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Saturday, 28 January 2017

Steel Mill ‎ “Jewels Of The Forest (Green Eyed God Plus)” 2011 2 LP Compilation Remastered, Limited Edition UK Prog Rock


























Steel Mill ‎ “Jewels Of The Forest (Green Eyed God Plus)” 2011  2 LP Compilation  Remastered, Limited Edition UK Prog Rock
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Includes a twelve page full sized booklet with detailed liner notes and photos. Booklet also includes full sized images of the original German & UK artwork of the extremely rare Green Eyed God LP.Heavyweight colour gatefold blue vinyl edition of 300 copies pressed. 

Mega edition of this classic underground heavy progressive 1971 album with elements of folk & psych. A must have for any fan of this period – original UK pressings of the Green Eyed God LP now demand around £1,000 for a mint copy. Forget all the poor bootlegs that have been released over the years – this is the definitive, fully authorized edition and the next best thing to an original copy. 
Heavyweight colour gatefold vinyl editions, including twelve-page full sized booklet with detailed liner notes & photos. Booklet also includes full sized images of the original German & UK artwork of the extremely rare Green Eyed God LP………….. 

A collection that includes the original Green Eyed God album, recorded in 1972, plus a selection of b-sides and never before heard tracks. Also, a brand new song written and recorded in 2010 to coincide with this detailed release. Mega edition of this classic underground heavy progressive 1971 album with elements of folk & psych. 
- First ever high quality official (& Expanded) reissue of enigmnatic UK prog group STEEL MILL - re-mastered from best available sources. 
- For fans of the period, Jewels of the Forest has it all; Mystical lyrics, heavy combined with folkish elements, bringing to mind early Black Sabbath and Jethro Tull. 
- Includes brand new track A Forgotten Future/A Future Past. Their first studio recording in thirty-eight years. 
- Includes nine bonus tracks, six of which have never been heard outside of the band members. 
- Released with full co-operation of the original band members and contains in-depth sleeve notes, as well as many previously unseen photographs from the bands personal archives………………. 

A band lost to the realm of speculation, misinformation, and outright myth, Steel Mill (not to be confused with the Springsteen band of the same name) stumped even expert music collectors for decades due to a scarcity of reliable evidence documenting the band. 
In time, it was learned that the late ‘60’s roots of the band lay in the South London neighborhood of Wadsworth. A combination of the bands Garrett Singers, and Roadrunners, the ensuing year after their formation was spent in constant rehearsal with only rare interruptions for live shows. They cut a handful of promising demos in 1970. 

Soon after, the bands first single, “Green Eyed God” was issued by their new label prophetically named Penny Farthing Records, and actually went to achieve #51 on the British charts and an eye opening #17 on the German charts.They holed themselves up in a London studio to track their first L.P. “Green Eyed God” to capitalize on their recent chart success. Despite giving the album a 1972 release in Germany, where their type of rock was assumed to go over better, and in the U.L., Penny Farthing decided to gamble the bands future on a second, non-album single called “Get on the Line” which ironically took the music industry’s shady dealings to task. When this failed to come close to matching up with the preceding single, members began splitting and eventually the band fizzled out in August of 1972. Penny Farthing saw to it that a re-released was pressed in 1975, but I believe it was very limited. The album saw a re-issue on CD from Rise Above Records with the singles included plus bonus tracks. ……… 

Like every scene, the 70s British prog rock movement had its bands that came and went without creating a ripple – some justifiably, some inexplicably – and unfortunately Steel Mill were one such victim. Jewels Of The Forest (Green Eyed God Plus…) neatly brings together their sole album, 1972’s Green Eyed God, along with the two singles that comprised the band’s entire output. Also included are recently discovered demos, and, most surprisingly, a brand new track recorded earlier this year. 

Green Eyed God was only released in Germany upon its completion in 1972 and it wasn’t until 1975, long after the band’s demise, that it appeared on domestic shores. Listening now to this little progressive masterpiece it is truly mystifying as to why any label would sit on this little gem, with its quintessentially English mix of prog, folk, hard rock and blues that at once has a broad enough spectrum to draw in fans of Black Sabbath, Jethro Tull and Led Zeppelin, and yet is a unique and characterful album brimming with great songs. 

