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3 Sep 2016

Opa “Magic Time” Uruguay 1977 Latin Jazz Fusion Prog










Opa “Magic Time” Uruguay 1977 Latin Jazz Fusion Prog ..one of the best latin Prog Jazz Fusion album

full 

https://www.youtube.com/watch?v=BquHUU667T4 

Hugo and Osvaldo Fattoruso, the Black Rada, Airto Moreira, Flora Purim and some other beasts in an amazing drive to the glory of Euge and many of us ... if you want sabar like jazz can be fused with Candomble and progressive rock, this is the record indicated for you. 
Recorded in '77 in the US since its musicians, Uruguayans, lived in the north country. 

Magic Time is the third album of the group Opa. The same was recorded in February 1977 at Fantasy Studios located in Berkeley (California) and is contained in the catalogs of the genre of jazz. 
This time, the members of Opa: Hugo Fattoruso, George and Hugo Osvaldo Fattoruso "Ringo" Thielman, Ruben Rada are incorporated as stable member vocals and percussion, percussion Airto returning guitarist Barry Finnerty and adds 

This reissue of Opa's two mid-1970s Milestone releases should appeal to listeners who enjoy an eclectic mix of jazz, rock, funk and Latin rhythms. The trio Opa, now disbanded, consisted of Uruguayan keyboardist, Hugo Fattoruso, percussionist George Fattoruso and bassist Ringo Thielmann. Guest artists include flutist Hermeto Pascoal, heard on the ethereal ballad "Paper Butterflies," guitarist David Amaro, vocalist Flora Purim, heard on "Arise" and percussionist Airto, who also produced this release. The tunes rely on multiple electronic and synthesizer effects. ...... 

Line-up / MusiciansAlberto tells us:The controversial acid jazz, including cabbage and cabbage, has generated a growing interest in applications of some half-forgotten dance recordings. Such is the case of Goldenwings (1976) and Magic Time (1977), two LPs Opa trio that have been republished by Milestone in a single compact disc. Airto Moreira that has figured as a producer of both sessions is not surprising, considering that the Uruguayan trio formed the rhythm section the group consisting of Brazilian percussionist in 1973, with a view to the successful LP recording Fingers (CTI). 
Composed of brothers Hugo and Jorge Fattoruso (keyboardist and drummer, respectively) and bassist Ringo Thielmann, Opa developed an original repertoire was based on the best aspects of the jazz fusion of those times. Backed by renowned guest artists (Airto, Flora Purim, Hermeto Pascoal, Ruben Rada, etc), Opa mixed samba, candombe and other South American rhythms with electronic elements and ingredients of jazz, rock and funk. creatively using synthesizers, Hugo Fattoruso developed certain colors and electronic textures that can be compared favorably with fusionistas achievements of the Austrian Joe Zawinul. 
Paper Butterflies (Far Away te Vas), the best number of the first LP, is an exquisite ballad Uruguayan Ruben Rada that combines crystalline Hugo Fattoruso keyboard with delicate flute Hermeto Pascoal. The most striking theme of the second album, La Cumbia de Andrés, is based on a repeating rhythmic motif that leads us to a futuristic renewal battered Colombian genre (which can cause effects of hypnotic and hallucinatory character). 

