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8 Oct 2016

Messe blanche “Messe blanche / Mon amie la fleur” 1970 single 7″ Belgian Psych Groove Prog freakbeat





Messe blanche “Messe blanche / Mon amie la fleur” 1970 single 7″ Belgian Psych Groove Prog freakbeat

Highly in demand incredibly rare belgian groovy Psych freakbeat monster
 
https://www.youtube.com/watch?v=EP82419KJOg

Nato “Je t'apprendrai à faire l'amour / L'amour interdit par la loi" 1970 single 7″ France Psych Pop





Nato  “Je t'apprendrai à faire l'amour / L'amour interdit par la loi" 1970 single 7″ France Psych Pop

https://www.youtube.com/watch?v=BYi1SqLjqWU

https://www.youtube.com/watch?v=lTt6OUEQeg8

Flamen Dialis “Découverte / Autre chose” 1978 single 7″ France Psych





Flamen Dialis  “Découverte / Autre chose”  1978 single 7″ France Psych Rock

https://www.youtube.com/watch?v=FxwjOfShZx4

 https://www.youtube.com/watch?v=nCl5rRcqHjc

Eden Rose “Reinyet number / Obsession”1969 single 7″ France Psych R n`B





Eden Rose  “Reinyet number / Obsession”1969 single 7″  France Psych R n`B

https://www.youtube.com/watch?v=gH5Ziq6chD4

https://www.youtube.com/watch?v=b4hzM2PCiIU

Balthazar “La marche des travailleurs / C'est bon” 1969 single 7″ France Psych Rock




Balthazar   “La marche des travailleurs / C'est bon” 1969 single 7″ France Psych Rock

https://www.youtube.com/watch?v=TKt84QCoTnk

https://www.youtube.com/watch?v=4cSDGn-ZdHs

Holocauste “Hardlife/ Newcomer “1979 single 7″ France Heavy Rock





Holocauste  “Hardlife/ Newcomer “1979 single 7″ France Heavy Rock

https://www.youtube.com/watch?v=gOXPl9Zd6yA

https://www.youtube.com/watch?v=TIz-6d2V0R0

Dhope “Musical Exhibitions” 1977 Private Kraut Rock










Dhope “Musical Exhibitions” 1977 ultra rare Private killer Kraut Rock

https://www.youtube.com/watch?v=0FhUCIFNHsw

https://www.youtube.com/watch?v=ri6dnD9Mx6Y

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

https://www.youtube.com/watch?v=5KU2ekDn8Fk

Mega rare and killer heavy progressive krautrock private pressing with fantastic fuzz lead guitar, over the top keyboards/hammond organ, bass, drums and superb lead vocals in English. Very complex and profilic musicianship in the best Italian progressive rock tradition, but still with that raw private pressing feeling. Long elaborated tracks. One of the best and rarest of the private krautrock items.

Trucial States ‎“Together” 1970 UK Private Beat Pop Psych




Trucial States ‎ “Together” 1970 UK Private Beat Pop Psych

https://www.youtube.com/watch?v=r6fYxIX4qYA

 Trucial States is an obscure and totally unknown band which music cobines pop,rock,surf together with a slight period influence of psychedelia.Some own compositions mixed with covers and musically in the same style as The Hollies or Harmony Grass.The guitar playing is influenced by the mid-sixties acompagned by a nice organ on the background.A couple of hilarious bad songs such as ‘Peanuts’ with 'banana’-like vocals,but a few other songs are worth to listen,such as the cover version from 'Cecelia’ or the acappela song 'Nowhere Man’.The record became issued in the tinniest quantities.Probably 99 or even less in a completely homemade cover with bandtitle and title of record stencilled in front.The backcover is completely blanc.I’ve been told that the Sky Records label is shortly after changed in the SRT label were the mighty Grannie was released on.The only other issue on this label I know is that great Morning After - 'Blue Blood’ album which became also re-issued by Shadoks.Still about Trucial States,don’t expect a new musical discovery from it.Musically it’s rather weak as a lot of those private megararities.A wet dream for UK completists and collectors from private pressings,because not sure that this record will turn up still often…..by xavanna

Tracklist

A1 Sign Your Letters
A2 Canadian Sunset
A3 Smiles
A4 Birthday
A5 Don’t Play That Song
B1 Cecelia
B2 Peanuts
B3 Stand On Your Own Two Feet
B4 Oh Darling
B5 Nowhere Man  

