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23 Dec 2016

Allmen Joy “Family Dog Denver, Colorado Live 1967 “ bootleg Family Dog 1601 West Evans Avenue


The Doors And Allmen Joy Original Concert Postcard.

The Family Dog, 1601 West Evans, Denver

Human Be-In held in City Park, Denver on September 24, 1967

Allmen Joy (Not early Allman Bros.) - Family Dog Denver, Colorado 1967-12






Allmen Joy  “Family Dog Denver, Colorado Live 1967 “ bootleg  Family Dog 1601 West Evans Avenue amazing West Coast..Psych Rock…recommended…!
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   CoolSonics 290 noted: 

Thanks to the original taper & traders! Corrections welcome. When this came along it was a welcome addition to my West Coast music library as I’d seen the name on so many cool psychedelic posters but never actually heard the band. Most everything about it is great, jamming, instrumentation & vocals & only a couple of funk numbers overdo it a bit for me, though they more than have their good moments as they contain extensive jams & feedback sessions. 

The drugged-out material is staggeringly great, with astonishing SUPER HEAVY psychedelic lead guitar. Nice to have entered an age where one can increase one’s listening pleaure in so many ways with home mastering. Aside from a couple of bad splices, this is massively improved over my original tape. Anyway, according to “Fist”, the band name was changed to Allmen Joy in part because of the candy bar (loved by band members) & partly, “because the band was very promiscuous & was a hit with many of the female followers”! 

Many posters with Allmen Joy exist as they were Avalon Ballroom regulars & played the Straight Theatre, Matrix & most Bay Area venues, toured California, & played as far afield as the Vancouver Retinal Circus. There certainly are more tapes out there. Please consider letting us hear some of them. 

In the meantime, your heart will nearly stop at times. Be sure the pacemaker & air guitar fuzzbox have fresh batteries. If you had trouble coming down from your last acid trip, however many days, months or years ago that was, then be careful with the volume on “You’re Gonna Miss Me”, cause it SURE ain’t for those who aren’t into doin’ some cerebral travelin’. Pretty well guaranteed to leave whatever mind noodles ya got left all over the floor & the ghosts of Christmas past howling down your chimney. Get ready to ENJOY the Allmen Joy! 

kneesfudd’s notes: 

If Blue Cheer made cream cheese outta the air, then these guys musta crystalized the heavens on a good night. Some kind of a mix of Blue Cheer & Big Brother guitars, Country Joe & The Fish style ethereal moves & organ, & occasional Dead-like feedback & vocal insanity, mixed with ’60s garage sounds & a nod to the Chambers Brothers… ’60s West Coast manna from the vault. 