Hugo Fattoruso : KeybAlbertoOn the chat someone asked things about the Shakers, well, the truth is that this hits you in the post, but I like much more authentic fusion recognized by artists such as Carlos Santana, George Duke and Herbie Hancock, which blends perfectly practically all styles, with influences of jazz and Latin music, but also rock and symphonic music of the Beatles. And the truth is that nothing sounds forced, in fact everything flows with admirable naturalness.Finalizing the 1960s, Osvaldo and Hugo Fattoruso dissolve Shakers and embark on a journey to the United States. Alli with Ringo Thielman form Opa, a group with which they remained four and a half years playing in the underground scene of New York. Time later, they contact Airto Moreira with whom they recorded a disc 1 titled "Fingers". By the year '76, they recorded "Goldenwings" and without Moreira, but with the participation of the great Hermeto Pascoal. A year later, Airto returns, and adding two musical powers: Ruben Rada and Barry Finnerty with whom he recorded "Magic time", their second album. This is a real example of the versatility that has the Jazz, to merge without any problems with other rhythms and genres. Let me see as a creator of so many other aspects genre known merge flawlessly with Candombe and other progressive influences. Anyone who has not heard it yet, is to come up with an immense work of synthesizers, great guitar solos and a huge rhythmic development both on drums and percussion, in which you can get to appreciate the typical keys Candombe charrua . Everywhere you hear it, the sound of this work is totally partner and almost perfect, making it a work for the total enjoyment. 
Audioteca DelPlataA return was studying at a friend's house and we were listening to some jazz background. At one point I said (I do not remember why) something incredible jazz is its enormous versatility to merge with different genres, there are so many musical styles as different from each other and yet are part of the huge range of slopes of Jazz. With all this I'll never I had crossed his mind listening to Candombe hand Jazz and progressive influences, but luckily some band that puzzles you always appears and leaves you speechless, that makes you hear something that never you would have thought, that's what happened with OPA. 
Perhaps there is still some disbelief when I tell you that these discs are going to find a lot of work synthesizers, amazing electric guitar solos and a huge rhythmic development both on drums and percussion, in the latter is where best you can get to appreciate the typical Uruguayan Candombe keys. Incredibly all sounds great wherever you look at it. I estimate that at least some skeptics will want to hear this, to see if it really is as well as I am saying; in this case a huge favor you will be doing your ears, then do not tell me I did not tell (?). 
The smoke is in focusunmissable great album, regalito degenerate old Santa Claus.oards and Vocals........ 

Jorge Fattoruso : Drums 
Hugo "Ringo" Thielmann : Bass 
Rubén Rada : Percussion and Vocals 

With: 
Barry Finnerty : Guitar 
Airto Moreira : Percussion 
Flora Purim : Vocals 

Songs / Tracks Listing 

1-Mind Projects (5:58)
2-Camino (7:26)
3-La Cumbia de Andrés (4:40)
4-Montevideo (8:37)
5-Malisimo (8:26)

Larry’s Rebels “A Study In Black” 1967 New Zealand Garage/Beat/Psych band












Larry’s Rebels “A Study In Black” 1967 New Zealand Garage/Beat/Psych band 

full 

https://www.youtube.com/watch?v=iDyefbPiFss 

watch…. 

http://www.audioculture.co.nz/people/larry-s-rebels 

“There’s rock - and there’s rock ‘n’ roll, an attitude to a song and to life. Larry is and always has been a rock 'n’ roller”- Bruce Morley 
NZ Music Critic ….. 

Larry’s Rebels were New Zealand’s Animals. Our Paul Revere and the Raiders. The top notch local pop band with bluesy bite, who released a handful of vital discs, and for a brief few years were all over the media, the charts and the nation’s bedroom walls. They were Auckland’s first great homegrown pop band of the modern pop era; hard working and electrifying live. Their cover versions nipped at the heels of the originals. …… 

In 1967 Larry’s Rebels released their first album A Study in Black on Impact Records, which included the Top Ten single ‘Painter Man’ (which was subsequently banned by NZBC radio stations for being a ribald record in bad taste). The tracks for this album were mostly stage favourites, but included five originals – among them ‘Let’s Think of Something’ which went on the win that year’s Silver Scroll. 

During 1966 and 1967 Larry’s Rebels could not put a foot wrong in New Zealand. After their run of classy support roles on international tours, they began headlining their own blockbusters, including two Impact Shows and two Larry’s Rebels Dance Spectaculars. 

At Auckland’s Western Springs Stadium they drew a crowd of 18,000, followed shortly after by a crowd of 12,000 in the city’s Epson Showground. Many appearances erupted into frantic riots, with the stage rushed and costumes ripped to shreds. A task force was subsequently assembled to provide protection for the band members at shows. A sure sign that the boys were serious stars. 

The band was unravelling, however, and in 1968 Larry Morris left, and the remaining members reverted to calling themselves The Rebels with Glyn Mason taking over on vocals. 

They then had a number one hit with ‘My Son John’ and released the album ‘Madrigal’ (again on Impact). They broke up in 1970. …. 

Interesting NZ pop. Ray Columbus was a big name here and had quite a few hits. They broke up before the advent of psych so unless you are interested in early- mid 60s beat and such it would not really interest many here. 

