwining layers of acoustic guitars and dirge-like percussive rhythms, the combination proved hugely influential and established the band as the leaders of the Songs for Life movement, with its opening and most famous track having been written by a poet and a militant farmer and which supplied the protest generation's anthem. It's a beguiling, richly shaded listen of plaintive anthems whose purpose and conviction seems clear to whomever the listener (even sung in the native tongue). In 1976, upon installation of martial law, the junta declared these tunes and anyone singing them illegal and the band was forced to flee to Laos where they lived in exile for several years, while their songs nevertheless lived on clandestinely in the prison camps and farmer's field thereafter....~    

Surachai "Nga" Jantimathawn 
Surachai "Nga Caravan" Jantimathawn - vocals, acoustic guitar 
Wirasak Sunthawnnsi - guitar, vocals 
Mongkhon Uthok - vocals, phin (a kind of Thai lute), wut (a panpipe-like Thai instrument), harmonica 
Thongkran Thana - lead guitar, slide guitar, violin, vocals 
Track List 
01 Dangerous American (3:47) 
02 Letter From Farmer (3:50) 
03 Ten Deaths Growing Up Hundred Thousand (4:25) 
04 Come Together (4:32) 
05 Common Please (2:40) 
06 Up Raising (2:59) 
07 Mr. Kaum (3:34) 
08 Lam Plern Jarern Jai (3:28) 
09 Serng E-san (3:41) 
10 Khula (5:46) 
A1 อเมริกันอันตราย
A2 จดหมายจากชาวนา
A3 ตายสิบเกิดแสน
A4 รวมกันเข้า
A5 มารวมกันนะเธอจ๋า
B1 ลุกขึ้นสู้
B2 ตาคำ
B3 ลำเพลินเจริญใจ
B4 เซิ้งอีสาน
B5 กุลาร้องให้ 

Abbhama “Alam Raya” 1978 Indonesia Prog Symphonic

Abbhama “Alam Raya” 1978 Indonesia Prog Symphonic

This Indonesian septet offer a symphonic prog sound influenced by the usual suspects (Yes, Genesis, ELP), yet offer much personal identity. For one thing, the vocals are all in Indonesian, which adds a unique local colour and personality to the music. Players on flute and oboe add profound classical touches. Meanwhile, keyboardist "Oni" (apart from singer/pianist Iwan Majdid, nobody in the group is credited with surnames) colours the music with organ, electric piano and various synthesizer sounds. 
Don't get me wrong, the album is nice, but the band tend towards the "polite" side for the most part. I keep wishing they'd cut loose, kick it up to the next level, but it never occurs. It's all very pleasant, but never much more than that. And there are a few rather cheesy moments, as on "Keraidaan Yang Ada", which opens and closes with a bombastic rendition of "God Save The Queen". 

Still, a resonable album that's a lot better than some others from Indonesia (Godbless' laughably derivative HUMA DI ATAS BUKIT, for example). As usual, with Indonesian prog releases, don't expect the best sound. Not only was this likely recorded under less-than-ideal conditions, but it was only ever released (so far) on cassette. Frankly, I'm surprised it sounds as good as it does, considering all of the Progbear ...~

One of my obsessions since I joined the Symphonic team and started to clean the bandlist was to listen ABBHAMA, a band from Indonesia that had only released a cassette back in the late 70's called "Alam Raya", almost unknown even in their country, for this reason I thought it would be one of the few bands in the genre I wouldn't listen, until I got a copy of the album (It was released by a Japanese label on CD). 
I must say it's quite an experience, not the best music available but very addictive, somehow sounds like a soundtrack of a movie made in Bollywood (knowing of course that Indonesia is not India, but I find similarities in style) but one that mixes Neo Classical, Baroque, Prog, Pop and even some ethnic music with birds chirpings and everything. 

One thing I must say Iwan Madjid does a very proficient work with the piano, Ona makes miracles with a set of keyboards that sounds very unprofessional (cheap), and Dhrama plays the flute in the purest style of Peter Gabriel, but the most impressive fact is the sweet voice of Iwan Madjid, very childish, almost like a kid before the change of voice, something like Jon Anderson meets Annie Haslam when they were 12, the arrangements are very solid (probably the best) but they lack of musical weight maybe even a bit cheesy but just can't stop listening it. 