Vashti Bunyan “Just Another Diamond Day” 1970 UK Folk


 Vashti Bunyan “Just Another Diamond Day” 1970 UK Folk

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About five years after briefly surfacing as part of Andrew Loog Oldham’s stable, Vashti – now billing herself with her full name, Vashti Bunyan – made her only album. A folkier and more serious-minded effort than her initial mid-‘60s recordings, it is a pleasing yet overly dainty slice of British rock-tinged folk, produced by Joe Boyd. A certain similarity to some other acts under Boyd’s supervision, such as the Incredible String Band and Fairport Convention, was assured by contributions from the ISB’s Robin Williamson and Fairport’s Dave Swarbrick and Simon Nicol. For good measure, there were string and recorder arrangements by Robert Kirby, who had done some string arrangements for Nick Drake, another Boyd-produced artist. Comprised solely of original material, Just Another Diamond Day contained dignified yet slightly sad ruminations with a pastoral, indeed rural feel, imbued with images of solitary meditations upon rain, wind, sunsets, and open fields. The drum-less, acoustic arrangements yielded an intimate ambience well-suited for Vashti’s fragile, measured, almost despondently wispy vocals. These were rather in the manner of Marianne Faithfull’s highest and most whispery early efforts, albeit with far folkier setting and more vivid lyrics. The CD reissue of this rarity (on Spinney) is enhanced by four bonus tracks that, with an oh-so-slight poppier bent, actually rate as the best material on the disc: the 1966 B-side "Love Song,” a pair of unreleased 1966-1967 acetates, and a 1969 version of “Iris’ Song” (to be redone as “Iris’s Song for Us” on the LP). It’s too bad, though, that the other three songs from her official 1965-1966 singles weren’t added, as well, to make this a more complete retrospective. …by allmusic…. 
  

  
Produced by the legendary Joe Boyd (Nick Drake, Nico, Fairport Convention), Vashti Bunyan’s lone solo album massively influenced San Francisco’s new freak-folk movement, despite being long out of print. Now the Dicristina Stair label finally rescues this 1970 classic from record collector hell. 
One of the happiest by-products of the ongoing underground freak-folk explosion is the reemergence of British singer Vashti Bunyan. After spending more than three decades completely off the music industry’s grid, the past couple years have seen the angel-voiced Bunyan duet with fan Devendra Banhart on Rejoicing in the Hands, gig with Stephen Malkmus, and collaborate with both Piano Magic and Animal Collective. And now, as if in response to those wondering what all the fuss might be about, the Dicristina Stair label has finally given Bunyan’s lone solo album, Just Another Diamond Day, its first U.S. CD release. 
Produced in 1970 by the legendary Joe Boyd, Just Another Diamond Day has long been considered a holy grail for Brit-folk record collectors, with original copies of the album fetching over $1,000 at auction. It shouldn’t take many listens to realize why it’s so highly regarded; Just Another Diamond Day is, in its own humble way, nearly a thing of perfection. 

The album features contributions from such folk luminaries as The Incredible String Band’s Robin Williamson, Fairport Convention’s David Swarbrick and Simon Nicol, as well as string arrangements by Robert Kirby, who performed the same duties for Nick Drake. Boyd’s production is impeccable, with the sound of each breath and string given an appropriate weight in the mix. This is crucial because of the almost impossible fragility of Bunyan’s voice, an instrument as lovely and delicate as a dew-covered spider’s web but one which could easily be drowned out by over-instrumentation. 

Considering the deftness of its acoustic, percussion-less songs, Just Another Diamond Day seems at times like a sonic sibling to the Boyd-produced Nick Drake albums– albeit one that chooses fresh air and sunlight over Drake’s depressive shadows. Although Bunyan wrote all of the songs herself, the lyrics have an organic, out-of-time poetry that makes them feel more like traditional works. Her songs reference neither the politics of the time nor the psychedelically refracted medievalism so prevalent in the folk-rock of the era– the simple quatrains of hypnotic songs like “Diamond Day”, “Come Wind Come Rain”, or “Where I Like to Stand” instead consist of uncomplicated lyrics (“Just another field to plough/ Just a grain of wheat/ Just a sack of seed to sow/ And the children eat”) that could’ve been written virtually any time in the past few centuries. 