The riffs in the likes of opener ‘Blood Runs Deep’, highlight ‘Black Jewel Of The Forest’ and the fine title track have an edge and darkness not unlike Iommi’s finest, yet take on a calmer, more unsettling air amongst the rural atmospheres that quickly emerges as distinctly Steel Mill. Green Eyed God has that quality so rare in progressive music in that it is all done in a much understated manner – there are no self-indulgent wig-outs or flamboyant displays of showmanship and virtuosity; the album just leaves behind a warm glow of satisfaction, and some damn good hooks stuck in the brain. 

Going beyond the original album and into the rest of Jewels Of The Forest, the two b-sides, whilst nice in and of themselves, were rightly left off the album; both ‘Get On The Line’ and ‘Zangwill’ are catchy, upbeat numbers, but are very much at odds with the centrepiece. The five newly unearthed demos date from two years previous and show the very interesting evolution of Steel Mill from their bluesy, Cream-like, late 60s scene origins. These curios are a long way from where the band ended up, and with good reason: all the positives of Green Eyed God are missing from these non-descript, derivative slabs of blues rock. 

Last, but by no means least, we have ‘A Forgotten Future / A Future Past’, the first recording by a newly reformed Steel Mill – complete with all five original members. It is both comforting and disconcerting that it is barely noticeable that this and the first eight tracks on the disc were recorded some 38 years apart. ‘A Forgotten Future/A Future Past’ has that wonderful laid back Steel Mill sound with a great crunching riff at its epicentre; but are the band just trying to recapture a long lost past? Perhaps that is a question for the future. For now revel in the timely re-release of the lost classic that is Green Eyed God. 
by Dominic Hemy………. 

Steel Mill 
*David “Dave” Morris - Keyboards, Vocals 
*Derek Chandler - Bass, 1969-71 
*Terry Williams - Guitar, 1969-72 
*John Challenger - Saxophone, Woodwinds 
*Colin Short - Drums, 1969-70 
*Ricky (Aka Rupert Bear) - Drums, 1970 
*Chris “The Rat” Martin - Drums, 1970-72 
*Jeff Watts - Bass, 1971-72 
*Alan Plaice - Guitar, 1972 
*Danny Easterbrook - Bass, 1972 

Tracklist 
Green Eyed God LP 
A1 Blood Runs Deep
A2 Summer’s Child
A3 Mijo And The Laying Of The Witch
B1 Treadmill
B2 Green Eyed God
B3 Turn The Page Over
B4 Black Jewel Of The Forest
B5 Har Fleur
Extra Tracks 
C1 Confusion (Demo 1970 Mono)
C2 Monday Arrives (Demo 1970 Mono)
C3 Super Clean Man (Demo 1970 Mono)
C4 Keep Working (Demo 1970 Mono)
C5 Growing Bald (Demo 1970 Mono)
D1 Get On The Line (7" 1972 Mono)
D2 Zangwill (B Side 1971 Mono)
D3 Green Eyed God (7" Version 1971 Mono)
D4 A Forgotten Future, A Future Past (New Studio Track 2010) 

Saecula Saeculorum ‎"Saecula Saeculorum" 1976 Brazil Prog Symponic











Saecula Saeculorum ‎"Saecula Saeculorum" 1976 Brazil Prog Symponic
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 Saecula Saeculorum is a kind of forerunner of the famous Sagrado Coração da Terra: born in (brazilian state of) Minas Geraes with the great violinist Marcus Vianna. However, unforttunately, the band had short life, borning and dying at seventies. This unique album is a good sample of brazilian symphonic prog rock of these days, very creative, really amazing. My favorite songs are ""Constelação de Aquarius" and "Acqua Vitae". Add it to your collection....by claudss......