Sometimes they try to be pompous but neither the instruments, the music or the voice helps them, it's evident they are a Symphonic band in structure but their style is so unique that puzzles me, the only thing I can't stand are the terrible electronic drums.. 

For some people they may not sound too professional or even be too innocent, but the beauty of their music is precisely there, simple tunes very naïve but they have something special, but lets go with some tracks. 

The album starts with "Kembali", really frightened me, I don't know what they tried to do at the beginning, some sort of Indonesian Disco intro very rhythmic that suddenly changes when the vocals start, not very radical to be honest but you know they have something, until then the real deal starts, the keyboard work first influenced by ELP and then a hard guitar work with a jazzy flute that suddenly turns Baroque to return to the poppy intro with some Focus reminiscences...that they are Prog there is no doubt, but this is not the strongest track of the album, despite this fact it's evident they know how to make radical changes. 

"Asmara" starts promising with a solid keyboard intro until the voice joins, lets be honest, it's a bit hard to get into such a complex language, again some diluted Baroque influence and a guitar a la Ian Akkerman, provides some delightful moments, good track, maybe a bit soft for people used to the classics but they are good. 

Now is the turn for "Alam Raya" which starts again with a Flemish guitar and flute which brings again the name of Focus to the memory, but the structure of the track is closer to TRIUMVIRAT, the bird chirpings are very cheesy and sound out of place unless there's a relation with the lyrics (Something I don't pretend to know), another good track except for the horrendous drums at the end. 

"Karam" is more or less, in the same vein of the previous track but more melodic, to be honest by this point the voice of Madjid is starting to sound annoying, but for some reason I can't stop listening the album, the track evolves to something very light, almost like a Christmas song in a weird (for us) language. 

Most of the other tracks are in the same vein, all mixing elaborate arrangements with simple tunes that go between naïve beauty and cheesiness and even an Instrumental called "Tarlenia" that is well performed but looses that charm that only Madjid vocals can ´provide, so it would be useless to describe each track except maybe "Indonesia" which is the closer they get to an epic. 

"Indonesia" is the longest track of the album (7:40 minutes) and one of the most interesting, this time we listen an extremely beautiful folksy tune guided by the flute and later oboe that reminds me of the Peruvian band FRÁGIL, most precisely the song "Lizzy", but again the trademark appears, Madjid and his peculiar voice that starts a series of changes, the piano work is simply outstanding, but then they start to Rock in the purest style of the late 50's for some seconds, just to return to the same melody but this time slightly more dramatic and then close the song with the full band. Extremely good material that is closed with a synthesized violin, the best song of the album. 

What else can I say about ABBHAMA and "Alam Raya", well, all the musicians are well trained and most of them obviously have classical formation, because of the sound iseems evident they don't use the most expensive instruments or the most advanced technology, but they know how to get the best from what they have. 

The music is good but not outstanding and the voice well, it's definitely their trademark, some people may find it funny or amateur, but I believe we are before professional musicians that make an absolutely unique album (I never heard something remotely similar). 

Now we get to the hardest part, the rating, if we were judging only quality in comparison with other Prog bands, then the three stars that the two previous reviewers gave would be perfect because that's what they deserve, but here we are before a special case and according to the guidelines we must also evaluate if the album is an excellent addition for any Prog collection, and for God's sake it is, something so unique will make any collection richer without a single doubt. 

So I will take the risk and give them 4 stars for their originality and because I believe most wide minded Progheads will enjoy the Ivan_Melgar_M 

Abbhama is a forgotten and very obscure symphonic prog band coming from far est , more specific from Indonesia, a country who has some bands who did a great job in prog rock realm like Guruh Gypsy or Shark Move before Abbham was born. They manage to create a single album in 1978 named Alam Raya (transleted in great nature or universe) released on cassete format. The music is very sweet , mainly because the voice of Iwan Madjid, who has a very pleasent almost melancholic voice but good for sure, the sound is aswell naive, mellow in places , close to Yes or Genesis but they heve their own twist , some oriental arrangements give them a special status. The album is sung of course in indonesian language so I din't understand a word, but the enjoyble pieces a nd smooth arrangements made me love this little record from the first piece. The best piece is Asmara, Iwan Madjid has such a perfect voice for this kinda of prog music that is hard not to enjoy such track, excellent I simply love that piece, the smoothness of his voice is beyond words, the rest are ok, not something realy special, but ok, nice interplay between musicians and some truly strong key passages interwoven wth some oboe or flute. Abbhama must be one of the best prog rock bands ever from Indonesia, maybe the second best after excellent Guruh Gypsy. Sadly Abbhama disbanded a year later after this release in 1979 and gone into oblivion. From time to time some reviews appear here and there, that means they are not forgotten. 3.5 rounded to 4, a little gem that goes rather unnoticed in prog circles, no wonder because they are pretty rare and hard to b_olariu ...~