Some listeners find Bunyan’s thematic emphasis on nature to be overly cloying and childlike– especially on such bucolic tracks as “Lilly Pond” or “Glow Worms”. But others find themselves captivated by the sincerity and purity of Bunyan’s pastoral vision, particularly in the subtle way she’s able to portray human activities corresponding perfectly with the rhythms of the natural world, as though the people she encounters are just another feature of the landscape. (“I’m counting the waves/ The men in the boats they wave/ To their wives and say/ I’m counting the hours in the day.”) 

And the whimsical wordplay she weaves through songs like “Timothy Grub” or “Jog Along Bess” (“Jog along Bess/ Hop along May/ Squeak along Blue/ It’s a walk along day”) makes it easy to trace the influence she’s exerted on contemporary artists like Banhart or Animal Collective. But even with her reputation re-established and her influence deservedly spreading, it’s unlikely that you’ll encounter another album as charming or transporting as Just Another Diamond Day any time soon….by Matthew Murphy ……. 



It is fitting we are in a church. There is something of the chorister about Vashti Bunyan’s voice – pure, sweet and almost prelapsarian. In honour of the release of the cult singer’s third album, Heartleap – one she has threatened could be her last – the lanky nearly 70-year-old is draped over an acoustic guitar and fiddling with an electronic effects unit at her feet. You can easily imagine, however, Bunyan’s tremulous soprano echoing round chambers as ancient as this working church, one whose yard houses Mary Wollstonecraft’s remains, where beer is dispensed from a trestle table in the vestry. Long-time collaborator Gareth Dickson provides additional fingerpicking and backing vocals. 

Playing in a church comes with consequences. Tonight, Bunyan and Dickson grind to a halt as church bells dong deafeningly during Rose Hip November, a gentle nature meditation from her celebrated 1970 album, Just Another Diamond Day. There is, too, an unresolvable wiring problem. It interrupts many of Bunyan’s painterly offerings with uncouth electrical interference, like God passing wind. 

She soldiers on, laughing apologetically through the farting, beginning with Here Before. Inspired when an old Gypsy woman looked down at Bunyan’s firstborn and declared that he had “been here before”, it dates from her second album, Lookaftering, which took as its theme Bunyan’s long, cloistered exile indoors, away from music. As a mother’s song to her children, it could easily be nauseating. But there’s no coochie-coo to Here Before. Bunyan regards her offspring as fully formed entities, wild and outside her ken. A circular motif unobtrusively carries the spare vocal melody. 

The fragility and domesticity of Bunyan’s music masks a story of steel, outsiderdom and technological enabling, a fable straddling two centuries. Bunyan’s work has been rediscovered for over a decade now, when Just Another Diamond Day resurfaced as a lost classic, but her tale bears retelling. 

She was once touted as “the new Marianne Faithfull”, recording songs under the tutelage of Rolling Stones manager Andrew Loog Oldham. It was the first of several uncomfortable classifications for Bunyan, who wanted to record her own stuff, not become some popstrel. One of tonight’s songs, I’d Like to Walk Around in Your Mind, dates from this period. “I’d like to rearrange your attitude to me,” she wrote as a 21-year-old. 

She’d still like to. Just Another Diamond Day captured Bunyan’s travels in a Gypsy caravan. It featured folk musicians and rustic vignettes, but Bunyan herself felt no kinship with the tradition. She was put in a room with the equally shy Nick Drake, in the hope of a collaboration. None came. 
When JADD failed both commercially and critically, Bunyan, humiliated, gave up music cold turkey. She raised her children; tried to forget her lost dream. Days went by “in clouds of flour and white-washing”, as Wayward, Bunyan’s anthem, tells it, near the end of tonight’s set. She had “wanted to be the one with road-dust on my boots/ And a single silver earring/ And a suitcase full of notes/ And a band of wayward children with their fathers left behind…” Instead – like Kate Bush, Patti Smith, the Slits’ Viv Albertine, and Everything But the Girl’s Tracey Thorn, among others – she worked on producing people, not songs, for years. 
With no little poetic justice, Just Another Diamond Day was eventually reappraised by crate-diggers, who were paying hundreds for an original copy. Bunyan was found and fawned over by a new generation, Joanna Newsom and Devendra Banhart leading the charge. The album was rereleased in 2000. At one point, Bunyan recounts with proud glee how her music, dismissed as uncommercial, actually ended up on a mobile phone advert. She plays Just Another Diamond Day, her best-known track, with great affection tonight; Dickson responding with a particularly lyrical counterpoint. 