 Saecula Saeculorum ("per omnia saecula saeculorum" means for all centuries of all centuries) is a brazillian prog-band from middle of seventies. All songs are sung in portuguese (not spanish!!), except the first track: sung in portuguese and latin language. According to AMG, this album is a collection of several demo tapes preserved from that period, without their gigs. Their style is very close to folk-progressive, with harmonic violin, solos guitar, piano, bass and drums. Unfortunatelly, the band release just one album. We never heard about them anymore, only about Marcus Viana, who created Sacred Sound of the Earth and made a famous solo career in Brazil, playing progressive rock, movies soundtracks and New Age. Well, I can say Saecula was one of best brazillian prog-bands, they made a perfect marriage between classical music and rock, not forgetting to add brazillian elements. .... by Prog-Brazil .......

The only album by this group is an excellent work. I think it is rather original as well. The excellent violinist Marcus Viana and the pianist Giacomo Lombardi lead the music. It is a very short album, clocking only a little over 28 minutes, but this is a minor issue because the music is of high quality. Really, it is one of the best seventies South-American albums and especially if you like prog with a strong classical influence. I'm not sure but it could be that this album was released for the first time only in 1996, twenty years after it was recorded.
The first song that carries the group's name is fantastic with superb piano and violin work. The second track "Acqua Vitae" with beautiful piano is easily as good. The remaining three tracks are excellent as well....by...Saecula Saeculorum........

The group Saecula Saeculorum was the first prog rock band of Marcus Viana and also the foundation of what would become Sagrado Coração da Terra. As very close friends, the band rehearsed tirelessly in the mid-'70s and bandmembers preserved several demo tapes from this period. Impressed by one of these demo tapes, Warner asked them to sign a contract in 1976. After a lot of discussion (mainly because of Warner's demands that some songs be cut to fulfill special requirements, which the band disagreed with), the band refused the deal and continued their rehearsing. After too much effort and almost no recognition, they disbanded and each musician went their own way. A reunion was promoted in 1996 in order to release the CD Saecula Saeculorum, but no gigs were performed. Some Brazilian critics said that the band was the true progressive version of Clube da Esquina, a famous and impressive musical movement born in Minas Gerais (a state in the southeast of Brazil) that included, among others: Milton Nascimento (from Som Imaginário), Flávio Venturini (from O Terço, 14 Bis), and Beto Guedes....by Cesar Lanzarini......

Oh,those were the days! In the mid seventies seeing a good prog act was something like a distant dream. Brazil was still an exotic, farway country for most international bands and national groups only rarely did shows in my hometown. But we did have our own heroes in Saecula Saeculorum. They played some highly acclaimed shows and, needless to say, were followed everywhere by progheads (me included). We were very proud of them. They did recorded some songs but broke up before it was released (maybe that explains its short running time. Some sources claim the original LP was never completed as intended, lacking some tracks they did not have time to include). In fact, it took decades to be put out, as far as I know - the releasing date must be wrong. And although we were saddned by their demise, their young violinist Marcus Viana carried on with his own group, the now famous Sagrado Coração da Terra.
Hearing this CD nowadays brings me back in time and although the group did not succeed much in translating their electrifying live performances into the studio, it is still excellent music. Their mix of symphonic rock (a la italian bands like PFM and Banco) with West Coast acid rock (including the lyrics, all sung in portuguese) was quite interesting and unique. Some of the stuff even reminds me of another seminal brazilian band, Os Mutantes, although much less anarchic and without their humor. There are lots of classical piano parts and great violin riffs that recall Darryl Way´s (Curved Air) style. Vocals were performed by guitarrist Jose Aluisio with help from keyboards player Giacomo Lombardi and the aforementioned Marcus Viana

With a good production for the time, this CD is recommended to anyone who likes 70´s classical symphonic rock music. Fans of Sagrado Coração Da Terra and Marcus Viana will be delighted to discover that band´s roots....by Tarcisio Moura .........