Now this is something that one wouldn't expect! In the course of the years I listened many obscure albums from bands from faraway islands (at least faraway from you know where) and usually, despite the curiosity fact, they are just average albums that didn't do much. 
Abbhama was an Indonesian band from Jakarta that recorded one album 35 years ago called Alam Raya (1978). 

The first thing that stroke me most is that as soon as the album started it remainded me immediately of the Brazilian band 14 Bis, but their self-titled debut album was only released one year later. 

The music in Alam Raya (1978) is Progressive Pop with many great instrumental breaks and if the productions is not that great is far from being bad. In fact it's quite good and I was a bit surprised with the fact. 

It's true that when Iwan Madjid starts to sing is weird. His voice is sweet and angelical (almost as a girl sometimes) the thing is the language, it takes some time to get used with it, after you get used to it, it's very nice. 

What can I say, you'll probably not find a new edition of this album, but if you do, grab it. Recommended! ProgShine ...~

Line-up / Musicians 
- Iwan Madjid / piano, vocals 
- Oni / keyboards 
- Darwin / bass 
- Robin / drums 
- Dhrama / flute 
- Cok B / guitar 
- Hendro / oboe 

Songs / Tracks Listing 
1. Kembali (4:37) 
2. Asmara (2:57) 
3. Alam Raya (3:42) 
4. Karam (3:53) 
5. Keriadaan Yang Ada (5:24) 
6. Terlenia (Instrumental) (3:04) 
7. Air (4:34) 
8. Malam (3:54) 
9. Indonesia (7:40) 
10. Ibu (4:16) 

Survival “Simmer Down”1977 Nigeria Psych Rock

 Survival  “Simmer Down”1977 rare Nigeria Psych Rock

While bands like Ofege and BLO have slowly becomes household names for collectors, there are still many Nigerian bands and albums that have remained unknown in most circles.  Survival’s lone effort ‘Simmer Down’ is one of those albums.  Primarily an Afro Rock album, it contains psychedelic, soul, afrobeat, funky and progressive moments, all done in a raw nature with unpolished mixes and an underlying consistency that doesn’t lose the listener.  Songs are filled with fuzz guitar solos, flute solos & organ solos.  Recorded by a group of talented High School students at the legendary ARC studio owned by ex-CREAM drummer Ginger Baker, this album seems to have remained under the radar until now.  Filled with complete notes by the band with photos and history, including a story detailing a battle against OFEGE at the infamous ‘Space Funk’ competition.  A limited edition pressing of 1000 copies on LP, with insert and photos and 800 CD with 12 page booklet.  A gem from Nigeria, and one you won’t find an original for anytime soon.
01 Ripples
02 Survival
03 Meditation
04 Emotions
05 Simmer Down
06 Everybody’s Got His Own Kind of Trouble
07 Jungle Justice
08 Chewing Dust  

John Sase "Aessence"1975 US Private psych Acid Folk

John Sase "Aessence"1975 US Private psych Acid Folk


Great dreamy acid folky psych LP released in limited 300 copies circulation in 1985 although it was recorded in 1975.Great LP utilizing a plethora of intruments including String Bass, Nylon String Guitar, Indian Bells, Hand Percussion, Noseflute and Harmonica with deep vibe.Similar to Arthur Lee Harper, Bobb Trimble, Bill Clint, and the likes ....
~ by mutantsounds..............

Rare and excellent private press Acid folk album out of Detroit. This was recorded in 1975 but only released for the first time in 1985 in this limited edition of 300 numbered copies, signed by John Sase; Musically this is introspective downer/Loner acid-folk with a great tapestry of intstruments including string Bass, Nylon string guitar, Indian Bells, Hand percussion, Nose-flute and harmonica. Comes in a nice home-made style silkscreen with pasted-on photograph.
~ by

Hippie folk and singer/songwriter sounds with artistic ambitions and a slightly refined air, but like so many others in the genre damaged by unconvincing vocals. The Joseph Pusey LP is a more successful exploration of a similar trajectory. John Sase is the name of the artist, and the LP features a wide variety of instruments. Recorded in 1975, which is why it is included here.
~ by lysergia.............