Bunyan’s latest work is her least folksy yet. Heartleap was largely self-recorded and self-produced on digital technology she recently mastered herself when a music tech course refused to take her on, being a woman of a certain age. After stints with Joe Boyd (who produced JADD) and Max Richter (who produced Lookaftering), Bunyan has finally seized the means of production, an unlikely riot grrrl. 

Hypnotic and intimate, new song Across the Water is one of many Bunyan songs about yearning. “Lived on wit, got away with it,” runs one line, summing up the years she spent learning from travellers and overcoming the prejudice of squares. As an unmarried hippy mother, she was threatened with having her children adopted. 

Rock’n’roll inherited its vagabond mystique from both the blues and itinerant folk, but that wayfaring tradition undervalues, even derides domesticity, and those who hold the fort when the feckless shirkers leave town. Bunyan’s works tell the story from the other side. Heartleap is possibly Bunyan’s most intimate yet, unmediated by too many others, anatomising painful arguments with a loved one on Gunpowder, the relief of present love on Here. Her memoirs are next; impervious, you hope, to God’s farts….the guardian review….. 


Tracklist 
Diamond Day 1:45 
Glow Worms 2:13 
Lily Pond 1:25 
Timothy Grub 3:22 
Where I Like To Stand 2:22 
Swallow Song 2:16 
Window Over The Bay 1:53 
Rose Hip November 2:26 
Come Wind Come Rain 2:07 
Hebridean Sun 1:12 
Rainbow River 3:23 
Trawlerman’s Song 1:56 
Jog Along Bess 3:36 
Iris’s Song For Us 1:26 

Vashti Bunyan, 1966.

Itoiz “Ezekiel” 1980 Basque Prog Folk second album










Itoiz  “Ezekiel” 1980  excellent Basque Prog Folk  Xoxoa Label second album..recommended..

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https://vk.com/wall312142499_3298


Another symphonic gem from the Basque region. The music here is quite beautiful (very Italian, in fact) and emphasizes melodic interplay between Acoustic guitars, HACKETT-ish electric guitar, flutes, and saxes. Most of the tracks have male vocals, while the best tracks have some very beautiful female vocals. … by Steve Hegede …..
By the time of their second album, Ezekiel, the lineup of this Basque band had grown from five members to seven, now including saxes, mandolin, electric piano, and even violin when required. The sound had changed from a rock base to one utilizing more folk understructures, and in some cases this was more evident at the surface as well – all the while remaining truly progressive in a no-nonsense sort of way. With more of an acoustic feel and elements of rock, jazz and Iberian folk incorporated into a more subtle whole, the album contains seven tracks of varying length, all tied together by one unifying theme of the life of the prophet Ezekiel.

Even though the overall feel is more acoustic, don’t get the idea that the album doesn’t rock – there are some very powerful moments here, plenty of sizzling guitar leads and driving sax solos. In comparison to other Spanish bands with a strong folk flavor, the closest would probably be Ibio. Unlike Triana, Bloque, Mezquita and others, Itoiz has nary a trace of flamenco in their sound, and far more of the local Basque flavor. There are many high points: the almost-celtic violin and dual vocal harmonies on “Ezekielen Esnatzea II,” giving way to a splendid sax solo and flute interchange; the children’s chorus on the title track; the beautiful female lead voice provided by vocalist Itziar Egileor on "Ezekielen Ikasgaia.” In all, this is an outstanding release, yet one that may not strike you speechless at first listen, revealing its beauty slowly over several repeated listens. My highest recommendation…..by Peter Thelen…. …