“You came here to enjoy yourselves, so why not trip out?”…….. 
Allmen Joy had released an album circa December ‘67 like so many other SF bands - the bells woulda rung them into a big new year in '68 & by '69 they sure woulda have been a household name, or in every freak’s record collection & all the commune music libraries at any rate & YOU mighta rolled some numbers inside one of their gatefold album covers, or passed the bong round your dorm room while listening to one of their latest waxings, or taken a drive in the country early in the morning in the VW van, lookin’ for pastures & things that grew on cowpies while grooving to an 8-track of Fist, Rog, Ken, Funky & Rod, who, of course, woulda been household names like Janis, Jim & Jimi, & your blacklight poster woulda been hangin’ on the wall with that long-haired Allmen Joy lead singer, Fist, lookin’ good - something to have aspired to while you played frenzied air guitar to one of their 10 minute workouts, & you woulda fought with your parents over growing your hair out 'cause you wanted it “as long as Fist’s”, & one of those issues of CREEM magazine you bought coulda had an Allmen Joy cover article written by your fave rock writer, Lester Bangs, & you woulda been orderin’ those funny live albums with the paste-on covers of Allmen Joy shows for $2 each from Pied Piper Records along with the Jethro Tull ones, & your parents woulda been screamin’ at you to “TURN IT DOWN!” when you cranked up the volume on said LPs (even though that purple shag rug you hung on the wall to mute the sound shoulda helped, dammit), & one of your most loved rock t-shirts that your girlfriend had embroidered flowers on mighta had a trippy photo of the Joy instead of Zep, & the local bands playin’ at your school dances woulda been playin’ Allmen Joy covers along with “Whippin’ Post”, & you mighta given your girlfriend acid, incense & balloons & the new Allmen Joy picture sleeve 45 for her birthday & the tonearm coulda been set on repeat while you made out & hoped her parents didn’t come upstairs, & you woulda raved about Rog Saunders’ rippin’ guitar lead on that new song & argued with your best friend about whether he was better than Barry Melton, and, of course, you woulda sent in your two dollars & 50 cents (plus pre-stamped envelope) to join the Allmen Joy fan club, whereupon your LIFETIME! membership woulda entitled you to a free button, Allmen Joy headband, 5 postcards with a 'signed’ photo of each bandmember, a free copy of their next single AND a guaranteed bonafide(!) certificate of ownership for 1 square inch of land at the Allmen Joy commune out in Marin County (just like the one you got when you joined that Black Oak Arkansas fan club), where the band would (of course!) have resettled in the great move to the countryside circa '69, & the band would have spawned a legion of loyal followers & (even more) groupies & eventually a horde of fanatical tape collectors who freaked every time a “new” Allmen’s show came around & debated ad nauseum about which shows were more legendary or important, & one of your claims to fame coulda been the fact that you bought their first album when it came out, when you were in junior high, before they were famous, & you woulda been a fan LONG before they SOLD OUT (something that woulda been a huge bone of contention between you & a number of friends) when the band allowed their hit, “She Digs My Bar” to be used in an Almond Joy candy commercial on the radio, & when they played the Allmen Joy anthem “Peace Brother” at your HIGH school graduation, you & your friends cried tears of joy, & when your first girlfriend broke up with you she woulda torn down that Allmen Joy signed picture she gave you & stolen all your first pressings of their albums, including the super rare limited edition one with the alternate back cover shot of Fist & Rod & that groupie in the hotel which got the cover banned & withdrawn on the day it was released, which of course woulda been headline news in Rolling Stone, & you woulda tracked her down & demanded the LPs back - but let her keep the first ('cause she’d had that life changing trip she called “The Ten” while listening to that one), & it woulda taken you years to finally forgive your parents for not letting you go see the Allmen Joy when they played your town for the 1st time in '68 because it was a school night (NO, you are 57 & still pissed at them, I can tell), & you woulda woken up every morning in college & gone straight to the stereo & played “You’re Gonna Miss Me” by the Joy 'cause it went so well with coffee & a joint & that hash butter you loved so much on your toast, & one of the most mystical experiences you ever had in your youth woulda been when you & your friends were up at the lake that time, four sheets to the wind, & that stoner friend of yours had brought his new portable stereo cassette player & you were all listening to the new Allmen’s concept album & it started to storm & the rain that came down was rainbow colored(!), & “better living through chemistry with Allmen Joy” mighta been tattooed on your best friend’s arm, & you would have worn that REALLY cool patch for years - the one sewn on your bell bottoms that you got for FREE at the Digger’s store on Haight Street just around the corner from the Allmen Joy’s pad after hanging out there for 6 hours on Fist’s birthday one time in hopes he might come out, & some of your guitar playin’ friends woulda learned Rog’s leads to their classic song “The Merry Tripster” note for note, & it REALLY woulda been totally boring for you when they spent so much of their time arguing about which guitar Rog had played at the Joy’s first Matrix Coffeehouse show, though you wouldn’t have been so bored when they came around to discussing - as they almost always did after a couple of tokes of the rad Lebanese you carried around in that little silver box you stole from your grandmother’s jewelry drawer - the insane quadrophonic sound system they had toured with in '72, cause man, you woulda BEEN there & the light show was TOTALLY far out, & the only really bad trip you ever had would been when you saw the Allmens at that outdoor festival up in Oregon & Wavy Gravy had personally given you a few of those “laughers” (only 70 mics each) BUT you’d just had the news that the band was going to break up & it was their last show & you TOTALLY freaked out, screaming & laughing & talking in rhyme, & they had to take you to the first aid tent where they gave you Thorazine to try to bring you down, but it didn’t work & then that pretty Merry Prankster chick (tho’ you later learned NEVER to use that word for a woman when you were off in college with all those radical feminists) hugged you for hours til you came down, & then one of the most far out things that EVER happened to you was when you got to shake Fist’s hand after that show at the Family Dog (though you had to wait outside in the rain at the back door for 3 hours after the gig in order to for that to happen), & someone you know ACTUALLY HAD one of Ken Zeidel’s hairs in a bottle in his memorabilia stash box (just like the one a friend of yours took offa Jerry Garcia’s microphone after a gig & put on his mantlepiece), & then in college when the first girlfriend you ever lived with slept with your best friend & dumped you like it was NO BIG DEAL, the ONLY thing that kept you going was listening to the Allmen Joy’s 3rd album 5 or 6 times a day on headphones (because your roommate was born again & into classical music & thought the Joy made devil’s music), & then you kept your 4-way Mr Natural blotter sheets hidden inside the cover of Fist’s solo album (which had hit the cutout bins the first week it was released - the orchestra idea was REALLY not a good idea, Fist!) & you figured the album was so bad no one would ever pull it off the shelf & play it, & then there was that time you were doing orange sunshine in People’s Park at a free Allmen Joy concert & there was a riot on Telegraph Avenue & that memory would remind you of all those demonstrations against the Viet Nam war when the “Fist” power salute had a whole different meaning to you & your friends, & NO one on the planet would have more pissed than you when the band reformed in '75 because they’d gotten offered a big EMI record deal & they all had haircuts & perms & it seemed like “Funky” Parker had taken bass lessons at a disco school & they released their comeback single which went to #1 the first week, & your one of your friends STILL hates the band because she tried to get in free at one of their shows one time & one of the Allmen’s roadies told her, “no head, no back stage pass”, & one time you would have hitchhiked all over the Southwest to follow the band around on tour, & the Allmen Joy woulda been part of the tapestry of your life, & perhaps, most important of all, NO COOL PERSON would EVER have dreamed of mixing up the band with The Allman Joys, as the Allmen Joy would certainly have rivaled the Allman Brothers Band for popularity………….. 