Obscure USA private press folk album that's already got interest in the world of bloggers. However, i think it's worth adding as previous blogs have missed what could be a different fan base for this album. It was recorded around 1975 but not released until 1985. Despite the 1970's recording this album has tracks that i feel are closer to the Neo Folk style of the late 1980's onwards, than the Acid Folk tag other bloggers use. Listening to Industrial Age is for me akin to the Death In June sound from the All Pigs Must Die album. Artists like Nurse with Wound and Current 93 have always been open in their love of Folk, especially artists like Shirley Collins and Comus.
The album was released in a limited edition of 300 autographed and hand numbered copies with two inserts, housed in a plain sleeve with screen printed title and pasted picture. John Sase was based in Detroit, hardly well known for producing Folk music. There are a wealth of instruments on the album which are played well enough to lift it above the usual private pressing. If i was to have a criticism of the album then it would be that the tempo seems to remain pretty much the same through the entire album. The songs themselves are strong so keeping it interesting.................

A1 Zothique
A2 Winter Song
A3 Industrial Age
A4 Laughing And Free
A5 Only A Play
B1 Get It Together
B2 King Alfred
B3 Grand Illusion
B4 Silver Winters Morn

Cluster “Trikolon” 1969 Live Germany Prog Rock Kraut Rock

Cluster “Trikolon” 1969 Live Germany Prog Rock Kraut Rock

full album

Some months ago I received the suggestion of TRIKOLON for Symphonic, so immediately searched, found and bought the CD, I must say it was worth the effort (A bit expensive though) because the album is outstanding.
With great sorrow and despite the clear Bach and Mozart influence we had to say no to the addition, because it was closer to Kraut or Psychedelia than to Symphonic, but immediately sent it to another team. After some months being checked for different sub-genres, I was authorized to add it to Krautrock and immediately started a review.
The first thing I have to say is that their only album named Cluster is simply delightful, the band commanded by the “insane” keyboardist “Henrik Schaper”, combine efficiently the frenetic exploration of Psychedelia with “Classical” Music (mainly Bach) and some Jazz, to create a fantastic combination of elaborate songwriting and jamming.
The album is opened by the dramatic  Search for the Sun, a rhythmic song with Schaper in the vocals (more or less in the range of Mick Jagger)  and Psych oriented keyboards, but nothing would be complete without the work of Rettberg (bass) and that human metronome called Ralf Scmieding in the drums. For the casual listener it may seem like pure jamming (yes, there’s a lot of this also), but if you  pay attention the elaborate structure is evident, and if we add the spectacular organ (with touches of Bach), we are before a 14:33 minutes epic that goes far beyond Psychedelia.
After this first track I was expecting no changes in the rest of he album, but  Trumpet for Example proved I was mistaken, because Schaper and his hallucinating trumpet takes us into Jazz Fusion territory, but again well blended with frenetic Psyche passages that keep the listener at the edge of the sit. It’s necessary to mention Scmieding, who proves he’s not just a good drummer that can keep the time perfectly, but a versatile musician who is able to contribute with any style genre or mood that the band decides to play.
In Hendrik’s Easy Groove, Schaper takes us deep into Jazz fusion, because this piano track seems like a tribute to great musicians as Duke Ellington, but always going a step beyond. This time we are talking about pure jamming by an obviously virtuoso keyboardist.
Blue Rondo is obviously based in Mozart’s famous piece and Dave Brubeck’s adaptation, but also in Keith Emerson’s work with “The Nice” (without the annoying abuse of the Moog). Again the rhythm section is impeccable but as usual Schaper is the star of the band. As a special note, this version includes elements of Mozart’s Rondo Alla Turk, unlike THE NICE’s version which only pays tribute to   Blue Rondo by Brubeck.
My edition has a bonus track called Fugue, a 22.22 minutes eclectic version of Toccata & Fugue in D Minor by Johan Sebastian Bach, a piece that may sound a bit rough today, but lets remember this is a self financed live album, and the band couldn’t afford the best recording techniques or production, so it’s amazing that it could be rescued in CD format after more than  three decades and  despite all the problems they had to face. Absolutely breathtaking interpretation.
Before I rate the album I must say that the beauty of Cluster relies not only in the virtuosity of the musicians and excellent musical pieces, but also in the fact that it’s the only testimony that this obscure band left for posterity, so in my opinion we are talking about an excellent addition for any Prog collection, and a must have for fans of early Prog that deserves no less than 4 solid stars…….
That Trikolon’s sole album exists at all is the result of a sheer force of will. This live concert was privately released in a tiny run of 150 copies, so that an original album today is nothing short of a small fortune. This kind of musical entrepreneurship just wasn’t done in 1969 Germany.