Tracks Listing:
1. Saecula Saeculorum (8:05)
2. Acqua Vitae (6:20)
3. Eu Quero Ver O Sol (5:09)
4. Constelacao De Aquarius (3:25)
5. Radio No Peito (5:48)
Total Time: 28:47

Line-up:
- Giacomo Lombardi / piano
- Jose Audisio / guitars
- Bob Walter / drums
- Edson Pla Viegas / bass
- Marcus Viana / violins
- Juninho / bass

Jimmy Page, Big Jim Sullivan, John Williams "The Maureeny Wishfull Album" 1968 UK Private Folk Rock pressed in 300 copies original






Jimmy Page, Big Jim Sullivan, John Williams  "The Maureeny Wishfull Album" 
1968 UK Private  Folk Rock pressed in 300 copies original
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In 1968 he recorded an album “Maureeny Wishfull” with Jimmy Page and Big Jim Sullivan, this is now a highly collectable album. I was lucky to find an unreleased acetate in 2014 by John Williams on the A side and an as yet unknown band on the B side. This was released by TOR Records in 2015….. 
This is one INCREDIBLY rare album - with a pressing run of only 300 copies! It’s a real oddity too, from a veritable ‘supergroup’ of guitarists - with Jimmy Page fresh from The YARDBIRDS, 'BIG’ JIM SULLIVAN - virtuoso top session player and veteran of Marty Wilde’s band in the late 1950’s (He issued some solo singles, and French sitar EP’s too). John Williams is more of a classical player, and with his strong folk leanings this record was basically his songwriting project for these players. I’m not sure who was singing, but I’m imagining it was Williams as he wrote all the lyrics. The publishing rights appear to be shared between them - though the financial returns must have been a big fat zero. 
In a short while, Page was to form 'The New Yardbirds’ which effectively was LED ZEPPELIN. Now Jimmy was not unfamiliar with folk by any means - especially after his strong interest and respect for Bert Jansch, Davey Graham, and John Renbourn. He also made guest appearances with such as Al Stewart and Roy Harper among others, so he was not strictly about blistering heavy rock and blues - as his tasteful acoustic numbers illustrated on all the early Led Zep albums too. For my ears, this has a lot more in common with Donovan - and not to its’ detriment either! The songs are pleasant, well balanced and obviously - with high quality playing…………… 

Not a lot is know about it and its recording date general info is disputed with the current thinking of it being recording in 1965 while Page and Jim were working for Andrew Loog Oldham. As for John Williams he was Page’s good friend (they were in a few of Page’s early groups together, but he was fresh out of The Authentics at this time, which Page also did work with occationally) at the time and they do recordings together as late as 1970 and 65 would make sense because a later version of Five Verses For My Love called Five More Verses For My Love is released on John Williams really rare 1967 solo album (which also has Page on it) under Columbia…… 

Tracklist 
A1 Maureeny Wishful
A2 To Something New
A3 I Must Fly
A4 I Know, You Know Too
A5 Another Winter, Another Spring
A6 City Blues
A7 Gypsy Girl & The Poor Boy
B1 Early Bird Of Morning
B2 London Town
B3 Sally You’ve Been On The Game Too Long
B4 Dream Cloudburst
B5 And She Is My True Love
B6 Five Verses For My Love
B7 C'mon Train 

Orang-Utan "Orang Utan" 1971 UK Psych Hard Rock








Orang-Utan  "Orang Utan" 1971 UK Psych Hard Rock
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interview by psychedelic baby
An often considered Psychedelic, Acid Rock, Heavy Rock, Hard Rock group from London, England, whose only album was originally released in the U.S. exclusively. The band was previously known as Hunter but never issued any recordings under that name. They are based heavily on sludgy Blues type riffs. They have great musicianship in all instrumental departments the biggest emphasis being on the twin lead guitars. Their heavy sound can also be considered an influence on the Stoner Rock genre. Sounds similar to American and British groups such as, Deep Purple, Vanilla Fudge, Cream, Black Sabbath, Jimi Hendrix Experience, Led Zeppelin, B.F Trike, and Mountain. 

“Orang Utan featured musicians from several other notable dissolving bands, that had been playing in north London in the late 60s. Singer Terry “Nobby” Clarke was co-founder of the band Jason Crest. They recorded their album at a 16 track studio facility in London. The band’s only album was released on the U.S. Bell Records label in 1970. 

The band had no idea their album was being released and only found out about it by accident. Adrian Miller was the person that claimed the producer’s title on the Bell album release. He was also the person responsible for stealing this material from the musicians and getting it released without the group’s consent or knowledge. Adrian even secretly convinced the group’s unsuspecting manager at the time, to suggest to the band to change their name to Orang-Utan. 