Lineup (unconfirmed): 
Lu “Fist” Stephens - organ, vocals 
Roger “Rog” Alan Saunders - lead electric guitar, vocals 
Ken Zeidel - rhythm electric guitar, vocals 
Dennis “Funky” Parker - electric bass, vocals 
Rod Harper - drums 

001. Walk With Me (06:38) 
002. Funky Broadway (11:02) 
003. On Broadway (09:58) 
004. You’re Gonna Miss Me (10:54) 
005. Need Your Love (06:55) 
006. The Merry Tripster (07:00) 
007. The Monkey Time (06:43) 
008. Freak Out (Instrumental) (04:21) 

Gerard Entremont & Co “Gerard Entremont & Co” 1975 France Prog Rock






Gerard Entremont & Co  “Gerard Entremont & Co” 1975 France Prog Rock
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  One-album project gathering many musicians around the voice of Gérard Entremont at the Studio de l'Aquarium in Paris, which was owned by the latter. 

Line Up/Musicians 

Dominique Blanc-Francard : piano, basse et choeurs 
Patrice Cramer : batterie (1, 2, 5, 8, 9), percussions (6), guitares (4) 
Jacques Brély : guitares (1, 2, 4, 5, 7, 8, 9), basse (2, 4, 5, 6, 7, 8, 9), contrebasse (3), choeurs (1) 
François Ovide : guitares (1, 6) 
Hervé Derrien : violoncelle (1, 3, 6) 
Patrick Amar : guitares (3) 
Alain Potier : flûte à bec (3), saxophone alto (6, 8), saxophone baryton (8), saxophone soprano (9), harmonica (7), larynx (9), murmures (6) 
Éric Miggliaccio : guitares (4, 9) 
Geza Fenzl : percussions (5) 
Denis Brély : basson (7, 8) 
Jean-Luc Quillet : tuba (8) 
Dominique Widiez : piano (8), orgue (9) 
Jean-Jacques Leurion : orgolia (9), murmures (6) 
Jean-Fançois Benatar, Roland Stepczak, Pierre Louis, Hervé Derrien : cordes (5) 
Alain Manneval : choeurs (1) 
Mauricia Platon : voix (4) 
Gérard Entremont chant, choeurs (1), murmures (6), glockenspiel (3) 

A1. A faire l'amour 
A2. Tire-toi a tire d'ailes 
A3. Simplement 
A4. Aout 1989 
B1. Fais comme un rat 
B2. La folie est en toi comme en chacun de nous 
B3. Lettre a mon petit frere 
B4. Mon amour, mon amour 
B5. Etait-ce un reve ? 

Strawberry Alarm Clock “Good Morning Starshine" 1969 US Psych Blues Rock












Strawberry Alarm Clock “Good Morning Starshine" 1969 US Psych Blues Rock
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This is the fourth and final long-player of new material from Strawberry Alarm Clock (SAC). As with their previous discs, Good Morning Starshine is a mixed affair. Prior to recording the album, the band underwent a somewhat drastic personnel change – replacing longtime members George Bunnell (bass/vocals) and Randy Seol (drums/vocals) with Jimmy Pitman (guitar/vocals) and Gene Gunnels (drums), respectively. Also of note is the fact that all of Bunnell’s songwriting credits for material on this album actually belong to Gunnels. The music has shifted away from the mix of punky psychedelia such as “Love Me Again” and “The World Is on Fire,” inheriting a much more aggressive, bluesy approach à la Grand Funk Railroad or even (gasp) MC5. Although there are sonic vestiges and remnants of the band’s former self – such as the disc’s pseudo-hippie title track – by all accounts this was the antithesis of what the band had been up until this point. The dichotomy in the material on Good Morning Starshine is indicative that SAC had pretty much run their course. With managerial and other behind-the-scenes issues continuing to plague them, there are no signs of cohesion within the grooves. The disc is certainly full of strong material, despite the decidedly aimless direction. “Small Package” is reminiscent of the band’s sound, circa Wake Up…It’s Tomorrow. Likewise, the song is a minor chord masterpiece in the same vein as their previous hit, “Tomorrow.” The “California Girls” vocal tag is a nod to the Beach Boys, with whom SAC shared many a late-‘60s performance stage. Additionally, either of the two versions of the mid-tempo rocker “Miss Attraction” would have been a welcome addition to their earlier releases. The free-form jamming and lead guitar lines are definitely reminiscent of early Spirit and the highly underrated Bay Area band Kak. The heavier and blues-influenced “Me and the Township,” “Off Ramp Road Tramp,” and “Hog Child” recall Blue Cheer and even later-era Moby Grape as much as they do the electric British blues of, say, Fleetwood Mac…..by Lindsay Planer…allmusic…… 
This one seems to be a pretty underrated record compared to their earlier albums. I’m not saying that Good Morning Starshine is as good as their first two studio albums but it definitely has it’s moments. It’s not as pop and psychedelia oriented as their earlier work because the album includes lots of blues rock elements. 