Larrys Rebels is more interesting. The two albums seem to bookend the psych era, the first just as psych sounds were hitting our shores and the second LP came after their psychedelic singles (which are not included here), and heads to a different era. There was also a change in lead singer for the second LP at that point as Larry Morris was busted for drugs and became a solo artist. This also affected the choice in songs to some extent. 

Of the two LPs the first is a odd mixture of people pleasers that they toured round the clubs with and has a touch of Saturday night cabaret with a mix of pop soul blues and garage sounds. You lurch between Will You Still Love Me Tomorrow and a beatpop take on Scots folk tune of Skye Boat Song, soul covers like Dancing in the Street and Midnight Hour, and the band’s own fuzzy bluesy psychedelic creations like Speak My Mind and Flying Scotsman. 

1968’s Madrigal is loved by some as the high point of the groups career and others would probably say - meh. It has more Joe Cockeresque takes on Beatles (Good Day Sunshine, Ticket to Ride) and Bee Gees (To Love Somebody) as well as memorable originals like My Son John and the Who-like Passing You By helping make it a little more cohesive……. 

There were a few twists with Larry Morris. He was indeed arrested fr drugs, twice. The first time for possession of cannabis was a big blow as he was starting out on a solo career and was making his money touring on the club circuit sponsored by one of the main brewery company. Of course when that came up the contract was terminated (after all alcohol is a acceptable drug)and that was the end for his career to some extent. Than a year or two later he was caught dealing which was far more serious and served a four year jail sentence.  

One last interesting thing is for some reason in the middle of their psychedelic period the group put out a EP of christmas songs. I have no idea what it is like or why they did it (I think Paul Revere and the Raiders did a similar thing) I understand they are pretty faithful covers and not freaked out versions. Needless to say I have never bothered looking for it. ….. 

Despite the name there wasn’t much rebellion in the Auckland quintet who became national pop heroes in the late 60s after early hits like I Feel Good and Painter Man. 

Their 1967 debut LP - here reissued with Madrigal, the band’s second album recorded after the departure of frontman Morris for a solo career - shows them torn between Saturday night cabaret and garage grit. That divide makes for a uneven set, lurching between likes of girl group anthem Will You Still Love Me Tomorrow, a beatpop take on Scots folk tune of Skye Boat Song, soul covers like Dancing in the Street and Midnight Hour, and the band’s own fuzzy bluesy psychedelic creations like Speak My Mind and Flying Scotsman. 

With Morris replaced by Glyn Mason, 1968’s Madrigal delivered Joe Cockeresque takes on Beatles (Good Day Sunshine, Ticket to Ride) and Bee Gees (To Love Somebody) as well as memorable originals like My Son John and the Who-likePassing You By helping make it a little more cohesive. 

Though you suspect that finale track Rhubarb was just the band padding the end of side two a bit. Not an essential collection but certainly one for Kiwi rock history completists…….review by Russell Baillie 

A1 Midnight Hour
A2 What Now My Love
A3 Will You Still Love Me Tomorrow 
Written-By – King-Goffin* 
A4 Stormy Winds
A5 Flying Scotsman
A6 Shakin’ Up Some Soul
A7 Painter Man
B1 Skye Boat Song
B2 Saturday’s Child
B3 Let’s Think Of Something
B4 Dancing In The Street
B5 Speak My Mind
B6 Inside Looking Out
B7 Situation Vacant 

Lift “Caverns Of Your Brain” 1977 US Symphonic Prog






Lift “Caverns Of Your Brain” 1977 US Symphonic Prog 

full 

https://vk.com/wall312142499_2764

The group was founded in 1972 by keyboardist Chip Gremillion, bassist and drummer Cody Kelleher Chip Grevemberg. Vocalist Courtenay Hilton-Green of Pensacola (FL) and lead guitarist Richard Huxen joined a few months later. First performed covers of «Led Zeppelin», «The Beatles», «Uriah Heap», Robin Trower, «ELP», «Yes», ​​«King Crimson», «The Moody Blues». In 1974 they entered the studio and recorded the 4 tracks. What was it then for 19 years. In 1977, these records came out on bootleg. In 1990 he was re-released on CD from the original tapes. Music - typical symphonic prog in the spirit of «Yes», ​​where the main - keyboards (Hammond, Moog, Mellotron), a nice male vocals, passionate and dynamic electric powerful rhythm section….. 

