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28 Jan 2017

Sweet Smoke “Live in Heidelberg, Germany” 1973 bootleg US/ GER Psych Jazz Rock








Sweet Smoke  “Live in Heidelberg, Germany”  1973   bootleg  US/ GER Psych Jazz Rock
American prog-rock band who played in Europe in the early 70s
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My name is Brian Currin and I live in Cape Town, South Africa. I first heard the album 'Just A Poke' sometime in the late 70s and fell in love with its progressive, well-produced and experimental sound. After years of fruitless search for the CD or any more info on this obscure band, I eventually found both (and much, much more) thanks to the Internet and the band members themselves! ........ 

Bulgarian fan: Sweet Smoke is totally unfamiliar in Bulgaria. Year after year I tried to gather some news about the group but my efforts were fruitless. I didn't even know that the members of the band are still alive, because once a friend of mine told me they had died in a helicopter crash in the early 70s... 
Thanks God this is not true! 
So, perhaps, you could imagine my great joy and excitement which I am trying to share with you... 
For a first time I heard the album "Just a Poke" in 1986 when I was 17 - in a cold winter morning I found a lost old record dropped by someone in the street ... I took it home and played it at my record-player - I found the music really great and magical and up to now this album is one of my favourite!!! 
-- Zornitza "Ronny" Harizanova, Bulgaria, July 2001 
Hi Brian, I found your Sweet Smoke site when doing a search for the band. I lived with them in late '69 and early '70 in Emmerich - actually the village of Huthum. Steve Rosenstein was a good friend of mine at college and he gave me the address of the band when I went to Europe. Steve wasn't in the band yet - Victor Sacco was the lead guitar - very fast, chilly style - excellent musician though. Steve had a brilliant, very warm musical sense - been trained in classical violin, could turn anything into a beautiful, melodic piece. He played fiddle with some very good Irish bands in the mid-70s in Boston. The crew was very much like the main web pages say they were - we had a lot of fun, everyone was very close and supportive, and the music - which I had nothing to do with other than as a listener - was great. I remember that winter the Rhine was in the basement of the house a lot, and every morning we ate oatmeal with cinnamon and delicious fresh milk we'd get from the manor house a few hundred yards up the path. The Kuhn family - the father, who was a fairly renowned sculptor, mother, and a number of kids included Rochus and his brother and two girls, one of whom married Jay later on - I don't think they're still together. But the relationship with the Kuhns was very close and it was a great family - they had Afghans, one of which, Rita I believe, was the only dog to ever bite me - she was nursing at the time. 

They all were great musicians - Mike's solos, of course, would drive the crowd wild - fantastic on the recorder. When I went back to NY, I brought Steve the message that they wanted him in and Victor out - he was astonished and left that summer, I believe, or perhaps sooner, to join the band. It's strange to read that none of them made a profession of music because there was a lot of experimental energy and imagination coursing through the instruments. With all their Brooklyn accents, they thought my Bronx accent hysterical and thought no one else could speak that way till my sister visited them in the summer of 1970. Last I saw of them was in the mid-70s - ran into Marvin when he was at Berklee, Mike came up to visit, Steve was around Boston, etc., but haven't seen any of them since. However, a friend of mine about 6 years younger than me had a childhood friend visiting her last year, and both of them remembered Sweet Smoke quite well. So as you can see, your web site has stirred up some memories and it is much appreciated, because you are keeping a bit of history alive. 

Best wishes, Barton Kunstler, November 2002 
For more detailed info on the band and their history and reviews of the albums, visit Thibault Ducray's excellent Unofficial Sweet Smoke Web page which is half in French and half in English. Well worth a visit. 
Where are they now? 

Rick Greenberg: My name has changed a few times since 1974 when 'Sweet Smoke Live' was released. I was Rick Greenberg then. I just wanted to let you know I've enjoyed seeing your web-tribute to the band. I played some gigs with Sweet Smoke in early 1970, a few years before I joined the group full-time. I was studying music in London and traveled to Holland and Germany for concerts. My first exposure to a Sweet Smoke stage forever transformed my take on music - driving rhythms with sweet exciting solos soaring, and all with a trademark chaotic mix of humor and heart. 

Throughout all the years the band lived in Europe, Sweet Smoke was a loving family of musicians and friends on a spiritual search for a state of musical expression where the ego lets go and the imagination plays with joy and spontaneity. That energy erupted on and off the stage (" . . . a vision of heaven in our hearts and the devil at our feet . . .” - Just a Poke). We had many names for it, "Light,” "Baba Nam Kevalam," even "Baloo," but the names were only passing thoughts, like sweet smoke itself, you take it all in, you let it all out and in a moment of creation the music gives you freedom and ecstacy. 