Some of the tracks include really nice guitarwork and strong keyboards. The A-side closer “Miss Attraction” is probably my personal favourite song here and I also like “Small Package” and “Write Your Name in Gold” quite much. As a totality this record gets three stars from me. While Good Morning Starshine isn’t anything very unique it’s still a pretty nice record and worth checking out if you enjoy the earlier albums by this group…..CooperBolan …….. 

1969! That is the main thing you need to know about the fourth Strawberry Alarm Clock album, Good Morning Starshine. You don’t need to have explored their earlier efforts. Just think of a California flower power group having broken through with a prevailing psychedelic classic in 1967 and explored different styles in a big search on their 1967–8 albums. Enter 1969. The result: Good Morning Starshine. If you know what this all is about you can’t go wrong. 

Sticking to Wake Up… It’s Tomorrow and The World in a Sea Shell in your mind, you have to re-check the performer when “Me and the Township” begins. But even that is a comprehensible SAC song comparing to the next number, “Off Ramp Road Tramp.” To say it straight, it is almost terrible. (Side note: Of course Mark 'Mr. Man Fixation’ Weitz praises the track in the reissue booklet.) The name of the game is jammed blues rock, this time sung with an extra-hoarse voice. “Small Package” follows in a more intelligible style, but even though in broad outline the genre (psychedelic rock) is familiar from Wake Up, once again the song is faded and the result has been jammed. A great result of that process, a fragment of “California Girls” appears in the outro. (Strawberry Alarm Clock toured with The Beach Boys for a couple of times in the late 1960s.) 

After the bluesy sign-o’-the-times “Hog Child”, the album version of “Miss Attraction” turns out to be a theoretically comprehensible song but ruined by jamming. Then comes the title track, and though it is easy to despise as a cover directed to SAC by the label (barely reaching Top 100 as a single), a new set of possibilities is revealed by its appearance. After a load of blues jam, starshine pop feels like healing. The single version of “Miss Attraction” follows, and now it sounds all right. Why on bloody earth did they put the jam version on the record too? From this point on, all the stuff that appears sounds all right: “Write Your Name in Gold”, “(You Put Me on) Standby”, “Dear Joy”, and the once again more psychedelic but slightly jammy “Changes.” 

Thus, Good Morning Starshine is not a bad album, not even a bad SAC album. It is mostly flawed by two things: 1) “Off Ramp Road Tramp”, which is a misfire; 2) two versions, better and worse, of “Miss Attraction” on the same album. All the other oddities (in the scope of the SAC) are only 1969. Abbey Road has such features, too – do you remember? If there were only nine songs, perhaps with “Desiree” as an addition, Good Morning Starshine might even be called excellent. My favourite track remains “Small Package”, but also “(You Put Me on) Standby”, “Dear Joy”, “Write Your Name in Gold” and “Miss Attraction” (single version) will be revisited by me for numerous times…..by….fairyeee ….. 

The final SAC studio album (subsequent releases were compilations of one form or another) has neither the highs nor the lows of The World In A Sea Shell, and precious little that could be termed “psychedelia”. The album’s best track, “Off Ramp Road Tramp” has more in common with the Doors’ “Roadhouse Blues” than it does with the swirling psychedelic madness that constituted SAC’s best work. It’s not bad, it’s just not Strawberry Alarm Clock music. 

Part of the problem is that Ed King moved to bass with the departure of George Bunnell. New guitarist Jimmy Pitman is kinda like the guys that initially replaced Joe Walsh in the James Gang; he can play, but he can’t play!. Additionally, although the band needed a new infusion of songwriting talent due to Bunnell’s departure, Pitman’s songs are simply average. “Me And The Township”’s pro-flagwaving sentiments sound out of place at best (next thing you know, we’ll have a member of Moby Grape joining the marines!). “Write Your Name In Gold” and “Dear Joy” are amateurish ballads. 