While their debut was quite an impressive achievement for a young group, Itoiz decided to up the ante by producing a concept album, the subject (written by group outsider Joseba Alklade) of which will most likely evade almost everyone but the Basque since, they sing in the own native tongue, but forget (unlike their fellow Basque groups) to supply the translation in either French or/and Spanish. While the artwork evokes an exile, the music is certainly much more advanced delving more deeply into jazz and folk than the symphonic influences of the debut. The line is fairly different and actually extended to violin and sax players while it is plainly obvious that JC Perez remains at the driving wheel. As mentioned above, the musical feel is rather different than the symphonic debut and the excursions into the jazz-rock realm are probably the most enthralling while the folk passages are sometimes a bit cheesy, but overall the music excels and even sometimes shines brighter than the sun.
Right from the starting blocks, Itoiz is grabbing you by the hand and forcing you to jog on along the musical trip leading you into what certainly sounds like saga, not a deep-frozen Viking one, one from nation that went out to fish on new world fish banks one thousand years before Columbus discovered it. Unfortunately it is frustrating of not being able to grasp the storyline, especially given to the music factor of this disc, it has a lot of chance to be fascinating.
Listen to the dramatic Ikasgaia and its constantly evolving climates, using shamelessly every single joyful mood and transport it musically, with a superb bass escaping leading and directing the music. That flute would not even exist if the bassist’s jazzy-funky-folky groove was not carrying everything with it. And the superb female scatting voice is only one of the highlights leading into the superb acoustic guitar of Amatea and its bizarre medieval twist just contrasting to Erantzuna troubadour-declaiming lyrics. Shit, I wish I spoke Basque, just to be able to profit to the fullest to this masterpiece of folk-inspired music, and it is not the finale that will deny it.
And that’s just the second part; the first being just as worthy but the vinyl found its way one my turntable that way. I could tell you about that first side just as lyrically as I did for its flipside (are you still with me?), but rather than flogging your already-conquered curiosities, I’d rather save my words for more discoveries of the genre. But this one is really worth it. Those almost-Celtic ambiances with a slight more southern flavour is likely to enchant all kinds of west Europeans, from the Land Of The Midnight Sun to the Canary Islands.
Itoiz’s next album (the only one I have not heard), recorded two years later is reputed to be relatively similar, although slightly softer rock), but the following ones are completely un-prog (almost regressive) sounding like a second or third rate U2, even if politically, they seem more engaged by then. In the meantime, prefer this album over their debut if you enjoy a bit wider-scoped prog music. Your life WILL be better once this disc will be yours…. by Sean Trane….
While Itoiz’ debut was an instantly likable major folk effort with a concentrated minor in symphonic progressive, their sophomore offering is far more eclectic and much harder to penetrate. In addition to a cornucopia of instruments such as electric and acoustic piano and guitar, flutes, organs, violins, and saxophones, and the reappearance of superb voices of both genders, the album’s sprawling canvas incorporates several new styles for the group, particular jazzy elements. You could be excused for doubting this kitchen sink approach, because very few bands could pull this off with the skill and vision demonstrated herein. Your upfront investment will be rewarded manifold.
The general pattern of many of the tracks, such as the first three, is a song orientation followed by extensive instrumental excursions featuring the group’s full arsenal, and providing for continued discovery over the course of many airings. Of particular note are the rich saxes and organ in "Ezekielen esnatzea II”. The pent-up energy that had been withheld during the Franco years remained fully operative throughout this sophomore album. The approach is continued on “Ezekielen ikasgaia” where electric piano substitutes for organ, except the vocals are feminine and at times acrobatic in their versatility. Many folk orientations remain, generally paired with massed or individual children’s voices, such as on the title cut and “Ezekielen ametsa”. This apparent innocence is egged on by divine flutes even as it is belied by the accessible complexity of the compositions and arrangements.
If I had to choose a favourite, it would probably be the penultimate cut “Ezekielen erantzuna”, which casts a sly eye back to the first album without sacrificing the newly found maturity. In addition, it boasts some stunning acoustic guitar work. The backing keyboards are hypnotic, and what sounds like violin sets just a slightly Eastern European - or is it Arabic - mood. This is wisely carried over to the closer, which is highlighted by some stellar lead guitar work.
This is a uniformly consistent album and perhaps the masterpiece of the Basque progressive folk movement. It is a sequence of songs that propose and deliver an indivisible unit, which is nirvana for most progressive fans. My highest and unflinching recommendation….. by kenethlevine……

Line-up / Musicians

- Juan Carlos Pérez / guitar, vocals
- Antton Fernandez / keyboards
- Joseba Erkiaga / flute
- Shanti Jimenez / bass, vocals
- Mitxel Logaron / percussion

With:
- Fran Lasuen / violin, mandolin
- Carlos Jimenez / sax, piano
- Joseba Beristain / cuatro
- Itziar Egileor / lead vocals (5)
- Etorkizuna children choir (from Ondarroa) / chorus vocals (4,6)
- Joseba Saenz Ortuondo / choir conductor