Sweet Smoke lives on. At the reunion last summer, the same energy from the early Seventies immediately manifested and kept us joking, storytelling, laughing and playing music, and like smoke from a wizard's fire, the atmosphere was filled with magic. 
-- Rick Rasa, April 2000 
Jay Dorfman: I was the founding member and drummer of the band through all three recordings, this weekend we had a 30 year reunion where all members of the band regrouped, I have lots of rare orginal photos available and would like to make them available for the site... and yes feel free to post my e-mail on your site... 
-- Jay Dorfman, Unherd Of Productions, 9th August 1999 
Andy Dershin: I left Europe in '73 and returned to the US and I went to Berklee college of music in Boston. There I studied jazz and improvisation. I continued playing music up till 1980. At that point I got tired of not being able to play the creative style of music I had been accustomed to. In reality I also found it hard to earn a living. So I went into the crazy world of business. I still play but just for enjoyment of it. In the States if your not playing what's hot and popular, it's very hard to earn any money. But I have done OK in business and life is great. The other guys in the band have mostly done the same. 
Jay is in the video production field. 
Mike is a heavy computer programmer. 
Steve is now a lawyer and lives in Los Angeles, but I'd hate to be one of his clients. 
Marvin still plays but mostly just for weddings and such. He also sells advertising for cable TV. 
Marty is a programmer and works with Mike. 
John is a manager of a retail store. 

So as life has gone on we still miss each other and the great music we created. 
-- Andy Dershin, February 1998 

1. First Jam (18:06) 
2. Schyler's Song (12:16) 
3. People Are Hard (9:44) 
4. Ocean Of Fears (17:34) 
Disc 2 (53:11) (downlod links bellow) 
1. The Words Of Babylon Came Along (?) (32:31) 
2. Final Jam (12:05) 
3. Simple Swim (?) (8:34) 

Gianni Fallabrino “Music For Sensations” 1971 Italy electronic jazz,Prog Rock







Gianni Fallabrino “Music For Sensations” 1971 Italy electronic jazz,Prog Rock….recommended..!
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https://vk.com/wall312142499_4795

Original Italian pressing on the MCA label, from 1971. Psychedelic orchestrations with heavily treated piano and hammond a la Lesiman / flute with echo / woodwind / funky drum patterns / fragmented beats and breaks. The overall feel is sophisticated and spacey with a slightly menacing undercurrent. Superb funky lounge on IMPRESSION and ECLIPSE with a more ethereal and other worldly feel to SPACE / PERPETUAL RHYTHM and METAMORPHOSIS with flanged-out electric keyboard motifs. Music for an unknown Italian soundtrack / TV or radio programme. Rare Library Lp! Laminated……

Tracklist
A1 For Cynthia 3:50
A2 Okynawao 4:15
A3 Perpetual Rythm 3:25
A4 Space 2:50
A5 Impression 2:50
B1 Autumn Ballad 3:20
B2 Obsession 3:57
B3 Eclipse 2:55
B4 Metamorphosis 3:25
B5 Flowers March 4:00 

Sandie Shaw “Reviewing The Situation” 1969 UK Folk,Pop,Rock








Sandie Shaw “Reviewing The Situation” 1969 UK Folk,Pop,Rock
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Probably the most unusual album by British pop singer, who decided one day to perform their own version of rock and folk hits of the 1960s………. 

Sandie Shaw would be forever famous for winning the Euro Vision Song Contest in 1967 with “Puppet On A String”, which subsequently proved to be a number 1 hit in the UK. She ventured into a more seriously groovy direction on Reviewing The Situation (1969), covering songs by contemporary chartbusting artists like The Beatles, Rufus Thomas, Lovin’ Spoonful, Rolling Stones, Led Zeppelin and Bob Dylan. Her sensual voice and a strong, funky backing band add wonderful new cachet to already great originals. Reviewing The Situation was her last album of the sixties ánd seventies, now available on fresh vinyl for the first time since its original release……. 