The rest of the band doesn’t fare much better. They recapture a hint of the old magic on “Small Package”, “You Put Me On Standby” and the wonderfully overwrought closer “Changes”, but SAC still doesn’t have the freedom to make the album they want to make. Their cover of “Good Morning Starshine” sounds more like a Spinal Tap spoof of the original band than anything else. The label hoped it would give them the long-awaited hit follow-up to “Tomorrow”, but a competing version held the SAC to #87. The band surrounded the song with two versions of the frenetic rocker “Miss Attraction”, presumably in hopes of squeezing it off the album entirely. Unfortunately, two versions of the same song hinted that the group was running out of gas, and the overlong, stupid blues posturing of “Hog Child” proved it. 

The 1997 Japanese reissue of the album is the one to have, as it collects all but one of the group’s post-album releases. Pitman penned “Desiree” and “Starting Out The Day” to round out 1969. Pitman and Weitz had both departed by 1970, and guitarist Paul Marshall was drafted in. The idea of SAC without keyboards was troublesome enough, but UNI added insult to injury by saddling the group with yet another song they couldn’t stand (the wimpy “I Climbed The Mountain”) for their first single of the new decade. 

They rebounded nicely with the pretty pop of “California Day”, then got a cameo in Russ Meyer’s Beyond The Valley Of The Dolls. Marshall penned two numbers for the soundtrack, the first of which “Girl From the City” was the top side of their final single. In a very strange marketing decision, the song “Three” was pegged as the B-side. Trouble was, “Three” had already been the B-side to both of the previous two singles! This was questionable indeed, since Marshall’s other song from the film, the hard-driving “I’m Comin’ Home” was never issued by UNI at all, and can only be found on the film soundtrack, which was originally released on the 20th Century label……by….ochsfan ………….. 

SAC albums: 
“Incense and Peppermints” UNI 3014 (Mono) & 73014 (Stereo) — 1967 #11 
“Wake Up It’s Tomorrow” UNI 73025 — 1968 
“The World in a Seashell” UNI 73035 — 1968 
“Good Morning Starshine” UNI 73054 — 1969 
“Wake Up Where You Are” GRA Group — 2012 
“The Best of Strawberry Alarm Clock” UNI 73074 — 1970 
“Changes” Vocalion VL 73915 — 1971 

SAC singles: 
“Incense and Peppermints” bw “Birdman of Alkatrash” All American 373 — 1967  
“Incense and Peppermints” bw “The Birdman of Alkatrash” UNI 55018 — 1967 #1 
“Tomorrow” bw “Birds in My Tree” UNI 55046 — 1967 #23 
“Pretty Song From Psych-Out” bw “Sit With the Guru” UNI 55055 — 1968 #65 
“Barefoot In Baltimore” bw “Angry Young Man” UNI 55076 — 1968 #67 
“Sea Shell” bw “Paxton’s Back Street Carnival” UNI 55093 — 1968 
“Stand By” bw “Miss Attraction” UNI 55113 — 1969 
“Good Morning Starshine” bw “Me and The Township” UNI 55125 — 1969 #87 
“Desiree” bw “Changes” UNI 55158 — 1969 
“Starting Out the Day” bw “Small Package” UNI 55185 — 1969 
“I Climbed the Mountain” bw “Three” UNI 55190 — 1970 
“California Day” bw “Three” UNI 55218 — 1970 
“Girl From the City” bw “Three” UNI 55241 — 1970 

Tracklist 
A1 Me And The Township 3:14 
A2 Off Ramp Road Tramp 4:15 
A3 Small Package 3:58 
A4 Hog Child 5:06 
A5 Miss Attraction 4:27 
B1 Good Morning Starshine 2:20 
B2 Miss Attraction 2:39 
B3 Write Your Name In Gold 3:32 
B4 (You Put Me On) Standby 2:20 
B5 Dear Joy 3:15 
B6 Changes 5:15 
The Strawberry Alarm Clock with the Voxmobile (Groovy, 1967)






Rufus Zuphall “Phallobst” 1971 Germany Prog Kraut Rock











Rufus Zuphall “Phallobst” 1971 Germany Prog Kraut Rock
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RZ’s second album, released on the now-legendary Pilz label, was recorded in Dieter Dierks’s studios. Two personnel changes: the bassist (departing Lieblang was the lyric writer in the first line-up, and he contributes to three songs without playing) and the addition of a second guitarist Kittel. Early 70’s German prog group always shared some doubtful tastes regarding their artwork (in this regard the rebel-rock attitude was more respected than their English counterparts), but here we are definitely with one of the top 10 tasteless artwork depicting a rotten pear getting devoured by worms and the just-as-ugly inside gatefold shows their faces as the worms >> yummyyyyyyyyyyy!!!! 
Clearly better produced, with more musical possibilities (both guitarist play a bit of KB now and then and even a tad of Mellotron), with much shorter track length (max 6 minutes), this album is more concise and maybe proggier than the debut. If the first two tracks go unsurprisingly by with their lot of happy sounds, we are more intrigued with the lengthier Schupfner with its medieval-like guitars and superb flute: very reminiscent of the first album, it is the highlight of the A-side of the album along with a much calmer and reflective Waste Land. 