Lift were an American progressive rock band from New Orleans LA from the early 70´s.Much of the music on here is very energetic and fast paced.They played with such raw energy and enthusiasm yet also injected a strong sense of warmth and passion in their music in a way that is kind of rare these days.I have always thought of this cd as sort of a cross between Genesis´ foxtrot(especially supper´s ready) and Camel´s Mirage. There´s lots of hammond organ, ssynthesizer, mellotron and Latimer style guitar. From what I understand however these guys´ main influence was Yes. There is an obvious Yes influence as well but this group definitely has their own sound and do not sound like they are copying any specific band. The first track on here is called “simplicity” and has a great long instrumental introduction.This cd only has four tracks on it. The longest and best track on here(imho)is the 12 minute “trippin over the rainbow.” This track reminds me a bit of supper´s ready but I wouldn´t say it´s a deliberate ripoff of that classic but the ending parts to both are very similar.This was released on symphonic a while ago and is probably out of print.If you like early Genesis, symphonic prog or Collect American prog this one is worth looking for. ….. 

Lift was formed in June, of 1972, by keyboardist, Chip Gremillion, bassist, Cody Kelleher and drummer, Chip Grevemberg. Although they all had worked together in numerous groups previously, LIFT was formed with the purpose of being a progressive band from the South. Chris Young was added on rhythm guitar, 12 string and vocals in the first month. Lead vocalist Courtenay Hilton-Green, from Pensacola Florida, who had worked with Gremillion previously and lead guitarist Richard Huxen of New Orleans joined within several months. Chris Young left the group shortly thereafter to pursue other interests, but not before penning the lyric to “Simplicity” and co-writing the lyric for “Caverns” with Chip Gremillion and Courtney Hilton-Green. 
By late fall of 1972 the five member group now consisting of Gremillion, Kelleher, Grevemberg, Hilton-Green and Huxen began to rapidly build a strong following, even among area musicians who were often seen at LIFT performances. Throughout 1973 LIFT continued to attract the support of audiences and local music critics. LIFT became a frequent highlight performer at area universities for special events. 
Local club performances were often standing room only with musicians and fans enjoying the show equally. LIFT continued to cover ever increasing and complex pieces of progressive music. LIFT would often begin it’s show with the Genesis tune, “Watcher of the Skies”. Imagine the condition this created in a southern audience in 1973. Aside from standard southern bands, LIFT covered, Led Zeppelin, Beatles, Uriah Heap, Robin Trower, ELP, Yes, King Crimson, Moody Blues and gradually introduced original material as it was composed. 
In the summer of 1974 producer Sonny Fox put LIFT in the studio and recorded four songs; Simplicity, Caverns, Buttercup Boogie and Tripping Over the Rainbow. Most band members were barely 19 at the time. 
LIFT continued to perform in the New Orleans area and increase in popularity. LIFT incorporated the recorded songs as well as additional original material into their live sets. 
In the late Fall of 1975, at the suggestion of Sonny Fox, LIFT relocated to Atlanta. From the outset Atlanta was a challenge. Nothing went according to plan! Just months after relocating and based upon the material from the 1974 “Caverns” session, LIFT went to Philadelphia to re-record modified versions of “Simplicity”, and “Tripping over the Rainbow” as well as a newer instrumental tune entitled, “To Undulate Rapidly.” (The band was unaware of the pending release of the bootleg LP. Members only became aware of the “Caverns of Your Brain” release in 1990 when Greg Walker from Syn-Phonic contacted Chip Gremillion to release a CD from the original master tapes. The title originally was to be “Simplicity” or simply “LIFT”.) 
LIFT drove from Atlanta to Philadelphia, set up, recorded and mixed the three tunes with no sleep. The session was described by producers as “very hot.” LIFT was involved in a short mixing session, listened to a good playback of each tune and headed back to Atlanta with promises of dupes and Masters to follow. To this day no one has ever received a copy of that session. 
The Winter of 1975 -76 was harsh for Atlanta and for LIFT. By early Spring, bassist Cody Kelleher and lead vocalist, Courtenay Hilton-Green left the group. Nearly a 7 month search ensued for replacements with virtually no luck. In early Fall of 1976 Laura “Poppy” Pate a soprano voice teacher answered an ad placed at a local music store. She claimed to be checking us out for a student. After hearing our music she was immediately part of the group. Within weeks a chance meeting between Chip Grevemberg, Mike Mitchell and Tony Vaughn in an apartment hallway resulted in what can only be described as musical critical mass! 
In less than six months of intense rehearsals LIFT added five new compositions to its catalog and completed rearrangements the “Caverns” material to better fit the new personnel line up. In spite of no live performances LIFT quickly garnered the respect of local musicians who frequented rehearsals and also the curiosity of British record producer Michael Stewart. 
Stewart was in Atlanta producing the Atlanta based hard rock group, Hydra. With Stewart at the helm, Hydra had signed with Capricorn records and was working on their second album. Stewart was impressed by LIFT and felt the group had enormous potential. However, the existing recorded material did not represent the group in its current form. Michael put us back in the Studio. 
A professional photography session was booked, A&R reps from different record companies began expressing interest and enthusiasm was mounting. Based upon one listen to the new material, LIFT was booked as the opening act for an upcoming major show at Atlanta’s leading concert venue of the time, Alex Cooley’s Electric Ballroom. A&R people from up to four interested labels were to be in attendance. LIFT was ready!Two weeks prior to the scheduled show Poppy informed the group she was leaving immediately for personal reasons. Decision Final! 
Shortly after Poppy’s departure and our withdrawal from the concert Richard Huxen left the group. 
Over the next six months Chip Gremillion, Mike Mitchell, Chip Grevemberg and Tony Vaugn invited a number a guest musicians to rehearse in an attempt to recreate LIFT’S capabilities, but to no avail. 
However, the remaining foursome soon realized that we were quite capable of producing a unique sound. In that remaining period some of LIFT’S best material was composed. Six to seven additional compositions were created; ironically it was this music that potentially had the greatest chance of commercial success. LIFT disbanded in February, 1979……. 