Songs / Tracks Listing

1. Ezekielen Prophezia (5:10)
2. Ezekielen Esnatzea I (6:01)
3. Ezekielen Esnatzea II (4:37)
4. Ezekiel (3:01)
5. Ezekielen Ikasgaia (6:29)
6. Ezekielen Ametsa (1:52)
7. Ezekielen Erantzuna (4:17)
8. Ezekiel: Ia Maitasun Kanta Bat (5:49)

Kandahar “Long Live The Sliced Ham” 1974 Belgium Jazz Rock Fusion








Kandahar  “Long Live The Sliced Ham”  1974  Belgium excellend jazz rock fusion debut album

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https://vk.com/wall312142499_3297


Kandahar made two excellent albums and this, their debut, is one of them. Jaggy whammed-out and often fuzzy guitar, sumptuous saxophone squawks and squirts added with some highly melodic bass and drums mark this album as something of an unknown gem. Almost every track is enough to put me into an almost higher state of consciousness, because Kandahar really throw in lots of foot-tappingly stunning moments of worthy jazz and brass rock. They are hard to compare to any other band precisely, but they are by no means unique, but they do not have to be. There are some hints to Colosseum (the first incarnation, e.g. Valentyne Suite) and with the added underlying synth, they also remind me of some of the more symphonic jazz-rooted bands, especially from the Italian scene and one must not forget the obvious nod to Canterbury bands such as Nucleus andSoft Machine. The music is mostly of a light nature, but is juxtaposed with some almost haunting and ambient sections at times, which for me, show some great creativity. The use of many instruments, such as saxophone, flute and different synths, such as the ARP and Davoli makes their sound varied and interesting.
Jeff de Visscher’s guitar playing is quirky also and because I am not a musician myself, it is difficult to describe, however, it seems he may have been listening to Chris Spedding who was with Nucleus. OnOutside of Reality, for instance, his guitar playing has an Eastern feel to it (kind of Egyptian), which bearing in mind the band is named after the capital city of Afghanistan and that Karel Boegard lived in the Far-East, makes me believe that was very much intentional.
With track six Survivin’ Boogie you get an odd jazz and R&B smattered score with vocals, which as the name suggests has hints of barrelhouse piano and although it is one of the weaker tracks on the album, it is still enjoyable because a. it is so fun to listen to and b. because there is some great interaction between all the musicians. The trumpets in the background give the track its jazz element (think of Keef Hartley Band here). As for The Walkin’ Place, well, the intro sounds just like something Zeuhl band Weidorje or Japanese avant-progsters Koenjihyakkei would make their own and it even has some fuzz bass at the beginning, until the track lycanthropically changes into another beast entirely, having a somewhat Spanish feel to it, with some odd percussion playing on toms toms I believe. Near the end, the Zeuhl-feel returns and reveals a wonderful flute outtro. However, the highlight track for me is The Hobbit, which is so catchy, I have had it stuck in my head for days before, even though the track is one of their most laid-back and ambient, as well as not their compositionally best attempt. It just has some allure to it that I cannot fathom. The Fancy Model is their most avant-jazz effort, reminding me of Nucleus or Graham Collier Sextet at their absolute finest. It is full of lots of noise, due to the fact that there are two saxes being blasted to bits and you even get the John Marshall (who was the drummer in Nucleus, Graham Collier Sextet and Soft Machine at various times) style drum solo. This is certainly another highlight of the album and some may feel this is the strongest track on the whole album. When She Flies Away is an odd synth track at the beginning that reminds me a bit of disco and 80s synth-pop that would later be very much in the publics faces and ears a few years later, except in this case, it works brilliantly and the jazzy overtones again make this track somehow unique and definitely unforgettable. Being as this is the longest track on the album, it cannot obviously stay the same throughout and it certainly does not, it changes throughout with many timing shifts and mood. The background vocals at one point strangely remind me of a moment from Jack Black’s School of Rock and I can actually imagine him on stage singing this… whether that is a good thing, you will have to decide for yourself.
The entire album is full of character and cunning compositional brilliance at times and I find it difficult to find a poor track. I have always had an affinity to the trumpet style of Henry Lowther ofKeef Hartley Band and the occasional jaunts of that style of this sound really pleases me, however it is a shame that the trumpet players (including the saxophonist(s) and flautist) are not listed. However, there are some lesser moments, including the not so enjoyable Survivin’ Boogie and the 13 second Interlude. Also, some of the synth sounds, sound a bit twee at times, but with so much brilliant music on offer for the listener, it is very difficult to complain about such things and that is why I have given it 4 stars.
This is one of those rare gems that get discovered occasionally and it definitely deserves a re-mastering and reissue on CD so more people can hear its brilliance. Their next album In the Court of Catherina Squeezer would continue on in a similar vein (yet with many different nuances and an even more Canterburian sound) and I am hard pushed on which of the two I prefer at this juncture… by VanderGraafKommandöh….