The second side of the album is a bit more uplifting with the instrumental Makrojel opening strongly, with a jazzy feeling, but we are again in the typical sound of theirs. Actually, it is quite hard to recognize instantly which RZ track you are listening to without the help of the albums, as they had a “sound with which they rarely digressed from. Another instrumental track, Prickel Pit, follows with heavier riffy guitars, while an Derroll Adams track, Portland Town will become a concert favourite. The closing track is a rather slow developer (with them Mellotrons and a clavinet in the intro). But while there are some Folk influences on this album, to call this their main influences would be grossly exaggerating as they take up as much from the blues or jazz in the studio and live they were even bluesier.. 

As with the debut album in its Cd version, Phallobst now comes with 8 bonus tracks: the second part of the farewell concert in 72, and as you might’ve guessed if you read my review of the debut, the sound is bootleg-quality (marginally better at times) and them tracks do not really add any kind of value to the original album. 

Again RZ was not essential to the development of progressive rock, but they were a small brick that was integral part of the pyramid, this album being just as good or pleasant as the debut. But if nothing worth writing home about, both albums do deserve the odd spin now and then….. by Sean Trane ……… 

The second album by this sadly too unknown German band isn’t as good as their first "Weisß Der Teufel” record, but it’s still a worthy bargain. The sound is bit different, as the bass player has been changed, and there’s a second guitarist introduced to the band. “Closing Time” is a good psych rock, with funny sounding vocals, as they have been sung very quietly and calmly over a loud rock'n'roll song about “a merchant selling peace”. “Waste Land” is also a track worth to mention, a slow minor ballad with haunting flutes. Some of these melody lines resemble some old cradle songs I think? “Portland Town” is a great arrangement of a traditional folk song, now played with mellotrons and heavy guitar riffs. All other songs are also OK, but they are not maybe as raw and innovative as their earlier material. But I consider this yet a very recommendable album. I had my vinyl copy from “Avalon and On” box set, which also has the live tracks released with the reissue CD…. by Eetu Pellonpaa ……. 
This was recorded in Dieter Dierks studio so it’s much more polished than their debut which was recorded live in another studio. Unfortunately Dieter’s studio was under construction so it made for a difficult week for the band. On top of that the label was trying to convince Krause the guitarist / vocalsit for the band to go solo, saying he could be the German version Neil Young. This was all done behind the band’s back and Krause was very irritated about this. Another problem was the final track “I’m On My Way”, the band had already rejected a version of it that the label wanted to release, but instead of honouring the band’s wishes they released it anyway. The band didn’t know about it until the final product was revealed.There were also other headaches for the band regarding the label that I won’t get into. I should also mention a second lead guitarist was added for this release. 
“Closing Time” features laid back vocals in this mid paced tune and when he stops singing before 1 ½ minutes the tempo picks up and we get an all instrumental soundscape right to the end. “Wenn Schon, Denn Scon” is an instrumental. I like the intro especially the bass. It settles after a minute with dual acoustic guitars. Nice. It kicks back in before 3 minutes to the original melody. “Schupfner” kicks in before a minute with flute. It settles again with some intricate acoustic guitar. “Waste Land” features acoustic guitar and flute as reserved vocals arrive a minute in. Percussion follows in this melancholic track. 

“Makrojel” is an impressive track and one of my favs. It’s brighter and uptempo with flute. “Prickel Pit” has some good bottom end to it early. Guitar takes the lead after 1 ½ minutes then flute joins in. Love the sound before 3 minutes. “Portland Town” opens with some mellotron and the song continues to drift along with mellow vocals. Cool song. “I’m On My Way” opens with acoustic guitar and vocals. I’m reminded of Jim Morrison as he sings on this track for some reason. Mellotron comes in later. 

I do like the debut more, but this is worth the 4 stars….by Mellotron Storm ……. 
The Band was brought to the attention of the Ohr label by a radio broadcast, a two year contract was made and a second LP - Phallobst - was planned for 1971. Helmut Lieblang left the band shortly before the production for personal reasons, but continued to write lyrics He was replaced by Manfred Spangenberg. At the same time an additional guitarist - Thomas Kittel - joined the band. “Portland Town” on forthcoming CD “Avalon And On”(LHC031) was a demo track for the new record company, recorded by the new line-up. 

Phallobst appeared at the end of 1971 not as announced on Ohr but on the new BASF sublabel Pilz (a long deleted reissue came out in the mid eighties). In July the LP was recorded in less than a week in Dieter Dierks studios near Köln on rather unpleasant conditions. The musicians felt themselves under pressure of time, the studio was being rebuilt and Krause was irritated - he had been taken aside behind the group’s back and a solo career as the “German Neil Young” had been suggested to him. The production management and the band had their differences regarding the track “I’m On My Way”, that then appeared on the record in a form that had been rejected by the band - still an open wound. Despite the estrangement - musically and otherwise - with the producers, Udo Dahmen expressed himself diplomatically in an interview about the studio work, “the group is”, he said, “basically satisfied with the result”. 