Caverns of Your Brain is a pretty decent symphonic prog record by this US band. New Orleans isn’t exactly a place where you would expect to find this kind of band. Lift was influenced by British prog rock bands such as Yes and Genesis and that’s pretty easy to hear on this lone LP of theirs. 

Just four tracks here which are all quite epic and pretty lengthy. They’re all pretty enjoyable but the style and sound of this band isn’t anything that special. The instrumental work is solid through the whole LP. This album is definitely not a personal favourite of mine but it’s still a quite OK totality. Symphonic prog fans might wanna check it out but don’t hold your breath. It’s nothing mindblowing at least in my opinion. ….. 

Personnel: 
Courtenay Hilton-Green — lead vocals, flute, percussion 
Richard Huxen — electric & acoustic guitar, steel slide guitar 
Chip Gremillion — Hammond organ, Moog synthesizer, mellotron, ARP Odyssey, electric piano, Grand piano, producer 
Cody Kelleher — bass guitar, Taurus bass pedals 
Chip Grevemberg — drums, percussion, chimes 

Tracks: 
01. Simplicity — 10:05 
02. Caverns — 9:18 
03. Buttercup Boogie — 6:03 
04. Trippin’ Over The Rainbow — 11:32 

Tømrerclaus “Tømrerclaus” 1978 Danish Prog Rock









Tømrerclaus “Tømrerclaus” 1978 Danish Prog Rock

full 

https://www.youtube.com/watch?v=S-jOxwhzSJM 

Tormrerclaus is an album that stands out above all by the use of violins and cellos electrified in a rock base that gives a touch of originality and a plus in performing songs bluesy / rock. 
Some outstanding as this…… 

Claus Clement Pedersen, aka Tømrerclaus, decided to do something different to the usual rock guitarist routine and moved to Christiania (in Copenhagen) in 1975. This was a largely self-governed area that, since the late sixties, has been a refuge for hippies, artists and various freaks. The result was a privately recorded and released album and two cassettes, ‘Snydt’ (1977) and ‘Hepar’ (1978). All of them contained hilarious tracks based on demented fuzz guitar and even some on fuzz cello (the album contained the best material though)! The only comparisons might be Oliver’s album ‘Standing Stone’, a British private release, or a brain damaged, one-man-band version of the Jimi Hendrix Experience. All lyrics were in Danish. Great fun and completely unpretentious! ……. 