At the time the band were still going by their original name “Hunter” which they had taken from an Albert King song. It is believed that if the band had been managed with any real degree of integrity and professionalism, they possibly would have went on to do bigger and better things. The music itself consists of well played and diversely crafted heavy guitar oriented rock. It is not of a Psychedelic nature, or Acid Rock based as some have claimed. 

There was only one member that even smoked hash regularly. Several of the songs are nothing short of brilliant and serve to show what incredible talent these young 19-20 year old musicians possessed. Most all of the music was written and composed by Jeff Seopardie who was the drummer, with the majority of the guitar & bass riffs being developed and played by Mick Clarke & Paul Roberts respectively. 

“Nobby” Clark, whose powerful and well done vocal duties can be heard quite clearly on the album, only had one lung. “Nobby” was actually the second vocalist for the band and demos do exist from the band line up that proceeded him. 

Despite the greatness that is recorded on their lone album, the band has yet to receive any royalties from the original recording and any of it’s reissues.” ….. 

“Musically, Orang Utan features great twin lead guitar work and some long tracks with titles like “Chocolate Piano” this is similar in style to Leaf Hound and early Led Zeppelin with a late ‘60’s U.S. feel.“ ……… 

Currently, it appears the band may be in the works of putting together a reissue that they would actually benefit from and possibly a reunion tour. The group has not been in contact with one another too much since they folded in 1970 from financial and management issues. …………… 
If you’re into obscure early metal bands like Sir Lord Baltimore, Bang!, Leaf Hound, Granicus, & Dust, you’ll love Orang-Utan’s lone album, which has recently been made available for download. (Note : I normally DESPISE this digital non-format, but it has made many long-forgotten albums such as this readily available once again. But I digress…). “Orang-Utan” is a powerful, well written, played, & produced album, a cut above much of the similar hard & heavy music of the era . From the little info I’ve found, this UK band was screwed by their label before the ink had even dried on their contract. “Orang-Utan” was released on Bell in the US, but with little or no promotion and no chance of touring, the LP was stillborn and quickly hit the cut-out bins, an instant rarity. It’s been reissued a couple of times over the decades, but here’s your chance to grab this ear-rattler at a low price. Now..ROCK!!! ……………. 
Get ready for some early 70s heavy rock out of the UK with smoking twin-lead guitars and fiery vocals!! The music itself consists of some very well played, heavy, guitar-oriented rock somewhere near Leaf Houd or heavier Free with a bit of Zep’s style. 

The liner notes on this release are way off and name some folks who were in the band’s previous lineup and only recorded demos together when they were still named Hunter. For the album as released, most of the music was written/composed by drummer Jeff Seopardie, guitars by Sid Fairman & Mick Clarke with Paul Roberts on bass. The stellar vocals are from their replacement vocalist Nobby Clark - who incidentally had only one lung - and are a great match for the band’s sound. 

The album was recorded in London at a 16-track, state of the art facility and was subsequently 'stolen’ in 1970 and released only in the US by a seedy and 'self-named’ producer, all without the knowledge or consent of the band. They found out after the fact and have never been paid a dime for this fine record. When they found out the LP had been released, the band realized they had been screwed and went their seperate ways. 
One of the best 'lost’ 70s album in my collection and everything I look for in a lost classic. Too bad they were jilted and never got the opportunity to follow up this little gem…..By Tuco ………. 