With the additional second guitarist, Rufus Zuphall became more versatile - in Dierks’ studio a Mellotron was available, other key instruments were also used, it could clearly be heard that an effort was being made to attain a more complex and expansive instrumental sound that was also more compact. The playful superficial elements from the time of the first LP were pushed into the background. In louder parts Rufus Zuphall were much heavier, in quieter ones they’d become more lyrical and the construction of the songs, despite alternating pace, straighter. 
The press reaction to the album was positive and paid particular attention to the further development of the band since “Weiß der Teufel” (LHC 029). On TV Rufus Zuphall was presented in the SWF programme “Talentschuppen” in great detail, this normally a springboard in the career of young artists in Germany. However, the disputes with the record company continued. They couldn’t agree on a single, neither the traditional “900 Miles” nor the track “Waste Land” were lent an ear of one accord. The suggestion of the record company - of letting Dierks rearrange it - was not acceptable to the band. Ohr management was annoyed. On the other hand, in Aachen they weren’t happy with the standard of marketing: there was a memorable letter from BASF (one wonders why “Fallobst” isn’t in the record shops) and an even more memorable answer from the band: what can you expect from a firm that can’t even spell its product correctly… 

(info by CGR)…………. 
Compared to the debut, Rufus Zuphall’s second album ‘Phallobst’ (recorded at the famous Dierks-studios in Cologne, 1971) was more polished and had a wider dynamic and instrumental range (mellotron, clavinet, and acoustic guitars were added). It showcases the group members as well-educated musicians playing their own compositions with passion and energy. Digitally remastered from the original tape and with informative insert…………. 
D hrough a radio broadcast the Ohr label became aware of the band, a two-year contract has been completed and a second LP - Phallobst - planned for the 1971st Helmut Lieblang, who remained the band’s lyricist, had been forced out of the LP production for personal reasons and replaced by Manfred Spangenberg. At the same time, another guitarist joined the band with Thomas Kittel. The first version of the title “Portland Town”, which will be released on the CD “Avalon and On” (LHC 031), was a demo track for the new record company, recorded in the expanded cast. 

Phallobst did not appear as announced on the ear at the end of 1971, but on the new BASF sublabel mushroom (a reissue reissue, which had long been out of print in the mid-eighties). In July 1971 the LP was recorded at the Dieter Dierks studio in Stommeln near Cologne in less than a week under rather rather uneconomical conditions. One felt under time pressure. The studio was under construction. Günther Krause was irritated, behind the back of the group he had been taken aside and suggested to him a solo career as “German Neil Young”. Between the production management and the band, there were differences about the title “I’m On My Way”, which then came to the record in a version rejected by the band - an open wound until today. Despite the musical distance to the producers, Udo Dahmen wrote diplomatically in an interview about the studio work that “one is largely satisfied with the result”. 

Musically, Rufus Zuphall had become more versatile with the newly added second guitarist. A Mellotron was also available in the Dierks studio. Other keyboard instruments have also been used. One was audibly strung to create a more complex and broadly instrumented sound. The playful elements from the time of the first LP “White the Devil” (LHC 029) entered the background. In loud passages, Rufus Zuphall were now harder, in quiet, more lyrical, the songs in the build-up clearly stiffened despite all the changes in the tempo. 

The press sound on the record was consistently positive and focused on the musical development since “White the Devil”. On the TV, Rufus Zuphall was presented extensively in the SWF-TV show “Talentschuppen”, an established career jumping board for young artists. But the quarreling with the record company continued. One could not agree on a single publication, neither the traditional “900 Miles” nor the title “Wasteland” found a consenting ear. The band’s proposal to re-arrange the tracks of Dierks was not accepted by the band. The ear management “annoyed”. In Aachen, on the other hand, one was not satisfied with the quality of the distribution: there is a memorable letter from BASF (one wonders that the “Fallobst” is not in the shops) and an equally memorable response letter from the band distribution is to be expected, which can not even spell its product correctly … 

Despite the squabbles Phallobst achieved satisfactory sales. Bonustracks are the titles of the second part of the Farewell! -Live Aachen 1972 concert. Now the entire concert is available on CD. The forthcoming third CD “Avalon And On” (LHC 031) completes the entire work of the early years of the group on CD. 