I bring this up, because it would be easy to criticize the album in retrospect. Rocked out versions of classical music are yawn-inducing today, but I would imagine it was quite enlightening to the audience that had gathered for this show. And keyboardist Hendrik Schaper puts on quite the performance for those who did attend on this fortuitous night.

Opening track, Brian Auger’s ‘In Search of the Sun’ (from Streetnoise), is extended beyond recognition here. This track features the only vocals on the album, and it surprisingly sounds like Eric Burdon and The Animals. Schaper actually declares the lyrics rather than singing them, just like Burdon would. On 'Trumpet for Example’ the ever talented Schaper blows a few notes on his horn, and then gets back to banging on the organ until silly. “Hendrik’s Easy Groove’ is indeed a piano recital, and while I’m sure it was quite fun for the audience this one night, it proves to be quite a dull listen for everyone else. Perhaps his mother would have been proud however. Too bad it wasn’t "Hendrix’s Easy Groove” with an accompanying 11 minute wah wah guitar solo, while the stringed instrument is burning an inferno in front. Ah well. From here on out, it’s Rockin’ the Classics, where Schaper goes ballistic on his poor organ of older vintage, beating the living crap out of it. 22 minute bonus track 'Fuge’ continues in a similar manner, where all of the trikolon get in on the frenetic action.

So imagine Soft Machine circa “III” playing the music of The Nice, and you’d have an idea where Trikolon land. Historically a phenomenon, though modern audiences may get bored. A good one for the collection, though it won’t get played often…….
This album is all about the impressive talents of the keyboard player, Hendrik Schaper. In fact the album might as well be classified a solo album, so dominant he is. In the rock parts he displays his skills on the organ, which sounds like a Farfisa (? - similar to The Doors’ Ray Manzarek). It’s a pity he didn’t have a Hammond to hand because the results would have been majestic. At other times he is on piano, with one long track being a solo piece where he encompasses classical with Jazz, incorporating very well known Dave Brubeck numbers. He truly is / was a wonderful talent and without doubt had both a classical and Jazz background. The recording is quite low-fi, so it would be difficult, not to say, unfair to really judge them on this live recording. The rock tracks are long Jazzy organ work-outs which also use Jazz motifs.

The other members are mostly just there to make up the numbers although there is a bass solo, which shows some ability, in the bonus track “Fuge” . Sections of this final and long (22 minute) track are made up of segments of Bach’s famous Toccata and Fugue in D minor and it may even be played in its entirety (I could check but I’m too lazy to A-B it). The obligatory drum solo is, as usual, forgettable and unnecessary (well to me at any rate) but at least it’s mercifully short. Schaper plays both organ and electric piano on “Fuge”

Great album, especially for the keyboard connoisseur and I’d have loved to hear a studio album. ……..
Typically thorough reissue on Garden of Delights of the exceedingly rare (only 150 made) self-released 1969 album by a trio of organ/piano/trumpet/vocals, bass and drums. Obviously very influenced by The Nice and perhaps to a lesser extent early Soft Machine, this album was recorded live to stereo tape and has a really raw feel to it. The band later metamorphosed into the equally obscure Sixty Nine (a drum and keyboards duo). Includes a thorough band history, many rare photos and even a bonus track. [Garden of Delights) ……

Line-up / Musicians
- Hendrik Schaper / Keyboards, trumpet, vocals
- Rolf Rettberg / Bass
- Ralf Schmieding / Drums

Songs / Tracks Listing
1. In Search for the Sun (14:31)
2. Trumpet for Example (7:22)
3. Hendrik’s Easy Groove (11:05)
4. Blue Rondo (10:30

johnkatsmc5, welcome music..







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music forever

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“A Revolutionary New Triumph in Tape” 1958

“A Revolutionary New Triumph in Tape” 1958