Claus Clement Pedersen, called TømrerClaus and is best known under this name, (born 21 November 1945 in Aarhus) is guitarist, cellist, bassist, klarinettist, singer, hurdy-gurdy player, producer, sound engineer and net-shop manager. Carpentry Claus began playing at the age of 12. In 1965 he came with the guitar in barbed band The Dodgers. In 1968 he formed the band “Fire”, a trio which include Hendrix played tracks. Later in 1969 formed TømrerClaus band “fjord” who played jazz-rock, which at the time was relatively new. In the spring of 1970 took TømrerClaus to Frøstrup camp in Thy, for craftsman to help prepare the camp for hippies took later in the summer…… 

Sometimes you get the most vague records sent as reviewer. This album Tømrerclaus example. Actually, he called Clement Claus Pedersen and he is a Danish multi-instrumentalist (guitar, cello, bass, clarinet, hurdy gurdy) located in the seventies stopped in the hippie commune Thylejren. After that he moved to Copenhagen in order to start the Karma Music label and an eponymous studio. From that period are the recordings on this rerelease. This is ozijn only solo album from the last century, namely from 1978. Remarkably, he’s only full-time musician since 2002, after years been especially engineer to be. This does not mean that it has been idle, because on his site as many as 24 names of bands that he played. Not that I knew one of them. On this album are all sung in Danish - and not always convincing - and leans the guitar often heavily on Jimi Hendrix. Concerning the latter he does me good moments reminiscent of the early work of my guitar hero Frank Marino, for example, in “Forvalterdrengen”. Well not all is a copy of Hendrix, because Tømrerclaus also plays cello and knows there with a bucket deformation something out of what is closest to shred on a slide guitar. Just listen to “Cello Karma”. However, most especially psychedelic rock, with lots of wah-wah. Twelve relatively short tracks in association just 39 minutes Tømrerclaus. You hear that he indeed can play guitar, but you also hear it sing er … is not his strong point. Given his hippie background texts will have solid content, but yes, my Danish is not very good, so to speak. The sound quality is typical ‘seventies with the tape recorder in the bedroom. “ All in all, about half of the songs might be interesting for people who have experienced themselves the hippie era. This Tømrerclaus is still mostly a curiosity……….. 

As can be read on these sites existed in Denmark 70s apparently no bigger prog scene that produced consistently high-class music. Against this background, probably in 1978 released debut album Tømrerclaus to see that a CD rerelease experiencing this year Transubstans Records. Tømrerclaus was the pseudonym of guitarist Claus Pedersen Clement, who first played the late 60s in various beat bands of Copenhagen and his eponymous project until 1976 brought into being. 

The music on the self-titled debut album is in fact failed quite diverse, with this adjective with the always positive connotations "versatile” or is not synonymous “varied”. The rock'n'roll background of Pedersen noted in this connection on many pieces. This category includes some of scratchy Boogie “variety Mand” that something contemporary Santana reminiscent “En Dag Da Jeg Lå I airing” and “Sådan He Den Altid” or “Mr Fantastic” and “Forvalterdrengen” with their Rolling Stones-like tamping rhythm at. Here, however, these numbers seem curiously rather sketchy and goes back to lack of construction monotony wanted what always somehow reminds me of Aphrodite’s Child. 

In between, however, find some different oriented pieces that make the given Releases term “progressive rock” a lot more affordable. So does the mysterious voted “Når Spindelvævene Blomstrer” (apparently with a lady named “Boline” on vocals), the generally well-minted only on 90-things like Änglagård or Landberk verdict from romantic melancholy Scandinavian Prog anticipated. Not quite as sweetly arranged yet similarly opened are “pinches For At Ryge Cigar” and “Kannibalerne Kommer”, and the short instrumentals “Dauu” and go “Koda He Nedtur” as astreine Wishbone Ash-bows to. 

falls completely out of the ordinary “Cello Karma”: An electrically amplified cello is used here for rugby freeform orgy between rock and folk, what happens after all good 20 years before the first successes of Apocalyptica. Nevertheless, here the sound is not only reminiscent of something that was known until much later, but also to various ebensau ELO stuff. Also the closing “Jeg Vil happy Standses” is on this album is unique, it strives but diverse breakfast-psychedelia-set pieces, which are known for example from Jefferson Airplane and similar bands. 