Is Orang-utan the lost 70s hardrock gem everyones been searching for? No.Is it a godawful album not worth your time or money? Again a resounding no.Id have to rate this cd as middle of the road early rock,nothing mindblowing but a worthy addition to your obscure rock recordings collection. Here’s the linear notes in all their glory: 
As most people dont know: Orang-utan grew from the dying members of Jason Crest,whilst the remaining members continued with new vocalist Brian Prebble and ex-Mike Stuart Span/Leviathan guitarist Brian Bennett under the new name.Their US-only album is full of far music heavier than the Crest ever managed to cut.“I can see inside your head” is unsubtley Hendrixian and very 'eavy {but not at all 'umble!}therefore quite brilliant.'Slipping Away’ is also bloody heavy,this time Led Zep sounding. Its mellowed interlude,complete with phased vocals,shows that the path from 'Black Mass’ lead somewhere equally troubled:“Time is all kinds of pain and your mind is never quite the same” 'Love Queen'is very cool.'Chocolate Piano'is bombastic and 'kin great! A vertible epic.This is one of the very best heavy albums of the period,and most definitely not for the popsykers!But if you dig Broughtons, Writing on the Wall,or the Faries I am sure you’ll dig this big time;and song titles such as 'Fly Me High'or 'Magic Playground'leave no one in doubt that this is music stuffed full of brain fryin'chemicals.In fact,this is one of the very few genuine UK 'Acid Rock'albums. Play loud,play very very LOUD!……Again 3 stars on the music and 5 stars on the album cover. ORANG-UTAN Original release 1971 USA Bell Records 6054…………. 

Once again a very forgotten psychedelic rock classic from the early 70’s. Orang-Utan is very unknown in these days and they weren’t very famous back then either. But this album is full of classy music that every psych fan should check out. 

Many nice standouts in here like for example “Slipping Away”, maybe my favourite song “Chocolate Piano”, “If You Leave Me” and “Fly Me High”. Rest of the songs are great too. This album has only eight songs so there isn’t any fillers. This record is one tight package full of awesome hard and bluesy psychedelia numbers with some very fine guitarwork. 

I like this one a lot. But I still can’t rate this with a full five stars rating. It’s very close to perfect but could have been even better. Definitely an enjoyable work….by CooperBolan ………… 

ORANG-UTAN was one of a number of lesser-known hard rocking outfits to emerge in the British music world in the late 60s combining hard bluesy rock with heavy psych. The band became the refuge for a collection of musicians that formed from the ashes of several dissolving bands that were on the scene in late 60s North London led by ex-Jason Crest co-founder Terry Clarke. The band originally went by the moniker Hunter but was convinced to change their name to ORANG-UTAN and managed to record enough material for this one album released by the Bell Records label. 

This eponymous album was only released in the US and not in their native UK. The tale of ORANG-UTAN is a tale of corruption and outright theft. The album was released without their knowledge and the band only later found out by accident that it had actually hit the market. Their producer apparently had the gall to take all the material outside the UK to find a record deal and manufactured the finished product only to release the album without the band’s consent. Due to this miscreancy and the stealing of thunder by much more successful bands in the era, they decided to split up and pursue other endeavors. Only guitarist Mick Clarke and bassist Paul Roberts are still active in the music business to date. 

The music is fairly typical of the era. It’s hard to say that ORANG-UTAN sounds like any particular band of the era because they have ingredients that sound like many of their contemporaries. The riffs range from the types heard from Cream, Mountain and even Led Zeppelin. There are dual guitar assaults that bring Wishbone Ash and the Allman Brothers to mind and the overall hard bluesy rock feel can also remind a lot of Free, Leaf Hound or a less heavy Sir Lord Baltimore. 

This is one of those albums that isn’t gonna blow you away upon first listen if you’ve heard your share of bluesy rock from the era, however what makes this a touch more interesting than the vast universe of early proto-metal bluesy hard rock is that the compositions are decently constructed, the musicianship is quite developed and the stylistic mix of acid rock and heavier bluesy metal is well played. Terry Clarke’s vocals fit in perfectly for the style as well. This is a great release if you are looking to hear the harder spectrum of rock from the early 70s beyond the heavy hitters of Led Zeppelin, Black Sabbath or Deep Purple. While ORANG-UTAN doesn’t quite compete with those behemoth bands, they recorded enough quality material for this release. It is however quite disheartening that the band spent their own money to record in a state of the art studio of the day and have yet to receive even one cent in royalties….by silly puppy…… 

Very good psychedelic blues rock from the best year for music ever…1971. Excellent fuzz/wah-wah guitar with some great bass lines and some well written tunes. Another great one and done from this era. A mental adjustment and headphones help………….. 


Tracklist 
A1 I Can See Inside Your Head
A2 Slipping Away
A3 Love Queen
A4 Chocolate Piano
B1 If You Leave
B2 Fly Me Hight
B3 Country Me
B4 Magic Playground 

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