Manfred Steinheuer, March 2004 
Description courtesy of Long Hair….by krautrock muzikzirkus………… 


Rufus Zuphall is one of the significant German rock bands of the early seventies. This first CD, part of a series of three CDs, describes their musical development - beyond the first LP thro’ to the farewell concert in 72. With this - the “complete work” of Rufus Zuphall is available for the first time on CD. Formed in Aachen in 1969 and initially with a keyboard player as fifth man, the band melted together blues elements, the ease of Anglo-Saxon folk, classical influences and driving guitar rock with progressive song structures into an autonomous instrumental dominated style and live programme. The titles “Hollis Brown” and “Granum Cerebri” from forthcoming third CD “Avalon And On” are from this period. In the beginning the band was not so Germany-orientated but more towards the neighbouring countries Belgium and particularly Holland and their breakthrough came accordingly in 1970 in front of a 30.000 crowd at the Jazz Festival in Bilzen (Belgium). Actually planned as a sideshow, they then played as the only amateur band next to such stars as Black Sabbath, Cat Stevens or May Blitz and were celebrated by the press as “surprise of the festival”. Previously Rufus Zuphall had even appeared with Living Blues and Cuby and the Blizzards, in the same year this was followed by gigs with Curtis Jones, Group 1850 and Golden Earring. The front man on stage was the flutist Klaus Gülden. He had a decisive influence on the Rufus Zuphall sound. Bass player Helmut Lieblang wrote the lyrics. Günter Krause, a creative guitar talent, composed most of the titles and with Udo Dahmen Rufus Zuphall had a drummer, who later, after his music studies, then played with Kraan, Lake, Eberhardt Schöner and Achim Reichel and is even today much asked after. He is also studio drummer and worked as a lecturer at the Hamburg College of Music. Today he is headmaster of Mannheim College of Popular Music. Apart from Udo Dahmen, the only other one of the various Rufus Zuphall members who remained true to a musical career was Günter Krause. After Rufus Zuphall had come to a close, he too studied music, he then played jazz and jazz rock in various formations - he played into the 80s as a jazz guitarist in a sextet making records. Today he’s working as a musician, composer and guitar teacher. 
At the beginning of December 1970, Rufus Zuphall produced live in Holland their first LP “Weiß der Teufel” in only three days. It was released in 1971 as a private pressing on Good Will Records - a master- piece of progressive rock. The titlesong was a secret “scene hit” and the track “Spanferkel” taken from the LP became the signature tune for one of the best known German radio rock programmes. The LP, although the release was limited and despite bad marketing conditions, was a success. In spring 1971 Rufus Zuphall recorded their second LP “Phallobst” and third album “Avalon And On” was planned to release in late 1972. But it was never finished. The band disbanded in September 1972. In 1999 their was a reunion followed by a lot of gigs and the release of the CD “Colder Than Hell” in 2000. Between June and September 1972 their was a short series of 6 farewell concerts. The last was at the beginning of September in Eindhoven (Holland). The first was a concert for their fans in Aachen on June 17th 1972, in the eyes of the band one of the true musical highlights of Rufus Zuphall. Here is dynamism, creativity and enthusiasm to be heard, one can feel the stage experience and intimacy of a group that despite all other activities in 1971 alone managed to make over 50 appearances. “Farewell Live Aachen 72”, as bonus tracks split on this and the following “Phallobst”-CD, shows the musical range of Rufus Zuphall, the full bounds of Rhythm'n Blues - inspired beginnings with songs like “Wade In The Water” or “See See Rider” thro’ to rockers like “Prickel Pit” or progressive titles like “Avalon Suite”, it shows classical influences, free song structures with jazz elements and includes with “Summertime” or “Spanferkel” fundamental group hits……….. 

Rufus Zuphall’s Phallobst was their second and last album, and for most of its length could be described as an interesting blues/prog hybrid, with a clean but punchy guitar sound, very distinct from the band’s heavier contemporaries. The material is good, the style unusual, the playing excellent; what’s not to like? OK, so it hasn’t dated that well, but compared to the type of acid folk that Germany was chucking up at the time (Emtidi, Hölderlin etc.), it hasn’t actually done too badly, and I can see this becoming a minor favourite if I ever find the time to play it more often. 
Guitarist Günther Krause doubled on Mellotron (Dieter Dierks’ studio’s machine), although he hardly used the thing, to be honest, with no more than a brief burst of brass at the beginning of Portland Town and some more obvious strings on closer I’m On My Way, but nothing to get too excited about. So; a good, unique album, worth it for the progressive fan who wants something slightly different. Long Hair’s CD version has the second half of a bloody good gig, 'Live Aachen '72’ (part one is tacked onto the reissue of their debut, Weiß der Teufel), which is, of course, Mellotron-free…………….. 

Line-up / Musicians 

- Gunter Krause / guitar, vocals 
- Thoms Kittel / guitar, keyboards, bass 
- Klaus Gulden / flute, percussion 
- Manfred Spangenberg / bass 
- Udo Dahmen / drums 

Tracklist 
A1 Closing Time 3:21 
A2 Wenn Schon, Denn Schon 3:35 
A3 Schnupfer 5:13 
A4 Waste Land 5:10 
B1 Makröjel 5:53 
B2 Prickel Pit 3:51 
B3 Partland Town 3:52 
B4 I’m On My Way 5:01 

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