Coming from Belgium’s fourth city, Ghent, Kandahar chose its name after the third city of Afghanistan, sign of keyboardist & leader Karel Bogard’s love of Eastern philosophies, flavours and etc.The quintet, a standard prog quartet plus a wind player, played a pleasant humorous jazz-rock that could be easily related to Canterbury’s best moments with the invariable songwriting team of guitarist De Visscher and Bogard reminiscent of Caravan meeting Hatfield. Coming in an orange and pink speed-related futuristic artworks, and humorously titled LLTSH was recorded in November 74 and the group invited many guests to make this album quite a pleasant debut.
Starting on the smooth-gliding instrumental Down At Finckle’s, Kandahar has three frontmen to showcase and here Jacky Eddin that gets the early call but De Vusscher’s guitar takes a solid revenge just after. The lengthy Eye Of Glass is a striking difference to its fore runner, the group constantly changing tempo and moods, where it was absolutely not the case previously. Here, the hero is bassist Cleays, but Bogard,s songwriting is the key among his keyboards. Influence-wise, Supersister or Hatfield are not far away here. Again an ever-changing tempoed track, Outside Of Reality is a rare sung track where Eddin gets help from guests to boast a very brassy attack. Surviving Boogie is the obvious hit on the album (it was a single twice), but it’s clearly the weakest track, developing a fast reedy blues with relatively weak vocals (this is not a strong point of Kandahar, but it’s generally not too catastrophic.. Just weak) and gain strong brass section.
The flipside starts on the weird and fast Walkin Piles, but it’s mostly the dissonant saxes and flutes in the background of demented percussion passages that draw the attention of the listener. Too bad the beat stays too rigid in its Magma-itude, though. This could’ve been much better exploited with a better production. Another instrumental beauty is Hobbit, the gentler track on this album, filled with smooth keyboards. The following Fancy Model has a difficult intro, but once the track is settled, it turns into an infernal inferno filled with spiralling swirls of flames filled with fire, and Eddin’s blowing buddies are back to let us know that Kandahar was a force to be reckoned with, especially when they all shut up to let drummer Delaruye shows his chops with Cleays, before reprising. Very enthralling and Canterbury- esque. The closing When She Flies Away is not the album’s strongest track, and it has a déjà-vu feeling, especially when the vocals kick in, we get to think of Hendrix’s Hey Joe.
True the group’s weaker vocals might be an embarrassment (to some), but the rest of their music is nearly spotless and certainly the best thing they’ve done artistically. Their vinyl albums have become rare and expensive and no official Cd reissue. had happened since Sony surprised us with a cheap reissue…. by Sean Trane

Line-up / Musicians
Jeff De Visscher (lead & acoustic guitar, sitar, vocals)
Karel Bogard (piano, clavinet, Davoli & A.R.P.“2701” synthezisers, gongs & bells, vocals)
Jean Pierre Claeys (bass)
Etienne Delaruye (drums, glochenspiel, tympani, cello, tambourine, vibes, piano, syntheziser, strings, clavinet, marimba, vocals)

Songs / Tracks Listing

1. Down at the Finckle’s (4:28)
2. Eyes of Glass (5:37)
3. Outside of Reality (8:05)
4. Survivin’ Boogie (3:20)
5. The Walkin’ Piles (4:18)
6. The Hobbit (3:10)
7. The Fancy Model (5:40)
8. When She Flies Away (8:41)

Albums :

- Surfin’ Boogie (S, Dwarf, 1974)
- Long live the sliced ham (LP, Dwarf, 1974)
- I’ll still have my soul (S, EMI/Dwarf, 1975)
- In the Court of Catherina Squeezer (LP, EMI/Dwarf, 1975)
- Pictures from the Past (LP, Gip, 1978)
- Just Call me Billy (EPS, EMI, 1978)
- Ghent, somewhere in Europe (CD, CBS, 1991)

johnkatsmc5, welcome music..