On her last album of the ‘60s, Shaw proved that she was hipper than a lot of people would have suspected. Moving away from the usual light pop and MOR, she chose a set of covers heavy on material by the likes of Bob Dylan, the Lovin’ Spoonful, the Rolling Stones (“Sympathy for the Devil”!), Led Zeppelin’s “Your Time Is Gonna Come” (double exclamation point!), Donovan, Dr. John, and the Bee Gees. Which doesn’t mean it’s a great album. It’s thoughtfully arranged and energetically delivered, but Shaw’s slight, wispy voice is as ill-suited for some of the material as a nun is for the mosh pit. Hearing her attempt even the slightest hint of funky menace, as on “Sympathy for the Devil” and Dr. John’s “Mama Roux,” is apt to induce snickers, however heartfelt the endeavor might have been. On the other hand, there’s a nifty, slinky, jazzy cover of the Beatles’ “Love Me Do,” and her version of the Spoonful’s “Coconut Grove” is also good. [The 2004 CD reissue on EMI adds two bonus tracks: a cover of Paul McCartney’s “Junk”“ and "Frank Mills” from Hair.]…. by Richie Unterberger……… 

A great album in so many ways, the circumstances in which it came about were unfortunate. Sandie felt constrained by her record label, Pye, and her manager, Eve Taylor, who had their own ideas about how Sandie’s career should progress. There is also no reason to doubt that if Sandie had gone along with what they wanted, she could have had a very successful career for some years thereafter. However, Sandie had other ideas and recorded this album to show people what direction she really wanted for her career. This album, though released by Pye, effectively marked the end of her career with them and the end of Eve Taylor as Sandie’s manager. There were some further Pye singles, notably a cover of Rose garden, when it was unclear if Lynn Anderson’s own cover of the song (written by Joe South) would be a UK hit. I wonder if the soured relations between Sandie and Pye affected the chances of her version becoming the big hit instead of Lynn’s version. But back to this fascinating album. 

I’ll admit that I was confused the first time I played this album. It’s certainly not what one imagines when one thinks of Sandie’s previous albums and singles. However, it is her personal statement. The album as originally released (the first ten tracks here) are covers of songs by artists who Sandie thought were important to sixties music. No surprise, then, that the Beatles, Rolling Stones and Bob Dylan are all represented. Beyond those, I noticed the omission of anything by the Beach Boys and any Motown songs, though R+B music is represented by Walkin’ the dog. The Bee Gees are represented, but by With the sun in my eyes - not the most obvious choice, even in 1969. Still, these were Sandie’s choices and whatever anybody might think about her choices, she performed them well. 

The original ten tracks are expanded to 20 here by including some tracks recorded for possible inclusion on the album, such as Fool on the hill (ultimately rejected, it seems, in favour of Love me do) and, as usual for this series, some A and B sides of singles released at around the time of the album (not Rose garden - that came later, in 1971). 

Sandie found other work after her Pye contract ended in 1972, only returning to the music business in the eighties after the Smiths, who confessed to being among Sandie’s fans, persuaded her to return, but that music is available elsewhere. The music here has been better appreciated in the years and decades since it was recorded than at the time. Enjoy it for what it is - nothing like Sandie’s earlier music. ….. 

“Reviewing the Situation” was Sandie Shaw’s last album released in the sixties. More than a decade would go before she, in 1982, released her next album, “Choose Life”. “Reviewing the Situation” was Shaw’s most ambitious album release so far, and also an attempt to escape the teenage pop-girl image. The sleeve notes tell that the album was partly recorded in secrecy as her managee would hardly have approved Shaw’s attempt at changing her image. 

Sandie Shaw produced herself, and the songs are a selection of her personal favorites, ranging really wide. Along with her highly competent band, she offers fine versions of songs that in most cases will be well-known in their original versions. 

Not all ten tracks on the album come out quite convincingly, but in most cases Shaw manages to give the songs something new and interesting. Among the very best to find a great version of Led Zeppelin’s “Your Time is Gonna Come” - great both vocally and instrumentally. Her version of the old “Walking the Dog” is probably the best version I have heard so far - I actually never thought very much of the song. Sandie’s version is very soulful. 
Also good versions of “Coconut Grove” (Lovin Spoonful), Donovan’s “Oh Gosh” and “Mama Roux” (Dr. John). Actually, only “Sympathy for the Devil” falls short for me - it simply fails to convince. 

On this edition 10 bonus tracks are added. The first two are very simply arranged versions “Frank Mills” (from Hair) and Paul McCartney’s “Junk”. Both convincingly performed - especially “Frank Mills” is a gem. ………… 

Side One: 
1.Reviewing The Situation 
2.Lay Lady Lay 
3.Mama Roux 
4.Sun In My Eyes 
5.Walking The Dog 

Side Two: 
1.Love Me Do 
2.Oh Gosh 
3.Your Time Is Gonna Come 
4.Coconut Grove 
5.Sympathy For The Devil 

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

johnkatsmc5, welcome music..