Nevertheless, a significant restriction must also be made to these pieces yet: The above made “sketchy” -Vorwurf applies here, and generally can be in the face of consistently short numbers determine that the Tømrerclaus album is less in Prog home, but in Protoprog. And, well, for this proto-genre came the plate then probably a good ten years too late. Well, honestly speaking, the label information related to this board actually Jimi Hendrix and “heavy psychedelia and mushroom melodies”, but oh well, for a consistently good record (or just a true classic) that is here offered a bit too little , As a pure time travel works “Tømrerclaus” much better…… 

racks Listing: 
01 - Sorte Mand 4:44 
02 - NЖr SpindelvСvene Blomstrer 4:01 
03 - Forvalterdrengen 3:20 
04 - Prisen For At Ryge Cigar 3:25 
05 - Cellokarma 4:13 

06 - Kanibalerne Kommer 2:53 
07 - En Dag Da Jeg LЖ I Luften 3:17 
08 - Mr. Fantastic 2:01 
09 - Dauu 2:03 
10 - SЖdan Er Den Altid 3:49 
11 - Koda Er Nedtur 2:11 
12 - Jeg Vil Gerne Standses 3:02 
13 - Hepar 2:2214 - GrЫnbenet RЫrhЫne 2:37 
15 - HЫnserock 2:54 
16 - En Lille Stue 1:45 
17 - LЫvesang 3:54 
18 - Supersound 2:20 
19 - Gamle Skygger 1:36 
20 - Guitarstorm 2:16 

Cry 3 “Cry 3″ 1975 US Private Space Christian Rock







‎ Cry 3 “Cry 3″ 1975 US ultra rare Private Space Christian Rock 

https://www.youtube.com/watch?v=CBIi7S1aPQc 

full 

Very rare private pressing out of Massachusetts. 

This is a strange one that actually shows up in one of the Hans Pokora books. While it isn’t what I would call a ‘must own’ album, I’d like to know a little more about. Released by the Massachusetts-based Clear Light label, 1975’s “Cry 3 An Odyssey of the Spirit” was apparently recorded as a soundtrack for a multi-media presentation. Judging by the pseudo-religious themes that prevail, I’m guessing that it was some sort of church sponsored program. From a personnel standpoint the set was kind of interesting in that it showcased a sort of nascent Christian super group with Mike Johnson having been a member of The Excursions, while Greg Volz played with the band Petra. Musically this wasn’t half bad. Propelled by doom and gloom synthesizers and large church choirs the two Al Perez composed instrumental suites didn’t do all that much for me ('First Trilogy’ and 'Second Trilogy’). Some reviewers have labeled them as psychedelic, but in spite of the 'end of earth’ synthesizers and over orchestration they really aren’t. On the other hand, tracks like 'Meanings Will Change’, a cover of Stephen Stills’ 'Know You Got To Run’ and “ were all tuneful in a Poco-ish country-rock fashion. The fact they soft peddled the religious sentiments certainly didn’t hurt the album. Mind you not all of it was subtle - 'Reflections’ and 'I Heard the Voice of Jesus’ were both pretty cringe inducing. So … call it pleasant and move on……. 

Up for auction is a collectable LP by a band called Cry 3 on Clear Light Records from 1975. This LP is subtitled "An Odyssey Of The Spirit”. A soundtrack to a multimedia presentation with a variety of musicians participating including Mike Johnson (Exkursions). The LP features a couple fine spacy instrumental and two cover song …… 

(side 1) 
1.) First Trilogy (Al Perez -) - 5:05 
i.) Creation (instrumental) - 2:50 
ii.) The Serpent (instrumental) - 1:00 
iii.) The Fall (instrumental)- 1:15 
2.) Lost In a Dream (Gary Wright) - 5:11 
3.) Know You Got To Run (Stephen Stills - John Hopkins) - 4:07 
4.) Meanings Will Change (Bill Hughes) - 5:11 
5.) Reflections (Keith Cradock - Cliff Richard) - 2:50 

(side 2) 
1.) Second Trilogy (Al Perez) - 8:12 
i.) Incarnation (instrumental) - 8:12 
ii.) Crucifixion (instrumental) - 3:17 
iii.) Resurrection (instrumental) (Charles Lloyd Chittendon) 
2.) I Heard the Voice of Jesus (traditional) 
3.) Glory Glory (Art Reynolds) - 3:22 
4.) Open Our Eyes (Bill Lumkins) – 3:31 

johnkatsmc5, welcome music..

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